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Visible Cloaks Reassemblage
Visible Cloaks Reassemblage Visible Cloaks’ Reassemblage is a collection of delicately rendered passages of silence and sound that invokes – and invites - consciousness. The foundation of the duo’s second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI “translation,” and other generative principles that favor inclusive musical environments over the narrowly constrained. In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume ofFairlights, Mallets, and Bamboo, a mixtape indicated by Doran as “an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.” These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music. Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay byTrinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to “speak nearby” rather than “speak about.” In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect. In an effort to “speak nearby” rather than “speak about,” Visible Cloaks Track Listing RVNG Intl. filters and forms source material to become young again. Often the duo strip 1. Screen PO Box 20752 tonal elements of their specificity or randomize melodies so they become 2. Valve (ft. Miyako Koda) Tompkins Sq. stirring and lucid. Essential patterns emerge, conscious experience heightens. -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
The Necks Come to Castlemaine As Part of Their Australian Tour
IMPROVISATION GENIUSES THE NECKS COME TO CASTLEMAINE AS PART OF THEIR AUSTRALIAN TOUR Already on the road, the world famous improvising legends and one of Australia’s great cult bands THE NECKS return home for their much-anticipated annual Australian tour. Renowned for creating immersive, hypnotic concert experiences over two completely improvised one-hour sets, Chris Abrahams (piano), Lloyd Swanton (bass) and Tony Buck (drums/percussion) slowly conjure sound mountains out of thin air that leave audiences mesmerised. From humble beginnings over a quarter of a century ago as a private jamming project, The Necks now count Brian Eno and Nick Cave among their legions of fans. They have released 16 albums and have played packed concerts everywhere from the Sydney Opera House to The Barbican in London and Roulette in New York. More recently, in 2012, they completed two tours of Europe and the UK, garnering outstanding UK reviews from The Guardian, The Telegraph and The Financial Times, with The Telegraph’s Ivan Hewitt describing “A vast sound-mass suspended in vibrating, seething stillness, its colour and luminosity changing slowly, like a landscape observed from a car...”. 2012 also saw The Necks’ album ‘AETHER’ added to The Australian National Registry of Recorded Sound, and their legendary first album ‘SEX’ re-released through FUSE. The Necks’ commitment to the simple concept of truly “letting the music take care of itself” is at the core of their unique sound and their ability to constantly create exciting, engrossing music for themselves and their audiences. No two Necks concerts are ever the same. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… -
Kazumi Watanabe Kylyn Mp3, Flac, Wma
Kazumi Watanabe Kylyn mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Kylyn Country: Japan Released: 1988 Style: Fusion MP3 version RAR size: 1720 mb FLAC version RAR size: 1820 mb WMA version RAR size: 1709 mb Rating: 4.6 Votes: 771 Other Formats: MP3 DMF AIFF DTS AIFF MP2 AUD Tracklist 1 199X 1:56 2 Sonic Boom 6:30 3 Water Ways Flow Backward Again 5:17 4 Milestones 8:15 5 E-Day Project 5:45 6 Akasaka Moon 4:34 7 Kylyn 2:29 8 I'll Be There 6:38 9 Mother Terra 3:26 Companies, etc. Record Company – Nippon Columbia Co., Ltd. Manufactured By – Nippon Columbia Co., Ltd. Distributed By – Nippon Columbia Co., Ltd. Credits Alto Saxophone, Soprano Saxophone – Toshiyuki Honda Artwork By – Bam-Voo Bass – Rey J. O'Hara* Co-producer – Akira Ikuta, Taku Kashiwabara Drums – Shuichi "Ponta" Murakami*, Yukihiro Takahashi Guitar [Guitars] – Kazumi Watanabe Keyboards – Mikio Masuda Keyboards, Vocals – Akiko Yano Mixed By – Ryuichi* Mixed By, Producer – Kazumi* Other [Publicist] – Jin Nakahara Percussion – Pecker Producer, Keyboards – Ryuichi Sakamoto Tenor Saxophone – Yasuaki Shimizu Trombone – Shigeharu Mukai Barcode and Other Identifiers Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Kazumi YX-7595-ND Kylyn (LP, Album) Better Days YX-7595-ND Japan 1979 Watanabe Kazumi 35C38-7135 Kylyn (CD, Album) Denon 35C38-7135 Japan 1984 Watanabe Jroom Jazz, Kazumi Kylyn (CD, Album, COCB-53333 Columbia Music COCB-53333 Japan 2005 Watanabe Ltd, RE, RM, Pap) Entertainment Related Music albums to Kylyn by Kazumi Watanabe Kazumi Watanabe - Mobo Live Kazumi Watanabe - Olive's Step Kazumi Band - Ganaesia Kazumi Watanabe - Mobo Kazumi Watanabe = 渡辺香津美 - Lonesome Cat = ロンサム・キャット Ryuichi Sakamoto & Kazumi Watanabe - Tokyo Joe Kazumi Watanabe With Friends - Super Selection Akiko Yano - Home Music II. -
