Introduction to Sound
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Delia Derbyshire (1937–2001) 1962 Dartington Summer School
News Delia Derbyshire (1937–2001) 1962 Dartington summer school. France). The Gold Pierre was Later, in collaboration with Brian awarded to Ludger Bru¨ mmer (Ger- Hodgson and David Vorhaus, she set many) for Nyx, and the Silver Pierre Delia Derbyshire, British pioneer of up Kaleidophon, an independent stu- to Jonty Harrison (UK) for Abstracts electronic music, died in Northamp- dio where she worked on the classic for tape and large orchestra. No mag- ton, England, on 3 July 2001, aged album Electric Storm (1968), which isterium was awarded. Residencies 64. Born in Coventry, England, she was credited to White Noise and re- went to Abdul Wahid Hasnizam (Ma- was educated at Coventry Grammar leased on Island Records. This studio laysia) for Fatihah, Paavo Impio (Fin- School and Girton College, Cam- continued to put together electronic land) for Kaleva, Mei-Fang Lin bridge, graduating in music and music for the London theatre of the (Taiwan) for Interaction, Felipe Perez mathematics. She joined the British late 1960s. In 1973 she left the BBC Santiago (Mexico) for Ofaniel (angel Broadcasting Corporation (BBC) in and after a short period with a pri- de la luna), Juan Pablo Sorrentino 1960 as a studio manager and trans- vate studio she gave up composi- (Argentina) for Mi Primer Cello, and ferred in 1962 to the Radiophonic tional work for many years. Rogelio Sosa (Mexico) for Tenso II. Workshop, where she remained until Recently, she had returned to take In the category for electroacoustic 1973. During that time she produced an interest in electronic music, en- music alone, prizes were awarded to music and sound for almost 200 ra- couraged by members of a younger Natasha Barrett (UK) for Utility of dio and television programs. -
Experimental Music: Cage and Beyond Download Free
EXPERIMENTAL MUSIC: CAGE AND BEYOND Author: Michael Nyman, Brian Eno, Arnold Whittall Number of Pages: 218 pages Published Date: 01 Oct 1999 Publisher: CAMBRIDGE UNIVERSITY PRESS Publication Country: Cambridge, United Kingdom Language: English ISBN: 9780521653831 DOWNLOAD: EXPERIMENTAL MUSIC: CAGE AND BEYOND Experimental Music: Cage and Beyond PDF Book This often left certain decisions about the musical content to performers, frequently involved the use of unconventional forms of notation including graphic and instruction scores , and was generally more concerned with defining the processes by which the music would be produced than all the details of the final performance outcome. About Michael Nyman. Even though it is only an illusion, but it seems that when John Cage walked into our room, the world has re-started in some fashion. Moreover, ideally this production is heard in surround sound, with multiple speakers all around the audience. Reference Works. Conseguir libro impreso. The actual composition is an electronic piece of music based on sounds mentioned in the book. Cage's experiments with random procedures and indeterminacy in composition as well as performance, his unique systems of graphic notations, and his innovative live electronic and mixed-media events of the 's through the 's served as the groundwork for radical experiments in avant-garde music by composers in both the classical and rock genres of music. Sonically, this matches the presentation of the split subject of the man, seen and heard separately as absent voice and present body, but with implications of identity. MARC Records. Popular Posts. This means that when the pedal is down, the spoken text provokes specific resonances from the instrument, according to the frequencies and dynamic level of the voice. -
The Sound Effect
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Sound Effect: a Study in Radical Sound Design Ian Robert Stevenson A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Architecture, Design & Planning The University of Sydney 2015 ABSTRACT ABSTRACT This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. -
The Last Adventures Education Pack
