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Aikman, James (January 23, 2020)mehr
Abstract: The piece is in 5 short sections ranging from lyic and expressive to boldly virtuosic. It owes a debt to the imaginative composer, John Eaton. I was one of his electronic music assistants and our ensemble united with the orchestra and singers for performances of his operas at Indiana University. (He, by the way, was the first to give a live performance of electronic music in the late 50's and early 60's in Rome while he was at the American Academy. He is currentl a MacArthur Fellow and Professor of Music at the University of Chicago and has formed his own chamber opera company.) Anyway, I learned to greatly appreciate the beauty of his music, and specifically, his use of quarter-tones. I used quarter-tone inflectinos in the tape part as everyone will hear. Snippets of the "live" violin music were sampled, digitally edited and used to provide the bulk of the tape dialogue. I address three basic styles of instrument and tape techniques: The first is antiphonal music where the soloist and tape alternate passages. The second involves synchronous music where the soloist does his or her best to stay with the tape. The slight inaccuracies which occur are not specific to instrument and tape music - they happen in just about every concerto I've seen where the conductor has one idea of the "correct" tempo while the soloist is busy projecting a slightly varied interpretation. The third instrument and tape techniques of composing involves a loosely unified, free interplay where exact synchronization is not intended. In spite of the aforementioned, this piece has its share of trecherous spots but performers have always managed to overcome the difficulties and make real music of it. Recent performances have taken place at the 20th-Century Music Series in Chicago, during festivals, in university settings and at a computer executives' gathering in Silicon Valley. URI: http://hdl.handle.net/10858/19487 Files in this item: 1
audio_1989_aikman_fantasy.html (499bytes) -
Aharonian, Coriun ( NaN, 1995)mehr
Abstract: Secas las pilas de todos los timbres intends to be a song of love and solidarity in a world in which love has been forgotten and where the requests for solidarity do not even arrive to be heard. It deals with symbols, not necessarily to be decoded by the listener or explained to him. All material - a new self-challenge - comes from sound documents of different places and times, connected in one way or another to the composer's affectivity. With one exception, none of the original pitches have been modified. Even if there are no electronic sounds, the whole piece has been composed with (and inside) a computer, using several software programmes, and a couple of additional devices (sampler, digital reverberation unit). The title partially quotes two lines from the lyrics of a well known tango composed by Enrique Santos Discépolo in 1930, and are untranslatable. It makes reference to the idea of a society in which solidarity is scarce or difficult to find. The piece was composed thanks to an invitation of the Akademie der Künste in Berlin in its Studio für Elektroakustische Musik. An 8-channel version was re-mixed at the Elektronisches Studio des Instituts für Neue Musik in Freiburg, Germany. Secas las pilas de todos los timbres has been composed at the Studio für Elektroakustische Musik, Akademie der Künste, Berlin, between the 16 may and the 19 june 1995, with a revision the 21 june. The composer thanks the generous support of the Studio directors Georg Katzer, Georg Morawietz and Gerd Rische, and the hospitality of the Akademie der Künste, Berlin. Secas las pilas de todos los timbres is almost entirely between mezzoforte and pianississimo. There is a fortissimo close to the beginning, between 0'48" and 1'05". The listening hall should be, for this composition, totally silent. URI: http://hdl.handle.net/10858/19484 Files in this item: 1
audio_1995_aharonian_pilas.html (532bytes) -
Aharonian, Coriun (December 14, 2019)mehr