The Harp Extended: an Exploration of Resonance, Mimicry and Improvisation
THE HARP EXTENDED: AN EXPLORATION OF RESONANCE, MIMICRY AND IMPROVISATION CLARE M. COOPER WRITTEN COMPONENT SUBMITTED IN PARTIAL FULFILMENT OF THE DEGREE OF MASTER OF FINE ART COLLEGE OF FINE ARTS, UNIVERSITY OF NEW SOUTH WALES, SYDNEY. 2008 CONTENTS INTRODUCTION…..……………………………………………... (Page 3) CHAPTER 1: Influence, Expectation and Evolving Ears……… (Page 4-19) Promises the Harp makes simply by being a Harp Cultural Baggage, Stereotype and Cliché The ‘whole’ Harp and its co-conspirators CHAPTER 2: “This Music” - the problem with defining approaches to extending the vocabulary of an instrument…………..………………………….. (Page 19- 29) “This Music” “Extended Technique” and “Non-traditional” playing “Preparation” Know the rules before you break them Lifting the sanctions CHAPTER 3: Improvisation and Necessitating Sounds………….. (Page 30- 34) CHAPTER 4: Mimicry……………………………………………….. (Page 35-37) Mimicking machines: Field Recordings CHAPTER 5: Exploring Physical Structure and Resonant Spaces (Page 38- 44) Exploring the instrument’s physical structure and resonant spaces Amplification and Electronic Extension Feeding tones CHAPTER 6: A Guide to Submitted Works …………………....… (Page 45-47) CONCLUSION ……………………………………………………...... (Page 48) References / Resources / Bibliography List of Interviews conducted via Email Performances / Collaborations / Residencies 2005-2007 1-2 Introduction This research project explores methods of extension of the pedal Harp vocabulary in an attempt to develop a unique language that challenges the instrument's stereotype and better responds to a range of contexts. I have investigated three key areas of extension: the physical structure of the Harp and its internal resonant spaces, mimicry as an exploratory tool useful in better understanding the Harp in relation to the Australian environment, and improvisation both free and structured used to challenge the vocabulary of the Harp in solo performance and collaborative contexts. -
'Modern Baroque'
‘Modern Baroque’ ‘Approaches and Attitudes to Baroque Music Performance on the Saxophone’ Jonathan Byrnes 4080160 Masters of Music Projecto Cientifico IV ESMAE 2010 1 Contents Page ‘Introduction’ (Prelude) 4 ‘Education’ (Allemande) 7 ‘Performance’ (Courante) 12 ‘Morality – Responsibility and Reasons.’ (Sarabande) 18 ‘Transcription or adaptation’ – note for note transcription (Minuet I) 36 ‘Transcription or adaptation’ – adaptation (Minuet II) 58 Conclusion (Gigue) 70 ‘Bibliography’ 73 ‘Discography’ 77 ‘Internet Resourses’ 78 2 Thank you. This Masters Thesis would not have been possible without the help and assistance from the people below. I would like to thank them sincerely for all their guidence and support. Sofia Lourenço, Henk Van Twillert, Fernando Ramos, Gilberto Bernardes, Madelena Soveral, Dr. Cecília, Filipe Fonseca, Luís Lima, Nicholas Russoniello, Cláudio Dioguardi, Cármen Nieves, Alexander Brito, Donny McKenzie, Andy Harper, Thom Chapman, Alana Blackburn, Paul Leenhouts, Harry White, And of course my family. Without these people, I am sure I would not have achieved this work. 3 1. Introduction (Prelude) Baroque music has been part of the saxophone repertoire in one form or another since the instruments creation, as it so happened to coincide with the Baroque revival. ‘It was Mendelssohn's promotion of the St Matthew Passion in 1829 which marked the first public "revival" of Bach and his music’ 1, either through studies or repertoire the music of the baroque period has had an important role in the development of the majority of all saxophonists today. However the question remains. What function does this music have for a modern instrumentalist and how should this music be used or performed by a saxophonist? Many accolades have been given of saxophone performances of Baroque music. -
May 2008AAJ-NY.Qxd
NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com AHMAD JAMAL IT'S MAGIC Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar NEW YORK May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June. -
Résumé Date of Birth 1 October 1976, Tampere, Finland