THE LAST ADVENTURES EDUCATION INFORMATION PACK CONTENTS 1. Teacher’s notes and your group’s visit to the theatre 2. About the performance 3. About the company 4. Tim Etchells 5. Tarek Atoui 6. KK Null 7. Interview with Tim Etchells and Tarek Atoui 8. Further resources available 9. Credits The Last Adventures Information Pack 1 ** 1. TEACHER’S NOTES AND YOUR GROUP’S VISIT TO THE THEATRE This pack is designed to help prepare a college or university group for their visit to the theatre. We hope the information provided will enhance students’ overall critical appreciation of the production and we look forward to welcoming you to the theatre. The aims of this resource pack are: • To provide some context to the work of Forced Entertainment, especially for those who may be encountering the work for the first time; • To provide some background as to how this work in particular is placed in the company’s repertoire; • To introduce Forced Entertainment’s artistic director, Tim Etchells, and this project’s key collaborators; • To provide signposts to further resources for those wishing to engage in deeper research. You can support this through: • Engaging students in a discussion or some preliminary research about the company, prior to their visit; • Making students aware Forced Entertainment’s work is very different from ‘traditional theatre’; that it can be seen as challenging and dark as well as funny and moving; • Ensuring in their visit that students are briefed to turn their mobile phones off and that quite a high level of concentration may be required throughout the show; • Encouraging students to think about what they might ask in a post-show discussion. -
The Shape of the Stone Was Stoneshaped Between the Generations of Dick Higgins and David Rokeby Lisa Moren
09 moren 9/2/05 11:31 am Page 69 The Shape of the Stone was Stoneshaped Between the generations of Dick Higgins and David Rokeby lisa moren Whereas my body, taken at a single moment, is but a conductor interposed between the objects which influence it and those on which it acts, it is nevertheless, when replaced in the flux of time, always situated at the very point where my past expires in a deed. Bergson 1991: 78–9 At first glance it may seem that a programmer clichés, through collage techniques in time and and builder of multi-media surveillance-to- space. Rokeby, although working in new media sound systems in the current São Paolo tools, consciously broke from the philosophy of Biennale has little in common with the demate- the media generation and worked distinctly as a rializations of a Fluxus artist, or in the direct software artist, who romantically makes art experiential forms of the Happenings art from the scratch material of code (Manovich movement. However, the fundamental gestures page 4 ‘Generation flash’). An examination of a within interactive art of the 1990s can be found selection of work by these two artists, and their in the corporeal work of Fluxus, performance relevant contemporaries, provides a point of art, Situationism, process art, participatory convergence regarding the mechanical transfer- works and Happenings generated in the 1960s. ence of ideas from the body to the computer and The notion that the viewer completes a work the transformation of the subject through manifested itself literally with the emergence of empowering the spectator to participate as interactive art. -
Fylkingen's Text-Sound Festivals 1968–1974
Fylkingen’s Text-Sound Festivals 1968–1974 Teddy Hultberg Abstract In the 1960s the concept and the genre of “text-sound composition” were born in Sweden. Being an offspring of sound poetry in various forms and of the new electro- acoustic music of the post-war years, it took shape as an intermedia art form par excel- lence. This essay traces the emergence of text-sound in a Swedish context and especially its appearance at the internationally renowned text-sound festivals held at Fylkingen in Stockholm during the years 1968–1974. By the time the term was invented in the 1960, text-sound composition, as an aesthetic practice, was already an international phenomenon. The Swedish version of this intermedia genre was given an international plat- form through the famous text-sound festivals that were organised by Fylkingen in Stockholm between 1968 and 1974. Founded as a chamber music society in 1933, Fylkingen had at this time developed into an organisa- tion that promoted all the new events in music, dance and theatre. And in this context sound poetry and text-sound composition appeared to be typi- cal art forms of the time – art forms that would explore the interstices between word and sound, poetry and music, and which would further the investigation of the electro-acoustic landscape staked out in avant-garde music from the post-war period by composers such as Pierre Schaeffer, Karlheinz Stockhausen and Luciano Berio. In short, the history of text-sound composition can be seen as the history of how technology during the early 1960s changed the poetic expression when it opened the literary field to a new kind of sound poetry. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Electroacoustic Music Studios BEAST Concerts in 1994