Abstract: Esos silencios (Those silences) are the silences of our daily vital experience of the seventies in almost all Latin America. "They are there but they aren't", I write for the first public performance. "We do not desire them, but they surround us always, until we finally succeed in breaking them". The piece was composed in 1978 and was revised in 1981. It was born at the same studio using exclusively materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu地 Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar誕 Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda L用ez meant to me. In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions, a fact that will appear accentuated in Apruebo el sol. Esos silencios has been realised in Elac, peque撲 estudio de Montevideo, a modest cooperative installation. The materials of departure have been produced by the author. When reproducing this composition please take into consideration the following suggestion: Esos silencios is very piano. Please adjust volume making inaudible the hiss of the original analogic tape. The piece is monophonic. URI: http://hdl.handle.net/10858/19483 Files in this item: 1
audio_1981_aharonian_silencios.html (515bytes) -
Adkins, Mathew ( NaN, 1998)mehr
Abstract: Mapping is a piece that depicts the slow evolution of a landscape: it leads the listener through unknown territory, arriving at landing points from time to time by means of transformed sounds from the real world. The work unfolds structurally as material emerges and is incorporated into the musical fabric. Some of the material is slowly transformed through the work, while other parts remain unchanged, serving as points of reference. More generally the work deals with the notion of "beginning" and the perception of objects over time. URI: http://hdl.handle.net/10858/19444 Files in this item: 1
audio_1998_adkins_mapping.html (500bytes) -
Adkins, Mathew ( NaN, 1997)mehr
Abstract: This work was written as part of a multimedia performance by the Mohican Blue Dance Co. for three dancers, three video projections and electroacoustic sound. The work was inspired was the triptych paintings of Francis Bacon. The sound was constructed from the sounds of the dancers during improvisation sessions. This current version is a shortened concert version of the original dance presentation. URI: http://hdl.handle.net/10858/19443 Files in this item: 1
audio_1997_adkins_red.html (499bytes) -
Sannicandro, Valerio (May 9, 2019)mehr
URI: http://hdl.handle.net/10858/19442 Files in this item: 0
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Adkins, Mathew ( NaN, 1997)mehr
Description: Realised at the studios of EMS Sweden and the University of East Anglia. dur. : 14' 25" This work is based upon two sources: the poem Pagan Circus by Rose Dodd and the circus paintings of Frantisek Tichy. Tichy (1896-1961) was obsessed with the circus both as a phenomenon and the figures in it. In Tichy's paintings : "The performers of these capricci have deformed faces, mushroom faces, elongated, bruised, nightmare faces, faces that melt into wicked sneers.... In the end tomfoolery merges with Grand-Guignol and lowering Prague becomes a satanic circus in which clowns flaunting bugbear mugs turn every act into a lugubrious rite, send us to the devil, to eternal fire, in ignem aeternum.' (Ripellino, 1995 : 275-277). The idea of the circus being a satanic or dark rite is also to be found in Rose Dodd's poem, Pagan Circus. This poem was inspired by a performance given by La Fura Del Baus in Frankfurt,1990. This group combines circus and physical- theatre to create a circus -of-cruelty. By allowing the audience into the performing arena, the notion of safety is overturned lead into a heightened sense of physical experience and manifest it as an intense psychological expression. Many thanks go to Rose Dodd, Bibi Heal, Sarah Long, Carolyn Sampson for providing the source materials for the work. URI: http://hdl.handle.net/10858/19441 Files in this item: 1
audio_1997_adkins_pagan.html (504bytes) -
Adkins, Mathew (April 11, 2019)mehr
Description: Clothed in the Soft Horizon presents an interplay between sounds constructed in the studio and their natural counterparts that are modelled after both individual water droplets and the motion of a wave that builds, crashes and breaks. This latter model permeates not only the overall structure of the work but also the spectromorphological design of many of the individual sounds. Anecdotal references included in the work stem from the concept of a flow of ideas resulting from the simulation of the imagination by a given word, in this instance water. The work is not only a physical portrayal of the flow and motion of water but is also a personal response to it. URI: http://hdl.handle.net/10858/19440 Files in this item: 1