Erkki Veltheim: Résumé Date of Birth 1 October 1976, Tampere, Finland Nationality Australian/Finnish Address 120 Garton Street, Princes Hill, VIC 3054 Telephone +61 (0)407 328 105 Email [email protected] Website erkkiveltheim.com Soundcloud soundcloud.com/erkkiveltheim Professional Appointments/Positions 2013-2016 Chamber Made Opera: Artistic Associate 2005- Australian Art Orchestra: Violinist, Violist, Electric Violinist 1998- ELISION Ensemble: Violist Academic history 2008-2010 Master of Arts, Victoria University 2002-2004 Bachelor of Arts and Sciences, University of Melbourne (not completed) 1999-2000 Postgraduate Diploma in Solo Studies, Guildhall School of Music and Drama, London 1995-1997 Bachelor of Music (Performance), Victorian College of the Arts Other educational programs 1996-1998 Australian National Academy of Music short courses Grants, Awards and Prizes 2019 Melbourne Prize for Music 'Distinguished Musicians Fellowship 2019' 2019 2018 Australian Music Prize (AMP) for Djarimirri by Gurrumul (co-composer, arranger, conductor) 2018 4 ARIA Awards for Djarimirri by Gurrumul (co-composer, arranger, conductor) 2014 Sidney Myer Creative Fellowship 2013 Australia Council for the Arts Project Fellowship 2013 Finalist in the Melbourne Music Prize Outstanding Musician of the Year Award 2010 Finalist in the Melbourne Music Prize Outstanding Musician of the Year Award 2008 Australian Postgraduate Award 2004 Dean's Award, Faculty of Arts, University of Melbourne 1999 Keith and Elizabeth Murdoch Traveling Fellowship (Victorian College -
1.000 A6 Flyer Ab 16,90€ Christoph Irniger / Pilgrim: Mt. Tongariro
Articles News Downloads Musicians Gallery Events MORE JOIN SIGN IN ! Home » Articles » CD/LP/Track Review ♥ # $ 55 RECOMMEND IT! PREV NEXT Popular Recent Random Spike Orchestra 1.000 A6 Flyer ab 16,90€ The Spike Orchestra: Cerberus... Hochwertige Druckqualität. Ohne Versandkosten - online bestellen Nat Birchall Nat Birchall: Invocations Bob Dylan Bob Dylan: Bootleg Series... Peter Erskine Christoph Irniger / Pilgrim: Mt. Tongariro Dr. Um Best of / Year End (2012) Hrayr Attarian's Best... Bailey's Bundles Christmas 2015 IV: (Almost)... By GLENN ASTARITA, Published: February 29, 2012 | 4,129 views % View related photos ⋆ ⋆ ⋆ ⋆ ⋆ Whether by default or intent, Europe's Pilgrim communicates an artistic portraiture of progressive jazz. Framed on the sensibilities of travel and alluding to New Zealand's Mt. Tongariro as a core premise for the underlying themes, this quartet led by saxophonist Christoph Irniger pursues a signature sound and methodology. With ethereal overtones, budding passages, and succinct treks into the free jazz realm, the program encompasses blustery textural components, as the soloists' detail-oriented exchanges are modeled with authority and poise. Featuring bassist Christian Weber's edgy arco lines and Irniger's eerie sax choruses, the ) BUY NOW band launches the festivities with "The New World," where stark imagery looms as an overriding factor. Here, they set the stage for a multi-phased venture, enhanced by pianist The Complete Savoy Dial... By Charlie Parker Vera Kappler's ever-so-delicate phrasing and concise chord clusters. The band morphs the piece onto an ascending motif, which could parallel the slow climb up a mountain. view all | about showcase On "Chasing Dreams of Mt. -
Download[Pdf, 8.76
D I S C O DUAL BRAINS. WANTED. D I S NT I C O N U I N T T iN U Y C NATIVE INSTRUMENTS has the mission to develop the most innovative and inspirational instruments for music producers and DJs of all genres. For this purpose, logic and creativity have to come together at every part of the process – and within every person involved. To further reinforce and grow our team, we are looking for the most forward-thinking talents in their respective fi eld. If you are ready to fully engage both your left and right I T brain in our quest for the Future of Sound, please check out the open positions at: www.native-instruments.com/careers T M 2014 Y D I S C O NT I NU I TY SELECT TRAJECTORIES IN EXPERIMENTAL & ELECTRONIC MUSIC CTM – FESTIVAL FOR ADVENTUROUS MUSIC & ART 15TH EDITION, BERLIN 2014 02 DIS CONTINUITY 50 DIGITAL AUDIO: REMASTERING AND RADICAL By Jan Rohlf REVISIONISM By Paul Purgas 04 GENERATION Z : RENOISE — EXPERIMENTS IN SOUND & ELECTRONIC MUSIC IN 53 CURATING THE PAST, CREATING THE FUTURE: EARLY 20TH CENTURY RUSSIA DJ AS TIME LORD By Andrey Smirnov & Liubov Pchelkina By Hillegonda C Rietveld 10 RENoise – RECONSTRUCTING THE HIDDEN 56 SONIC CYBERFEMINISM AND ITS DISCONTENTS HISTORY OF REVOLUTIONARY NOISE MUSIC By Annie Goh By Konstantin Dudakov-Kashuro 60 101 WOMEN IN ELECTRONIC MUSIC 14 OVERLOOKED PROGRESS By Antye Greie-Ripatti By Robert Mießner 66 TRANSMISsions – beaini // COHEN: A CASE STUDY 18 COSMIC FLIGHT By Katerina Leinhart ELECTRONIC POP MUSIC IN THE GDR By Florian Sievers 70 FROM FOLK CULTURE TO OPEN CULTURE: CONTINUITY, DISCONTINUITY,