Electroacoustic Music Studios BEAST Concerts in 1994 Norwich, 7th February Manchester, 22nd February Nottingham, 18th March More about BEAST concerts:- The Acousmatic Experience, Amsterdam, The Netherlands, 7th - 10th April Concert news Edinburgh, Scotland, 17th May Concert archives London, 11th November Birmingham, 13th November Huddersfield Contemporary Music Festival, Huddersfield, 18th November Rumours, Birmingham, England, 4th - 5th December 7th February 1994 Norwich, England Sound diffusion for the Sonic Arts Network 22nd February 1994 Manchester, England Sound diffusion for the Sonic Arts Network 18th March 1994 Nottingham, England Sound diffusion for the Sonic Arts Network The Acousmatic Experience, 7th - 10th April 1994 Amsterdam, The Netherlands A series of concerts performed by BEAST. 7th April 8.15 pm Karlheinz Stockhausen - Hymnen 8th April 8.15 pm 1. Yves Daoust - Suite Baroque: toccata 2. Jonty Harrison - Pair/Impair 3. Yves Daoust - Suite Baroque: "Qu'ai-je entendu" 4. Kees Tazelaar - Paradigma 5. Yves Daoust - Suite Baroque: "Les Agrémants" 6. Barry Truax - Basilica 7. Yves Daoust - Suite Baroque: "L'Extase" 8. Denis Smalley - Wind Chimes 9th April 2 pm 1. Barry Truax - The Blind Man 2. Bernard Parmegiani - Dedans/Dehors 3. Francis Dhomont - Espace/Escape 4. Jan Boerman - Composition 1972 8.15 pm 1. Michel Chion - Requiem 2. Robert Normandeau - Mémoires Vives 3. Bernard Parmegiani - Rouge-Mort: Thanatos 4. Erik M. Karlsson - La Disparition de l'Azur 10th April 2 pm 1. Pierre Schaeffer & Pierre Henry - Synphonie Pour un Homme Seul 2. John Oswald - Plunderphonics [extract] 3. Carl Stone - Hop Ken 4. Mark Wingate - Ode to the South-Facing Form 5. Erik M. Karlsson - Anchoring Arrows 8 pm 1. -
From Modernism/Modernity, 11, No. 3 (2004): 282-87. Fluxier-Than-Thou
From Modernism/Modernity, 11, no. 3 (2004): 282-87. Fluxier-than-Thou: Review Essay Fluxus Experience. Hannah Higgins. Berkeley: University of California Press, 2002. Pp. xv + 259. $29.95 (paper). Teddy Hultberg, Oyvind Fahlström on the Air—Manipulating the World. Stockholm: Sveriges Radios Förlag / Fylkingen, 1999. Bilingual text, Swedish and English. Pp. 337. 2 CDs: Birds in Sweden, The Holy Torsten Nilsson. SEK 400 ($52.00) cloth. Reviewed by Marjorie Perloff, Stanford University “Fluxus,” Dick Higgins has observed, “was not a movement; it has no stated consistent programme or manifesto which the work must match, and it did not propose to move art or our awareness of art from point A to point B. The very name, Fluxus, suggests change, being in a state of flux. The idea was that it would always reflect the most exciting avant-garde tendencies of a given time or moment—the Fluxattitude.”1 Hannah Higgins, the daughter of Dick Higgins and Alison Knowles, both of them foundational Fluxus intermedia artists, agrees. Again and again, in Fluxus Experience, she insists that Fluxus was not, as is usually thought, an inconoclastic avant- garde movement but a way of life, a “fertile field for multiple intelligence interactions” (193) that has strong pedagogical potential. In keeping with her father’s theory of intermedia (see Figure 33), Hannah Higgins uses a Deweyite approach to map possible intersections between Fluxus and other disciplines so as to “allow for a sort of cognitive cross-training through exploratory creativity” (193). Within our existing university structure, a potential Fluxus program “would by definition be unspecialized . -
Sonic Arts Network file:///Users/Daniel2016/Documents/Unla COSAS Y WEBSITES
Sonic Arts Network file:///Users/daniel2016/Documents/UNLa COSAS y WEBSITES... In conjunction with De Montfort University and Phoenix Arts Leicester CLICK HERE FOR TRAVEL & ACCOMMODATION DETAILS Sonic Arts Network and De Montfort University invite you to the audio big top. Experience the travelling aural carnival that is SoundCircus: Your ears will bear witness to, and be amazed by, a disarmingly diverse range of experimental sound practices from across the UK and beyond… SEE and HEAR new commissions from Kaffe Matthews and Pete Batchelor! EXPERIENCE the untold delights of performances, installations, presentations and papers from a host of established and emerging artists! MARVEL at the sheer quantity of work with over 60 artists presenting at the event 1 de 7 19/8/16 16:38 Sonic Arts Network file:///Users/daniel2016/Documents/UNLa COSAS y WEBSITES... including: