Live-Electronic Music
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JON HASSELL/FARAFINA Flash of the Spirit
DESCRIPTION Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina 's prescient, "Fourth World" masterwork, Flash of the Spirit , originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois . Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit . While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2 's Joshua Tree ) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. -
David Tudor: Live Electronic Music
LMJ14_001- 11/15/04 9:54 AM Page 106 CD COMPANION INTRODUCTION David Tudor: Live Electronic Music The three pieces on the LMJ14 CD trace the development of David Tudor’s solo electronic music during the period from 1970 to 1984. This work has not been well docu- mented. Recordings of these pieces have never before been released. The three pieces each represent a different collaboration: with Experiments in Art and Technology (EAT), with the Merce Cunningham Dance Company (MCDC) and with Jacqueline Matisse Monnier [1]. The CD’s cover image, Toneburst Map 4, also arises from a collaboration, with the artist Sophia Ogielska. Anima Pepsi (1970) was composed for the pavilion designed by EAT for the 1970 Expo in Osaka, Japan. The piece made extensive use of a processing console consisting of eight identi- cal processors designed and built by Gordon Mumma and a spatialization matrix of 37 loud- speakers. Each processor consisted of a filter, an envelope follower, a ring modulator and a voltage-controlled amplifier. Anima Pepsi used this processing capability to transform a library of recordings of animal and insect sounds together with processed recordings of similar sources. Unlike most of Tudor’s solo electronics, this piece was intended to be performed by other members of the EAT collective, a practical necessity as the piece was to be performed repeatedly as part of the environment of the pavilion for the duration of the exposition. Toneburst (1975) was commissioned to accompany Merce Cunningham’s Sounddance. This recording is from a performance by MCDC, probably at the University of California at Berke- ley, where MCDC appeared fairly regularly. -
GB Donates to Project Extended to April Money Will Help Curb Erosion on Deadman’S Island Posals from Mid-March Until the by PAM BRANNON First of April
To advertise call (850) 932-8986 February 12, 2015 YOUR COMMUNITY NEWSPAPER 75¢ Residents City in tough spot reporting Golf course suspicious underwent activity $1.5M in BY MAT PELLEGRINO Gulf Breeze News renovations [email protected] B M P Y AT ELLEGRINO At least two people in the Tiger Gulf Breeze News [email protected] Point area came forward over the past week claiming that an individual has The City of Gulf Breeze admits been coming up to their home, knock- it sunk itself into a sand trap after ing on their door loudly and turning stating they have lost nearly $1 the knob on the door in an alleged at- million since the purchase of the tempt to get inside of the home. Tiger Point Golf Club in 2012. Erica Olson, who lives in the Crane City manager Edwin “Buz” Cove subdivision near The Club II, Eddy announced at the United said this happened to her last week Peninsula Association meeting on when it was pouring down rain with January 29 that the city had been her child inside the home. hemorrhaging money since the Another individual contacted Santa purchase. A purchase, Eddy said Rosa County deputies last Wednesday that has the city reevaluating its to report similar activity in the same plans for the golf club. general area. So far, the person has The city plans to hire a consul- not been identiied, and has not suc- tant to come in and look at what Photo by Mat Pellegrino | GBN cessfully opened any doors and en- the city can do to turn the golf tered any homes. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
Holmes Electronic and Experimental Music
C H A P T E R 3 Early Electronic Music in the United States I was at a concert of electronic music in Cologne and I noticed that, even though it was the most recent electronic music, the audience was all falling asleep. No matter how interesting the music was, the audience couldn’t stay awake. That was because the music was coming out of loudspeakers. —John Cage Louis and Bebe Barron John Cage and The Project of Music for Magnetic Tape Innovation: John Cage and the Advocacy of Chance Composition Cage in Milan Listen: Early Electronic Music in the United States The Columbia–Princeton Electronic Music Center The Cooperative Studio for Electronic Music Roots of Computer Music Summary Milestones: Early Electronic Music of the United States Plate 3.1 John Cage and David Tudor, 1962. (John Cage Trust) 80 EARLY HISTORY – PREDECESSORS AND PIONEERS Electronic music activity in the United States during the early 1950s was neither organ- ized nor institutional. Experimentation with tape composition took place through the efforts of individual composers working on a makeshift basis without state support. Such fragmented efforts lacked the cohesion, doctrine, and financial support of their Euro- pean counterparts but in many ways the musical results were more diverse, ranging from works that were radically experimental to special effects for popular motion pictures and works that combined the use of taped sounds with live instrumentalists performing on stage. The first electronic music composers in North America did not adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with mixed skepticism and amusement the aesthetic wars taking place between the French and the Germans. -
The Infinisphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone
THE INFINISPHERE: EXPANDING EXISTING ELECTROACOUSTIC SOUND PRINCIPLES BY MEANS OF AN ORIGINAL DESIGN APPLICATION SPECIFICALLY FOR TROMBONE BY JUSTIN PALMER MCADARA SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Professor James Pugh, Chair and Director of Research Assistant Professor Eli Fieldsteel Professor Erik Lund Professor Charles McNeill DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: July 10, 2020 DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Justin Palmer McAdara Full title of Thesis or Essay: The InfiniSphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. Trombone 2. Electroacoustic 3. Electro-acoustic 4. Electric Trombone 5. Sound Sculpture 6. InfiniSphere 7. Effects 8. Electronic If you need help constructing your keywords, please contact Dr. Bashford, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet. -
