Channelisation of Noise Through a Rhythmic Grid: Brutalist Mechatronic Sound-Sculpture
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Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
Bio Information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: Djtrio Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP
Bio information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: djTRIO Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: EXPERIMENTAL / SOUND ART / AVANT-GARDE / TURNTABLISM “At various moments, the mix suggested nature sounds, urban cacophony, 12-tone compositions and the tuning of radio dial” – Washington Post “An archeological excavation where whirlpool scratches, microtones and samples of thrift store-mined cheese fly around like poltergeists released from a tomb.” – XLR8R “Some amazing, static-riddled alien music.” – Dusted Start off by dispelling any outmoded notions about taking things at face value – sometimes a DJ is not just a DJ, a record is not a record, and a turntable is more than a record player. These are the basic tenets with which to enter the world of Christian Marclay’s djTRIO, especially in the case of their live recordings. World-renowned multi-media artist Marclay may be best known these days for his globally embraced film collage piece “The Clock,” but he began by redefining the roles of “musician,” “DJ,” and even “artist” itself. Since the late ‘70s, Marclay has created art by masterfully mistreating both vinyl and phonographic equipment, using them both in a manner more consistent with the way an abstract sculptor employs raw materials in the service of a larger vision. Sometimes these sonic journeys utilizing a turntable as a sextant have been in-the-moment experiences and sometimes they’ve been captured for posterity, but 21 September 2002 on Cuneiform Records happens to be both. -
Musique Algorithmique
[Version adaptée pour un cours commun ATIAM/CURSUS d’un article à paraître dans N. Donin and L. Feneyrou (dir.), Théorie de la composition musicale au XXe siècle, Symétrie, 2012] Musique algorithmique Moreno Andreatta . La plupart des études sur la musique algorithmique soulignent, à juste titre, le caractère systématique et combinatoire de certaines démarches compositionnelles qui ont accompagné l’évolution de la musique occidentale. De l’isorythmie du Moyen Âge aux musikalische Würfelspiele ou « jeux musicaux » attribués à Johann Philipp Kirnberger, Wolfgang Amadeus Mozart, Josef Haydn ou Carl Philipp Emmanuel Bach, l’utilisation de méthodes combinatoires et algorithmiques n’a pas dû attendre l’« implémentation » informatique pour voir le jour1. Fig 0.1 : « Jeux musicaux » (générés par http://sunsite.univie.ac.at/Mozart/dice/) 1 En attendant un article sur la musique algorithmique dans le Grove Music Online, nous renvoyons le lecteur à l’étude de Karlheinz ESSL, « Algorithmic Composition » (The Cambridge Companion to Electronic Music (Nick COLLINS et Julio D’ESCRIVAN, éds.), Cambridge : Cambridge University Press, 2007, p. 107-125) pour une analyse plus large des procédés algorithmiques. On pourrait penser, et c’est l’hypothèse le plus souvent proposée, que c’est l’artifice de l’écriture qui rend possible l’exploration de la combinatoire. Cela est sans doute vrai dans plusieurs répertoires, des polyphonies complexes de Philippe de Vitry ou Guillaume de Machaut aux œuvres sérielles intégrales de la seconde moitié du XXe siècle. Cependant, comme l’ont bien montré certains travaux d’ethnomusicologie et d’ethnomathématique (voir Marc CHEMILLIER, Les Mathématiques naturelles, Paris : Odile Jacob, 2007), l’utilisation d’algorithmes est également présente dans les musiques de tradition orale – une problématique que nous n’aborderons cependant pas ici, car elle dépasse le cadre de cette étude. -
Festival of New Music
Feb rua ry 29 ESTIVA , F L O 20 F 12 , t N h e E L A W B M U S I C M A R C H Je 1 w i - sh 2 C -3 om , 2 mu 0 ni 12 ty Cen ter o f San Francisco 1 MUSICAL ADVENTURE CHARLESTON,TOUR SC MAY 31 - JUNE 4, 2012 PHILIP GLASS JOHN CAGE SPOLETO GUO WENJING Experience the Spoleto USA Festival with Other Minds in a musical adventure tour from May 31-June 4 in Charleston, SC. Attend in prime seating American premiere performances of two operas, Feng Yi Ting by Guo OTHER MINDS Wenjing and Kepler by Philip Glass, and a concert Orchestra Uncaged, featur- ing Radiohead’s Jonny Greenwood and a US premiere of John Cage’s orches- tral trilogy, Twenty-Six, Twenty-Eight, and Twenty-Nine. The tour also includes: artist talks with Other Minds Artistic Director Charles Amirkhanian, Spoleto Festival USA conductor John Kennedy, & Festival Director Nigel Redden special appearance of Philip Glass discussing his work exclusive receptions at