Adaadat, BEAST, Codec/X, Peter Cusack, John Levack Drever, Iris Garrelfs, Jonty Harrison, Modified Toy Orchestra, Adrian Moore, Pippa Murphy, Seed Records, Daniel Schachter, Volcano the Bear, David Zicarelli YOU WILL GASP IN AMAZEMENT AND BE LOST FOR WORDS!!! Each year the SAN Conference showcases the best work from artists in the UK using experimental approaches to sound and technology. It also provides a platform for artists to meet, listen and respond. SoundCircus will focus on new cultural trends and aims to highlight the broad range of approaches and thinking that surrounds the sonic arts through a variety of performances, installations and research presentations. Friday 11 June SoundCircus kicks off with a live spectacle featuring the talents of Leicester’s very own iconoclastic avant-post rock/jazz/folk improvisers Volcano the Bear. -
Practical and Theoretical Explorations Into Composing with Disembodied Sound
Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound by John Levack Drever B. Mus, M. Mus A thesis submittedto the University of Plymouth In partial fulfilment for the degreeof DOCTOR OF PHILOSOPHY Dartington College of Arts August 2001 CONTAINS MUSIC CD UNABLE TO COPY CONTACT UNIVERSITY IF YOU WISH TO SEE THIS MATERIAL Copyright Statement This copy of the thesis and accompanying audio CDs have been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author'sprior consent. Abstract Candidate's Name: John Levack Drever B. Mus, M. Mus Title of Thesis: Phonographies:Practical and Theoretical Explorations into Composingwith DisembodiedSound This is PhD submissionis both practical and theoretical. The practical element consistsof nine electroacousticcompositions. The dissertationacts as a discursive accompanimentto the compositions, addressingmany of the contextual and philosophical issuesthat have arisen during the compositional processand the perfannance of the works. It charts out discoursesurrounding the different genresof electroacousticmusic that the works relate to as well as examining models of work in the respective genres (i. e. sonic art, text.. sound, acousmatic composition, inusique concrite and soundscapecomposition), and placesthem into a broader cultural and historical context. Chapter 2 is concerned with the impact of the advent of, and subsequent rapid development of electroacoustically mediatized sound on society and the individual. It relatesa diverse mix of conjectureson disembodiedsound from different fields, practices and cultures, including sonic art. Chapter3 exploresthe emerging genre of soundscapecomposition. -
'That It's Not Too Late for Us to Have Bodies'
DOI: 10.32063/0602 ‘THAT IT’S NOT TOO LATE FOR US TO HAVE BODIES’: NOTES ON EXTENDED PERFORMANCE PRACTICES IN CONTEMPORARY MUSIC Monika Voithofer Monika Voithofer is a PhD Candidate in Musicology at the University of Graz. She studied Musicology (BA, MA) and Philosophy (BA) at the Universities of Graz and Vienna and completed her MA at the University of Music and Performing Arts Graz with an award- winning thesis on the role of female artists within the International Society for Contemporary Music. In her dissertation she scrutinizes conceptual music and its entwined history with conceptual art practices. To this end, she is currently pursuing research at several institutions located in London, New York City and Chicago. Her academic work is focused on music aesthetics, twentieth century avant-gardes and contemporary music/art in the twenty-first century. Abstract: ‘That it’s not too late for us to have bodies’: Notes on Extended Performance practices in Contemporary Music Since the 1950s, intermedia and performance art practices increased in the field of contemporary music. The interdependency of different (analogue and digital) media and the revaluation of the body and physicality call for a multisensory, instead of “just” an auditory perception of these compositions. In the first sections of this paper the development of intermedia and performance art practices in historical European and U.S. post-war avant-garde movements such as Fluxus, Conceptual Art and Performance Art will be traced. Subsequently, some selected works by composer-performer Jennifer Walshe will be discussed, to demonstrate the influence of the avant-garde movements on and their (digital) continuation in The New Discipline – a term Walshe introduced in 2016 to describe her artistic techniques in regard to extended performance practices in contemporary music, where sound is still a crucial, but not the only, ‘pure’ medium.