2Ser Australia Jan 09
The Spice of Life - 2/2/09 2:37 AM PROGRAMS WHAT'S ON SUPPORT US ABOUT US CONTACT US The Spice of Life Tuesday 1:30pm - 3:00pm Saturday 6:00pm - 7:30pm The Spice of Life with Hans Stoeve Today's show 27 January 2009 Amrhan An Ba / The Honest Bar- Michael Goldrick- CD Wired The New Post Office- Dennis Cahill & Martin Hayes- CD Welcome Here Again Baile Mhuirne- Iarla O'Lionaird- Music At Matt Malloys Kilkelly- Pat & Becky Egan- CD Music At Matt Malloys As Christy Roved Out / The KildaremansFactory- Planxty- Live 2004 Punjab- Karunesh- Global Spirit Tributo a Dorival- Baden Powell- Live at The Rio Jazz Club David Sylvian- Nine Horses 20 January 2009 Sandhya- Amjad Ali Khan- CD Moksha Yarimo / Ne Yalan Soyleyeyim- Duoud- CD Wild Serenade Black Temple- Steve Tibbetts- CD A Man About A Horse Obama / Dagna- Fula Flute- CD Mansa America (www.fulaflute.net) Poye / Ahe Sira Bila- Issa Bagayogo- CD Mali Koura (www.sixdegreesrecords.com) Roger Richards of Extreme Records talking about Robert Vincs Saraghina / Avatar- Robert Vincs- CD Vedic Kingdom Tion- Nils Peter Molvaer= CD Khmer Gula Gula remixed by Chilluminati- CD Mari Boine Remixed (Jazzland) Cuovgi Liekkas remixed by Jah Wobble-CD Mari Boine Remixed Revolution Blues- Neil Young- CD On The Beach 13 January 2009 Kim Cunio- Song for Dora- CD Infloressence Nitin Sawhney- Breathing Light- CD Prophesy Nitin Sawhney- Beyond Skin- CD Beyond Skin Jimmy Little- Into temptation- CD Messenger Chris Meyer- Dervish- CD Lucid Dreams Jah Wobble- I Love Everybody- CD Take Me To God Lloyd Cole- Big Snake- CD -
Electronic Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2018 Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Kopcienski, Jacob A., "Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music" (2018). Graduate Theses, Dissertations, and Problem Reports. 7493. https://researchrepository.wvu.edu/etd/7493 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Thesis submitted To the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D. -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies. -
Live Performance
LIVE PERFORMANCE LIVE PERFORMANCE AND MIDI Introduction Question: How do you perform electronic music without tape? Answer: Take away the tape. Since a great deal of early electroacoustic music was created in radio stations and since radio stations used tape recordings in broadcast, it seemed natural for electroacoustic music to have its final results on tape as well. But music, unlike radio, is traditionally presented to audiences in live performance. The ritual of performance was something that early practitioners of EA did not wish to forsake, but they also quickly realized that sitting in a darkened hall with only inanimate loudspeakers on stage would be an unsatisfactory concert experience for any audience. HISTORY The Italian composer Bruno Maderna, who later established the Milan electronic music studio with Luciano Berio, saw this limitation almost immediately, and in 1952, he created a work in the Stockhausen's Cologne studio for tape and performer. “Musica su Due Dimensioni” was, in Maderna’s words, “the first attempt to combine the past possibilities of mechanical instrumental music with the new possibilities of electronic tone generation.” Since that time, there have been vast numbers of EA works created using this same model of performer and tape. On the one hand, such works do give the audience a visual focal point and bring performance into the realm of electroacoustic music. However, the relationship between the two media is inflexible; unlike a duet between two instrumental performers, which involves complex musical compromises, the tape continues with its fixed material, regardless of the live performer’s actions. 50s + 60s 1950s and 60s Karlheinz Stockhausen was somewhat unique in the world of electroacoustic music, because he was not only a pioneering composer of EA but also a leading acoustic composer. -
Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists. -
Gordon Mumma Was Born in 1935 in Framingham, Massachusetts. He
Gordon Mumma was born in 1935 in Framingham, Massachusetts. He studied piano and horn in Chicago and Detroit, and his early performing career was as a horn player in classical symphonic and chamber music. In 1952 he entered the University of Michigan, where he engaged with the group of young composers in the class of Ross Lee Finney. In Ann Arbor he co-founded with Robert Ashley the Cooperative Studio for Electronic Music (1958–66), and again with Ashley collaborated in Milton Cohen’s Space Theatre (1957–64) along with a group of uniquely creative individuals in art, architecture, and film. Mumma was one of the organizers of the historic ONCE Festival (1961–66), which made Ann Arbor an important site for the performance of innovative new music. The Ann Arbor years demonstrate the early significance of collaboration in Mumma’s creative process. Working connections with other musicians and artists in many disciplines—especially dance and film—have inspired and nourished much of his work as a composer, performer, instrument builder, and electronics wizard. From 1966 to 1974 he was, with John Cage and David Tudor, one of the composer-musicians with the Merce Cunningham Dance Company, for which he composed four commissioned works, including Mesa (1966) and Telepos (1971), and worked closely with Cunningham on his solo choreography for Loops (1971). During those years he also performed in the Sonic Arts Union with Robert Ashley, David Behrman, and Alvin Lucier. He has collaborated with such diverse artists as Tandy Beal, Anthony Braxton, Fred Frith, Pauline Oliveros, Yvonne Rainer, Tom Robbins, Stan VanDerBeek, and Christian Wolff.