Shut up and Listen! 2014
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General Guidelines for Guest Editor
1 Vol 15 Issue 01 – 02 January 2007 The Burkina Electric Project and Some Thoughts About Electronic Music in Africa Lukas Ligeti [email protected] http://www.lukasligeti.com Keywords Burkina Electric Project, electronic music, Africa, electronics and computer technology Abstract This paper is an updated summary of a presentation I gave at the Unyazi Electronic Music Festival in Johannesburg, South Africa in 2005. Burkina Electric, founded in 2004, is an ensemble featuring two musicians (singer Mai Lingani and guitarist Wende K. Blass) and two dancers (Hugues Zoko and Idrissa Kafando) from Burkina Faso; the German pop music pioneer Pyrolator on electronics (both audio and visual); and myself on electronics and drums. Our objective is to create and perform original music combining the traditions of Burkina Faso with the world of DJ/club/dance electronica. In so doing, we build bridges between African and Western cultures, especially in the domains of pop/youth culture and experimental music. Burkina Electric's debut CD, Paspanga, was recently released for the Burkinabè market. By using elements of Burkinabè traditional music, including rhythms not usually heard in contemporary urban music, plus rhythms of our own creation, we aim to enlarge the vocabulary of “grooves” in the club/dance landscape; the dancers help audiences interpret these unusual rhythmic patterns. Sonorities and structural models of West African music are transferred to electronics and reassembled and processed in various ways. Rather than superimposing drum programming on top of an African traditional structures, we compose music that aims to organically confront and combine Africa and Occident, and tradition and experiment, while maintaining the particular sensibilities of both worlds. -
Burkina Electric
BURKINA ELECTRIC FUSION / ELECTRONICA (BURKINA FASO - AUSTRIA -US - IVORY COAST) “An irresistible brew of West African music and electronica” - New York Times DISCOGRAPHY: Hailed by the New York Times as an “irresistible brew of West African PASPANGA music and electronica,” Burkina Electric is the first electronic music 2009, CANTALOUPE RECORDS group from Burkina Faso, in the deep interior of West Africa. ”The band’s energy onstage is infectious” - Based in Ouagadougou, Burkina Faso’s capital, it is, at the same time, Songlines Magazine an international band, with members living in New York, U.S.A. and Ouaga. STREAMING: Burkina Electric’s music combines the traditions and rhythms of • soundcloud.com/burkina-electric Burkina Faso with contemporary electronic dance culture, making it a trailblazer in electronic world music. A diverse and talented group con- sisting of four musicians and two dancers, they collectively participate in the creative process and represent disparate musical genres and Booking Scandinavia: d to the sounds from across the globe. on le c f Marisa Segala e t S +45 / 25 61 82 82 Rather than recycling well-known rock and funk rhythms, Burkina [email protected] Electric seeks to enrich the fabric of electronic dance music by using www.secondtotheleft.com unusual rhythms that are rarely heard and little-known even in much of Skype: marisa.segala.bennett Africa. This includes ancient rhythms of the Sahel, such as the Mossi peoples’ Ouaraba and Ouenega, but also new grooves of their own creation. The band invites you to discover that these exotic rhythms groove at least as powerfully as disco, house, or drum & bass! The group creates a unique and refreshing musical world that is all their own by incorporating sounds of traditional instruments and found sounds recorded in Burkina Faso. -
David Sylvian As a Philosopher Free Download
DAVID SYLVIAN AS A PHILOSOPHER FREE DOWNLOAD Leonardo Vittorio Arena | 66 pages | 28 Feb 2016 | Mimesis International | 9788869770029 | English | MI, Italy ISBN 13: 9788869770029 It would be another six months before the Nine Horses album would surface. But ours is a way of life. Secrets of the Beehive made greater use of acoustic instruments and was musically oriented towards sombre, emotive ballads laced with string arrangements by Ryuichi Sakamoto and Brian Gascoigne. Sylvian and Fripp's final collaboration was the installation Redemption — Approaching Silence. The two artists lived in New Hampshire where they had two children. For me, that David Sylvian as a Philosopher an exploration of intuitive states via meditation and other related disciplines which, the more I witnessed free-improv players at work, appeared to be crucially important to enable a being there in the moment, a sustained alertness and receptivity. Keep me signed in. Lyrics by David Sylvian. Forgot your details? By Stephen Holden, 16 December David Sylvian. Venice by Christian Fennesz Recording 3 editions published in in Undetermined and English and held by 26 WorldCat member libraries worldwide. Martin Power. Following Dead BeesSylvian released a pair of compilation albums through Virgin, a two-disc retrospective, Everything and Nothingand an instrumental collection, Camphor. He has said about his process, "With Blemish I started each day in the studio with a very simple improvisation David Sylvian as a Philosopher guitar. His father Bernard was a plasterer by trade, his mother Sheila a housewife. Home Learning. Never one to conform to commercial expectations, Sylvian then collaborated with Holger Czukay. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption. -
AMN Interviews: Lukas Ligeti – Avant Music News Avant Music News
11/2/2020 AMN Interviews: Lukas Ligeti – Avant Music News Avant Music News A source for news on music that is challenging, interesting, different, progressive, introspective, or just plain weird AMN Interviews: Lukas Ligeti JUNE 10, 2015 ~ MIKE (hps://avantmusicnews.files.wordpress.com/2015/06/5389294442_65b8ed8367.jpg)Compo ser and percussionist Lukas Ligeti (hp://lukasligeti.com/) will celebrate his 50th birthday with two nights of premieres: June 14th at Roulee, and June 11th at the Austrian Cultural Forum. The concert series opens June 11th at the ACFNY, with performances of Lukas’ solo and small ensemble works (performers include Thomas Bergeron, Candy Chiu, Jennifer Hymer, Ben Reimer, David Cossin, and others), and premiere pieces for Lukas’ new classical/indie rock band, Notebook. The festival culminates June 14th at Roulee featuring Lukas’ music for chamber orchestra. Program includes several world premieres, as well as U.S. and New York City premieres, performed by the fresh, contemporary-collective Ensemble mise-en conducted by Oliver Hagen, pianist Vicky Chow, and others. Recently, he took time to answer a few questions from AMN. You are a truly international composer and performer, in the sense that you have followings on at least three continents and have been influenced by the music thereof. How did you develop this global approach to music? My whole life story, even my family history, has predestined me to exist less in any specific culture than in the spaces between them. I was born in Austria to parents who had fled from Hungary. But, being jews, they were not entirely clearly Hungarians, either – not, at least, since having experienced the holocaust. -
Introduction — Unyazi.” “Unyazi” Special Issue, Leonardo Electronic Almanac Vol
1 Vol 15 Issue 01 – 02 January 2007 Introduction UNYAZI Jürgen Bräuninger Associate Professor School of Music University of KwaZulu-Natal Durban 4041 South Africa [email protected] http://www.music.ukzn.ac.za Keywords Unyazi, electronic music, computer music, festival, symposium, workshops, concerts, lectures, South Africa, 2005 Abstract A summary of the first South African electro-acoustic music symposium/festival which took place in Johannesburg, 1-4 September 2005, reviewing its concerts, workshops, and lectures by local and international composers and researchers. Introduction South Africa is famous for many things but certainly not for its electronic music production. However, 35 years after the first electroacoustic music studio was constructed around an ARP-2500 synthesizer at the University of Natal, a small but dedicated number of computer music artists has evolved in the Johannesburg-Cape Town- Durban triangle, and university music departments across the country are now offering music technology courses. In 2003, feeling that it was about time to map the scene and to give it a boost simultaneously, NewMusicSA (the South African section of the International Society for Contemporary Music) proposed an electronic music symposium/festival with Dimitri Voudouris in charge of proceedings. After two years of networking, planning and fundraising, UNYAZI (the isiZulu word for lightning) took place 1-4 September 2005 at all three venues of the Wits Theatre complex in Johannesburg, assembling an illustrious group of local and international electronic music practitioners. Diversity was the obvious festival concept. Halim El-Dabh, who as early as 1944 experimented with a wire recorder in Cairo's radio station, presented some of his vintage works. -
György Ligeti and the Future of Maverick