the festival day tours to Fort Sumter and an historic local plantation Tour partiticpants will stay in luxurious time to explore charming neighborhood homes & shopping boutiques accommodations at the Renaissance throughout Charleston Hotel in the heart of downtown Charleston, within walking distance to shops and JUNE 1 JUNE 3 restaurants. FENG YI TING ORCHESTRA UNCAGED American premiere John Kennedy, conductor CHARLESTON, SC Composed by Guo Wenjing Spoleto Festival USA Orchestra Directed by Atom Egoyan The Spoleto Festival USA Orchestra, led An empire at stake; two powerful men in by Resident Conductor John Kennedy, love with the same exquisite, inscrutable presents a special program of music of woman; and a plot that will change the our time. -
The Evolution of the Performer Composer
CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. -
Noise in Music Or Music in Noise? a Short Discussion on the Incorporation of “Other” Sounds in Music Making
University of Alberta Noise in Music or Music in Noise? A Short Discussion on the Incorporation of “Other” Sounds in Music Making Essay Submitted as part of the Music History exam of the Qualifying Exams, for the degree of Doctor in Music Composition Faculty of Arts Department of Music by Nicolás Alejandro Mariano Arnáez Edmonton, Alberta January 2017 “We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath— a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.” (Marinetti 1909) Introduction When a physical source produces periodic or aperiodic vibrations in the air within a certain frequency, and there are human ears near by, they receive a meaning assigned by our brain. When we have the necessity of verbalize the sonic image produced by those vibrations, we need to choose a word available in our language that best describes what we felt sonically. Words associated with this practice of describing what we perceive are commonly “sound”, “noise”, “music”, “tone”, and such. The question is, what does make us to choose within one word or another? Many inquiries will arise if we analyze our selection. For example, if we say “that is music” we may be implying that music is not tone, or noise, or even sound! Personally speaking, I find a deep and intimate sensation of peace when hearing the sound of water moving in a natural environment, it generates that specific feeling on my human brain and body. -
ONA Ilpo Väisänen – Various Electronic Devices Billy Roisz
ONA Ilpo Väisänen – various electronic devices Billy Roisz – electronic devices, bass guitar ----------------------------------------------------------------------------------------------------------------- Ilpo Väisänen und Billy Roisz wurden im Herbst 2011 von der Linzer Plattform qujOchÖ eingeladen, im Rahmen des Festivals Baumarktmusik gemeinsam aufzutreten. Bei den Konfrontationen 2012 nehmen sie unter dem Duo-Namen ONA diese sehr spannende Zusammenarbeit wieder auf. ----------------------------------------------------------------------------------------------------------------- Ilpo Väisänen (FIN) http://de.wikipedia.org/wiki/Pan_Sonic Together with Mika Vainio, Ilpo Väisänen was part of the Finnish duo Pan Sonic, one of the most ground-breaking and innovating projects in contemporary electronic music. In a musical form in which sequencing and recording music using computers is standard, the group was known for recording everything live, straight to DAT (Digital Audio Tape) using home-made and modified synthesizers and effect units. In December 2009 their split was announced. Mika and Ilpo will continue with their own solo projects. Ilpo’s former releases on his own label Kangaroo, a sub-label of Raster-Noton, have clearly shown his personal affinity with dub music. Actually he is also playing some kind of free- form noise with a tendency to drone with Dirk Dresselhaus (Schneider TM) in the duo Angel. --- BIO Ilpo Väisänen: born in Kuopio, Finland, in 1963 studied flute at the conservatory as a young student studied visual arts and -
Whitehouse, Merzbow, Maurizio Bianchi, the Haters, Hanatarash, the Gerogerigege, Massona, Prurient, John Wiese…
