16 Oct 2012, 23:39 by hauzzer
30 Dec 2010, 00:13 by blacklessIt's not a secret that every musical composition in the most general form can be described by an acoustic formula. For instance, let's consider the following:
Y = X1 + X2 + X3 + , , , + Xn where Xi is a variable that in a given proportion and succession shows the quantitative form that represents all the acoustic qualities of any composition and let us describe it in musical notes. To go further , two probabilistic concepts should be taken into consideration. Firstly, the more statistical data you have, the easier it is to find out whether there is trend or not. Secondly, if there is a trend you can predict its future data with a certain degree of exactness.
People often say that pop music is the same. And from the mathematical point of view it's the truth simply because in a given point of time we can find an almost linear relation between the popularity of a given song in general or in a given genre etc and it's acoustic qualities. …
30 Jun 2010, 18:09 by FilmoreHolmesRead entire article at PopMatters...
"There are things that you find by chance on vinyl that you never imagined, and vice versa when you go out with mics. A lot of emphasis is put on the origins of sound in sample-based music, and I really think it's important, but it's even more important what you do with these sounds: how they're put together, manipulated and arranged. If you think about it, lots of people have said that I have a particular sound, which is odd when you consider that all my material comes from other places. " – Amon Tobin, Interview with Radio Free Canuckistan
Where Time Becomes A Loop: Acousmatique, Rise & Fall
One of the earliest forms of electronic music was music concrète. Composers started manipulating sound stored on disk in the 1930s, but when the tape recorder became widely available after Word War II, the exploration of a new aural medium exploded. …
20 Jun 2010, 21:37 by BertelsFri 11 Jun – THE PEASANT GIRL, Viktoria Mullova, MATTHEW BARLEY ENSEMBLE, Bimhuis, Amsterdam.
The annual Holland Festival is a great event with lots of fantastic cultural music, theatre, opera and ballet performances in which big names in these genres take part. And every year it is difficult for the organisation to come up with interesting new stuff for the spoiled audience. Last year Coach Bertels spent three evenings in Edgard Varèse trance, and the year before that it was the Karlheinz Stockhausen Tribute by Matmos and Midaircondo that moved Bertels. Half a year ago Coach received the program by mail and made a few notes on what seemed nice enough to try out this year, some where spot on very interesting, others needed some preparations and some were scheduled very badly for Coach. Finally Bertels ordered tickets for The Peasant Girl with Viktoria Mullova, Telegrams for the Nose based on the opera “The Nose” by Shostakovich and Performing Parades with Efterklang and the Dutch Metropool Orkest. …
16 Jun 2010, 14:27 by FilmoreHolmesRead entire article at PopMatters...
“I always saw a divide between music that was based purely on sound design and tunes that were written to physically move people. A challenge for me has been to try and make ‘tunes’ using aspects of sound design normally associated with highbrow academic studies in this area. I don’t know how successful I’ve been but that was a goal anyway.” – Amon Tobin, in his MySpace blog.
A Picture Worth a Thousand Beats: The Early Years
The roots of electronic music are planted in the theoretical and experimental camps of early 20th century composers. Edgard Varèse, Karlheinz Stockhausen, Pierre Schaeffer, and the like were primarily concerned with sound as sound rather than pure notation, expanding beyond tonality and traditional song structure with the aid of technological advances. Then, somewhere between Kraftwerk in the early ‘70s, disco in the late ‘70s, and the Madchester rave scene in the late ‘80s…
22 May 2010, 22:49 by blacklessI have always been obsessed by music; my ever-growing collection consists of 4000+ artists. Some people would say that it’s not constructive to spend so much time on music as long as time is extremely valuable and usually you can’t create any added value when you listen to music. What’s more, not so long ago I wasn’t good at studying, especially at mathematics. There were two main reasons: firstly, I wasn’t the most talented person ever, secondly, my passion for music often didn’t let me be productive. I even started thinking that something was wrong with me! Lately I’ve been trying to combat the problem and not without success! I think that there are quite a few people with the same problem, that’s why I want to tell you about my simple(?) but effective (at least in my case) method.
Everything started when I intentionally decided to extend my consciousness in terms of intellectual abilities and later to improve my physical abilities, physique and health in general. …
23 Feb 2010, 18:42 by Serb2012http://userserve-ak.last.fm/serve/500/12000257/Edgard+Varse+varesse.jpg
Эдгар Варе́з (Edgard Varèse),
22 декабря 1883—6 ноября 1965) — французско-американский композитор, один из пионеров электронной (electroacoustic) и конкретной музыки (musique concrete).
Сын инженера. Учился в Туринской консерватории, парижской Schola Cantorum и Парижской консерватории. В юности на него оказали большое влияние произведения Дебюсси. В 1915 году перебирается в Нью-Йорк, где сближается с кружком дадаистов Марселя Дюшана. В 1921 году заканчивает «Америки», первое из произведений, написанных в его оригинальном авангардном стиле. Основал совместно с Карлосом Сальседо Международную гильдию композиторов, а после принятия композитором гражданства США в 1927 вместо нее была образована Пан-американская ассоциация композиторов. В 20-е годы Варез пишет «Жертвоприношения», «Гиперпризму», «Восьмигранник», «Интегралы», «Аркана». На период с 1936 по 1954 пришелся кризис в творчестве Вареза…
22 Feb 2010, 18:07 by Serb2012musique concrete
«Конкретная музыка» — жанр, в основе которого лежит не мелодическая мысль, а совокупность природных шумов и звуков, записанных заранее, и в ряде случаев подвергнутых различным преобразованиям (обработка фильтрами, искажение, изменение скорости). Толчком к появлению стиля послужили развитие звукозаписывающей техники, появление доступных микрофонов и магнитофонов, и, как следствие, доступность средств звукозаписи для экспериментаторов.
Первые звуковые опыты французского инженера-акустика Pierre Schaeffer осуществлялись в 1948 году, он и считается пионером данного направления. Конкретная музыка была совмещена с другими формами электронной музыки при создании Edgard Varèse «Poème électronique». Она была представлена в 1958 году на Всемирной выставке в Брюсселе с использованием 425 тщательно размещённых громкоговорителей в специальном павильоне, спроектированном Iannis Xenakis.
Сейчас конкретная музыка чаще всего проявляется в соединении с другими стилями. …
6 Feb 2010, 17:04 by fru-n-quiz
15 Jun 2009, 18:52 by BertelsSat 13 Jun – Varèse 360˚. Westergasfabriek, amsterdam.
Day two: First half of the complete works by Edgard Varèse:
Saturday morning, a great time to sleep it all off. The long days and all the cultural stuff Bertels needs to see so badly. Last night was great and Coach learned an awful lot about the musical genius Edgard Varèse, in a lot of ways Bertels feels connected for the stuff Coach does is also crap to lots of folks. Will society understand in fifty years perhaps? Until then everybody should pick his own fight. Having a simple breakfast and several mugs fresh made coffee, Coach got himself working on the PC. There were still music files waiting to be listened and filed into the Bertels archives: The live recordings of Jean-Luc Guionnet & Serijio Murayama, Leo already sent Bertels a mail four days earlier as he too wants these great recordings. First of all Bertels listened to the pieces, filed them in MP3 format if okay, edit some of them if almost okay, or just leaving them as they are and to forget. …