! György Ligeti and the Future of Maverick Modernity Conference soundSCAPE Festival, 14 July 2014 www.soundSCAPEfestival.org ! 08:00 Check In at Auditorium Città di Maccagno - via Valsecchi 23, Maccagno (VA) !light breakfast pastries, coffee and water will be available for conference presenters 09:15 Welcome Address !Nathanael May, Artistic Director; soundSCAPE !Session 1: Analysis 09:30 Ligeti’s Aventures and Nouvelles Aventures: An exploration of musical technique !Benjamin Levy, Assistant Professor of Music Theory; University of California, Santa Barbara 10:00 The Transcendental Perception of the Piano Concerto (1st movement) by György Ligeti !Lee Kar Tai Phoebus, Teaching Assistant; The Chinese University of Hong Kong 10:30 Timbre and Space in Ligeti's Music !Lukas Haselboeck, Assistant Professor for Music Analysis; University of Music Vienna !11:00 ~ break ~ !Session 2: Performance 11:30 Poème Symphonique: A digital reconstruction !Jason Charney, Bowling Green State University 12:00 Performing Ligeti’s Violin Concerto: A work for the present day !Jane Roper, Professor for Academic Studies; Royal College of Music 12:30 Ligeti and Performance Skills !Peter Susser, Director of Undergraduate Musicianship; Columbia University !13:00 ~ lunch ~ not provided !Session 3: Philosophies 14:30 Codes, Constraints, and the Loss of Control in Ligeti’s Keyboard Works !Amy Bauer, Associate Professor of Music; University of California, Irvine 15:00 Ligeti the Maverick? An Examination of Ligeti’s Ambivalent Role in Contemporary Music !Mike Searby, Principal -
The World of Music
Contents •1 the world of music vol. 45(2) - 2003 Traditional Music and Composition For György Ligeti on his 80th Birthday Max Peter Baumann Editor Jonathan Stock Co-Editor Ashok D. Ranade Christian Utz Guest Editors Tina Ramnarine Book Review Editor Gregory F. Barz CD-Review Editor VWB – Verlag für Wissenschaft und Bildung Berlin 2003 2• the world of music 44 (2) - 2002 Contents •3 Journal of the Department of Ethnomusicology Otto-Friedrich University of Bamberg Vol. 45 (2) – 2003 CONTENTS Traditional Music and Composition For György Ligeti on his 80th Birthday Articles Christian Utz Listening Attentively to Cultural Fragmentation: Tradition and Composition in Works by East Asian Composers . 7 Franki S. Notosudirdjo Kyai Kanjeng: Islam and the Search for National Music in Indonesia . 39 Barbara Mittler Cultural Revolution Model Works and the Politics of Modernization in China: An Analysis of Taking Tiger Mountain by Strategy . 53 Stephen Andrew Ligeti, Africa and Polyrhythm . 83 Taylor Ashok D. Ranade Traditional Musics and Composition in the Indian Context . 95 Composers’ Statements Sandeep Bhagwati Stepping on the Cracks, Or, How I Compose with Indian Music in Mind . 113 Guo Wenjing Traditional Music as Material . 125 Kim Jin-Hi Living Tones: On My Cross-cultural Dance-music Drama Dragon Bond Rite . 127 4• the world of music 44 (2) - 2002 Koo Bonu Beyond “Cheap Imitations” . 133 Lukas Ligeti On My Collaborations with Non-Western Musicians and the Influence of Technology in These Exchanges 137 Qin Wenchen On Diversity . 143 Takahashi Ysji Two Statements on Music . 147 Book Reviews (Tina K. Ramnarine, ed.) From the Book Reviews Editor . -
2018 Building a Jazz Library
John Butcher By JOHN EYLES November 9, 2018 17,211 Views In the Building a Jazz Library article on Evan Parker, it says that seasoned Parker followers would describe him as the finest improvising saxophonist of his generation. Curiously, many of those same people would use exactly that phrase about John Butcher. The simple explanation for this apparent contradiction is that we are talking about two generations; Parker (born 1944) is a member of the "first generation of free improvisation" (along with Derek Bailey, Tony Oxley, John Stevens, Paul Rutherford, Barry Guy...) whereas Butcher (born 1954) is from the second generation (along with the similarly-aged Chris Burn, Phil Durrant, John Russell, Alan Wilkinson...) This is well illustrated by their discographies; Parker's first recording, Challenge (Eyemark), was released in 1966, while Butcher's first, Fonetiks (Bead)—a duo with Burn—came out in 1984. One reason for Butcher's first disc being released when he was slightly older is that after he had graduated with a B.Sc. in Physics from Surrey University he then studied for and obtained a doctorate in Theoretical Physics, before focussing on music. Although they are easy to tell apart, Butcher and Parker have a number of things in common; they both play tenor or soprano saxophone; they are the only saxophonists to have performed at Company Week, been a member of the Spontaneous Music Ensemble and the London Improvisers Orchestra, and been a guest player with AMM. In addition, each of them (alone or with others) has been responsible for setting up two independent record labels to release their music, in Parker's case Incus (1970 to 1985) and Psi (2001 onwards), in Butcher's case Acta (1988 to 2001) and Weight of Wax (2004 onwards). -
11-21-09 Percussion Ensemle Prog