As Loud as Possible As Loud as Possible Concert de Hanatarash, Toritsu Kasei Loft, Tokyo, 1985 (Photos : Gin Satoh) Concert de Hanatarash, Toritsu Kasei Loft, Tokyo, 1985 (Photos : Gin Satoh) Whitehouse, Merzbow, Maurizio Bianchi, The Haters, Hanatarash, The Gerogerigege, Massona, Prurient, John Wiese… Un parcours parmi les grandes figures du harsh noise, au sein de l’internationale du bruit sale de ses origines à nos jours. AS LOUD AS 48 POSSi- 49 bLe. Whitehouse, Merzbow, Maurizio Bianchi, The Haters, Hanatarash, The Gerogerigege, Massona, Prurient, John Wiese… A tour among the major figures in harsh noise, within dirty Noise International—from its inception to the present day. Fenêtre ouverte. Le bruit, c’est ce son fronde, indompta- juste une main pour sculpter, une intention pour guider, Mais comment la musique a-t-elle osé muter en ça ? ble, discordant, une puanteur dans l’oreille, comme l’a écrit à peine une idée pour le conceptualiser. Il n’est pas une Objectivement, si on regarde la tête du harsh noise, son Ambrose Bierce dans son Devil’s Dictionary, ce que tout musique bruyante mais une musique-bruit taillée, pas un nom, il faut tout de même se pencher un peu en arrière, le oppose et tout interdit à la musique. Le bruit sévère, le bruit genre, encore moins un mélange, car s’il est né d’amonts XXe siècle brouhaha, pour comprendre cette « birth-death dur, le harsh noise, c’est, pire encore, le chaos volontaire, la lisibles dans l’histoire de la musique, dans l’histoire du XXe experience », si l’on m’autorise à citer le titre d’un disque de crasse en liberté, même pas la musique de son-bruits rêvée siècle, il n’a dans sa pratique et sa nature d’autre horizon Whitehouse, le premier de surcroît. -
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music. -
Tracing Noise: Writing In-Between Sound by Mitch Renaud Bachelor
Tracing Noise: Writing In-Between Sound by Mitch Renaud Bachelor of Music, University of Toronto, 2012 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Interdisciplinary Studies in the Department of French, the School of Music, and Cultural, Social, and Political Thought Mitch Renaud, 2015 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Tracing Noise: Writing In-Between Sound by Mitch Renaud Bachelor of Music, University of Toronto, 2012 Supervisory Committee Emile Fromet de Rosnay, Department of French and CSPT Supervisor Christopher Butterfield, School of Music Co-Supervisor Stephen Ross, Department of English and CSPT Outside Member iii Abstract Supervisory Committee Emile Fromet de Rosnay (Department of French and CSPT) Supervisor Christopher Butterfield (School of Music) Co-Supervisor Stephen Ross (Department of English and CSPT) Outside Member Noise is noisy. Its multiple definitions cover one another in such a way as to generate what they seek to describe. My thesis tracks the ways in which noise can be understood historically and theoretically. I begin with the Skandalkonzert that took place in Vienna in 1913. I then extend this historical example into a theoretical reading of the noise of Derrida’s Of Grammatology, arguing that sound and noise are the unheard of his text, and that Derrida’s thought allows us to hear sound studies differently. Writing on sound must listen to the noise of the motion of différance, acknowledge the failings, fading, and flailings of sonic discourse, and so keep in play the aporias that constitute the field of sound itself. -
Listening to EDM: Sound Object Analysis and Vital Materialism Écouter La Dance Music : Analyse D’Objets Sonores Et Matérialisme Vital
Volume ! La revue des musiques populaires 10 : 1 | 2013 Écoutes Listening to EDM: Sound Object Analysis and Vital Materialism Écouter la dance music : analyse d’objets sonores et matérialisme vital Mandy-Suzanne Wong Electronic version URL: http://journals.openedition.org/volume/3647 DOI: 10.4000/volume.3647 ISSN: 1950-568X Printed version Date of publication: 30 December 2013 Number of pages: 193-211 ISBN: 978-2-913169-34-0 ISSN: 1634-5495 Electronic reference Mandy-Suzanne Wong, « Listening to EDM: Sound Object Analysis and Vital Materialism », Volume ! [Online], 10 : 1 | 2013, Online since 30 December 2015, connection on 10 December 2020. URL : http:// journals.openedition.org/volume/3647 ; DOI : https://doi.org/10.4000/volume.3647 L'auteur & les Éd. Mélanie Seteun 193 Listening to Electronic Dance Music: Sound Object Analysis and Vital Materialism par Mandy-Suzanne Wong University of California, Los Angeles Abstract: In electronic dance music (EDM), Résumé : Souvent, dans l’electronic dance music melody, harmony, and rhythm are often indistin- (EDM), on ne peut distinguer la mélodie, l’har- guishable, hence are inadequate as descriptive cate- monie et le rythme, catégories qui se révèlent ainsi gories. EDM’s timbres are equally elusive: describing inadéquates pour décrire cette musique. Les timbres electronic sounds in terms of their sources tell us de l’EDM sont tout aussi insaisissables : décrire little about the sounds themselves. Perhaps this une musique à partir de ses sources ne nous dit pas music’s descriptive evasiveness is partly what drives grand-chose des sons eux-mêmes. Peut-être ce flou analysts to deem EDM an aesthetic failure outside descriptif explique-t-il pourquoi certains chercheurs the dance club. -
Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music.