audio_1994_adkins_horizon.html (521bytes) -
Adkins, Mathew (April 10, 2019)mehr
Description: Melt est la description d'un voyage en train. L'oeuvre se base sur la médiation entre des extrémes : - mouvement régulier puis en impulsion, - sons bruts ou sons informatisés. Melt est dessiné sur la base de 3 familles de sons : -Enregistrement en direct de trains, d'annonces de métro et de la foule. -Sons synthétisés qui sont modelés aprés le mouvement et ont les caractéristiques de sources naturelles. -Sons synthétisés d'un monde de réve. A travers le monde, les sons du monde réel se mélangent aux équivalences synthétiques du monde rové, comme un voyageur retombe dans et hors d'une journée de reuve. Chaque matériel employé dans cette oeuvre est unifié spectromorphologiquement, permettant de ce fait un degré important d'intégration entre les différents matériels sonores. URI: http://hdl.handle.net/10858/19439 Files in this item: 1
audio_1994_adkins_melt.html (495bytes) -
Unknown author (April 25, 2013)mehr
Abstract: Im Rahmen des diesjährigen internationalen Donaufestivals in Krems haben Peter Weibel und das ZKM ein 3D-Rausch-Konzert zur Uraufführung gebracht. Es handelt sich dabei um eine Versuchsanordnung über die Zukunft des Konzerts als interaktive, multimediale Plastik. URI: http://hdl.handle.net/10858/19438 Files in this item: 1
video_2013_weibel_origin_trailer.html (530bytes) -
Adamson, Scott (April 4, 2019)mehr
URI: http://hdl.handle.net/10858/19436 Files in this item: 1
audio_1997_adamson_scent.html (539bytes) -
Unknown author (December 5, 2013)mehr
Abstract: Emilio Mendoza berichtet von seinen Studien zur Visual-Music Music mit Beispielen aus dem von ihm ins Leben gerufenen Forschungsprojekt AVIA − Audio Visual Integrated Art. URI: http://hdl.handle.net/10858/19435 Files in this item: 1
audio_audio_2013_mendoza_ima_lab.html (500bytes) -
Adamis, Michaël (April 2, 2019)mehr
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Adamis, Michaël (April 2, 2019)mehr
Abstract: Metallika Glypta III, est la 3e version sortie d'une serie de 3 ouvres sous le meme titre, a ete ecrite en fovrier 1972. Leur traitement et la realisation finale ont ete faits dans le studio de l'auteur. L'exposition de sculpture de Loukoupoulos (1972) etait le point de depart de e Metallika Glypta. L'idee d'utiliser des sons pris exclusivement sur les sculptures de metal etait un stimulus particulirement provocant. L'activite musicale debuta au premier moment o fut rassemble le materiel sonore. Les idees sur les fabrications des sons etaient proconeues, ils vinrent l'un apres l'autre. Chaque essai reussi souligne l'emotion du premier succes creatif. La meme emotion se trouvait dans les traitements posterieurs et leur inclusion en larges unites. La forme de l'oeuvre -fluente et evoluante sans arret- sert l'integration des idees musicales dans une composition qui n'a pas renie le materiau original. La sensation de metal est ainsi toujours presente. URI: http://hdl.handle.net/10858/19433 Files in this item: 1
audio_adamis_glypta.html (516bytes) -
Nicolai, Carsten; Bender, Olaf; Bretschneider, Frank; Letellier, David (March 11, 2016)mehr
Abstract: Audio-visuelle Installation anlässlich des 20-jährigen Jubiläums der künstlerischen Plattform raster-noton. URI: http://hdl.handle.net/10858/19432 Files in this item: 0
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Adamek, Ondrej (March 14, 2019)mehr
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Adamek, Ondrej (March 14, 2019)mehr
Abstract: "Un souffle, une ombre, un rien" constitue la premiére pie electroacoustique d' Ondrej Adamek. Deux univers s'y coient, un organique et l'autre virtuel, habit par un geste proche de la musique instrumentale. Dans cette pie Adamek n'utilise que les sons concrets, parfois assez naturels, ou parfois transforme. URI: http://hdl.handle.net/10858/19430 Files in this item: 1
audio_adamek_souffle.html (523bytes) -
Adamciak, Milan (March 12, 2019)mehr
URI: http://hdl.handle.net/10858/19428 Files in this item: 1
audio_adamciak_tincanchant.html (511bytes)
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