Williams College Department of Music Williams Percussion Ensemble Noise/Signal Matthew Gold, director Zoltán Jeney impho 102/6 (1978) Alex Creighton ’10 and if i were in, on, or around (2009) * Brian Simalchik ’10 for percussion quartet Giacinto Scelsi I Riti: Ritual March The Funeral of Achilles (1962) James Romig The Frame Problem (2003) for percussion trio Elliott Sharp Saturate (1993) for baritone saxophone, electric guitar, piano, and percussion Currents - An electronic sound exploration and collaboration between Peter Wise and the Williams Percussion Ensemble Michel van der Aa Between (1997) ** for percussion quartet and soundtrack ** world premiere ** U.S. premiere Saturday, November 21, 2009 8:00 p.m. Chapin Hall Williamstown, Massachusetts Upcoming Events: See music.williams.edu for full details and to sign up for the weekly e-newsletters. 11/22: Shhh Free Sunday: Brooks-Rogers Recital Hall, 1:00 p.m. 11/30: Visiting Artist: Bösendorfer Concert–Seymour Lipkin, Chapin Hall, 8:00 p.m. 12/1: Studio Recital: Violin, Brooks-Rogers Recital Hall, 2:00 p.m. 12/1: Seymour Lipkin Piano Master Class, Brooks-Rogers Recital Hall, 4:15 p.m. 12/2: MIDWEEKMUSIC, Chapin Hall Stage, 12:15 p.m. 12/3: Class of 1960 Lecture: Prof. Elaine Sisman, Bernhard Room 30, 4:15 p.m. 12/4: Williams Symphonic Winds and Opus Zero Band, MASS MoCA, 8:00 p.m. 12/5: Service of Lessons and Carols, Thompson Memorial Chapel, 4:00 p.m. 12/6: Service of Lessons and Carols, Thompson Memorial Chapel, 4:00 p.m. 12/6: Studio Recital: Chamber Music (Winds and Strings), Brooks-Rogers Recital Hall, 7:30 p.m. -
Polwechsel at HCMF
19 - 28 NOVEMBER 2021 donate John Butcher British Saxophonist John Butcher talks to hcmf// about performing with Austrian quartet Polwechsel for the first time in a decade. News home // news // john butcher Privacy & Cookies Policy Interview: John Butcher Having stacked up forty years of collaboration in a number of duos, trios and mismatched musical bundles, British saxophonist John Butcher has made all but a fraction of possible sounds that can be made on his instrument – both by blowing and through physical manipulation. A champion of free improvisation, he continues to create works that react to both other musicians and unique sonic spaces. From 1997 to 2007, Butcher was a member of the Austrian quartet Polwechsel, a group that embraced the tensions of composition to improvisation. His bandmate, Michael Moser, described him as “a great listener”, an expressive player who could adapt to approach their minute and microtonal works as needed. Butcher will join Polwechel’s hcmf// 2017 performance on Thursday 23 November, marking the first time in a decade they’ve played together. We spoke to Butcher about both his past life as a member of the group and his expectations for their reunion. The hcmf// 2017 performance will be your first with Polwechsel in nearly a decade. With a ten year history of playing together prior, do you have any expectations of the sound or internal directions for how to perform with the group? JB: During the ten years I was in Polwechsel, the characteristics were using loose compositional ideas and structures to explore the world of minute musical material and non-demonstrative interaction. -
Embodied Rhythm Lukas Ligeti
! Polymeters, Body, and Mind: One Musician’s Creative Experiments with (Dis)embodied Rhythm Proceedings of A Body of Knowledge - Embodied Cognition and the Arts conference CTSA UCI 8-10 Dec 2016 Lukas Ligeti Polymeters, Body, and Mind: One Musician’s Creative Experiments with (Dis)embodied Rhythm As a young music student in Vienna, Austria, I attended several lectures by the ethnomusicologist Gerhard Kubik at the University of Vienna. One form of music he presented, the ancient court music of the Kingdom of Buganda, now in Uganda, completely changed my way of thinking about music. I was an aspiring drummer and composer, learning the craft of my trade, but hoping to become an innovative artist. The most inspiring thing I could have asked for was to find out about a conceptual approach to music that was entirely new to me, and the music of Buganda launched me on a road of experimentation and discovery that continues until today. I am not interested in imitating the music of the Baganda or in appropriating it by taking recognizable elements out of context to use as exotic ornaments for my own music otherwise located in my everyday cultural environment. Rather, my music builds upon the way this tradition makes use of a kind of meta-hearing in order to open doors to new ways for musicians to relate to one another in performance. Among the results of my research and experimentation has been the development of techniques of polymetric and polytempo interplay in ensembles, hopefully leading to new ways of listening to and understanding music, for both performing musicians and audiences; this can be done, to very different effect, both with and without computer technology.