Un’altra uscita del nostro duo.
Another track by our improvisation duo.
S.N.O.W. is
Federico Mosconi: electric guitar, various effect processing
Mauro Graziani: Max/MSP laptop
Category Archives: Electroacoustic
Clara Rockmore
Clara Rockmore (1911-1998), virtuosa del theremin, esegue l’Habanera di Ravel.
Altri video di Clara Rockmore su YouTube.
Ravel’s Habanera performed by Clara Rockmore (1911-1998), the first performer to bring complete musical artistry to the theremin.
Other videos from You Tube.
The magical, marvelous Moog
Ecco una lista di album in cui i suoni del Moog Synthesizer hanno un ruolo essenziale.
E qui, il sito della Bob Moog Foundation.
S.N.O.W. – Il Ghiaccio Sottile della Tua Fragile Mente
Un primo assaggio del nostro duo di improvvisazione (quasi) totale che vi proponiamo così come è uscito in una sera di maggio.
Un brano basato su un ostinato di tre note su cui si muovono sonorità più o meno lontane che, nella mia mente, evocano suggestioni nordiche e laghi ghiacciati.
Rilassatevi e ascoltate. I commenti sono graditi.
A first taste of our duo playing improvised music.
On a three notes riff, sounds comes from away and disappear like visions in the cold landscape of a frozen lake.
The piece is proposed as we improvised it some days ago. No further elaboration.
Relax and listen. Comments are welcome.
S.N.O.W. is
Federico Mosconi: electric guitar, various effect processing
Mauro Graziani: Max/MSP laptop
Onde Cerebrali
Alvin Lucier – Music for Solo Performer
The first work in history to use brain waves to generate sound. It was composed during the Winter of 1964-65, with the technical assistance of physicist Edmond Dewan, and was first performed on May 5, 1965, at the Rose Art Museum, Brandeis University with the encouragement and participation of composer John Cage. Since then it has been performed many times by Alvin Lucier, in solo concerts and on tour in Europe and America with the Sonic Arts Union.
Electrodes are attached to the performer’s head to detect his alpha brain waves. His alpha brain waves are then transmitted by amplifiers to loudspeakers that are used to resonate percussion instruments placed around a concert hall.
Lucier wrote:
I realized the value of the EEG situation as a theater element … I was also touched by the image of the immobile if not paralyzed human being who, by merely changing states of visual attention, can activate … a large battery of percussion instruments including cymbals, gongs, bass drums, timpani, and other …
Performance realized by course members of Space, Environment & Context taught by Anne Wellmer – Generative Arts class Udk Berlin spring of 2018
50 anni
Fifty years ago, in 1957, at Bell Telephone Laboratories, Max Mathews demonstrated that the digital computer can be used as a fantastic new music instrument. He created a revolutionary software platform destined to form the basis of all contemporary digital musical systems (Music 1–Music 5).
His audacious ideas were driven by the belief that “any sound that the human ear can hear can be produced by a computer”. Mathews’s mastery of this new instrument revealed new musical horizons and sparked a burgeoning curiosity into the very nature of sound. His comprehension and elaboration made five decades of art and research possible, laying the groundwork for generations of electronic musicians to synthesize, record, and play music.
Today at Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) as a Professor Emeritus he continues not only to educate students and colleagues, but also to guide and inspire with his constant inventiveness and pure musical pleasure.
To Andrei Tarkovsky
Un altro brano di Artem’ev (Эдуард Артемьев) che mostra come la sua collaborazione con Tarkovsky non fosse poi così incidentale come alcuni sostengono.
Eduard Nikolayevitch Artemyev – Dedication To Andrei Tarkovsky
Schnittke elettroacustico
An electroacoustic work by Alfred Schnittke published by russian label Electroshock records.
Che Alfred Schnittke avesse scritto anche della musica elettroacustica, sinceramente non lo sapevo. Ma la già citata etichetta russa Electroshock records, in questa antologia denominata “Electroacoustic Music Vol. IV,” che raccoglie musica elettroacustica russa realizzata fra il 1964 e il 1971, ha tirato fuori questo Steam, un brano di “drone music” decisamente apprezzabile.
Questo brano è stato realizato con l’ANS synthesizer, un synth fotoelettronico costruito in un’unica copia da Evgeniy Murzin nel 1958 e oggi conservato presso l’Università Lomonosov a Mosca. Vedi ANS synthesizer in wikipedia ita o eng.
Alfred Schnittke – Steam
Artemiev
Eduard Nikolayevitch Artemyev – Solaris
Eduard Nikolayevitch Artemyev is a composer whose name for many people is associated with electronic music. With unusual soundings, easily discernible in the present-day sound environment by their abundance of nuances and unaccountable acoustic comfort. With a peculiar world of imagery, sense of space so striking for the mind.
Artemiev accomplished his academic musical education at the Moscow Conservatoire in Yuri Shaporin’s class of composition. His meeting with engineer Eugene Murzin – one of the first in the world to invent a synthesiser – sealed his fate: “Incredible prospects for creativity were opened up by electronic music. That was a real “terra incognita”. Composers had never set foot on it in their practical activities”. It happened in 1960.
Kindred to the aesthetics of avant-garde is his music for films of Andrei Tarkovsky. The unordinary tasks set by the director required similar creative efforts on the part of the composer. Writing the music to “Solaris”, “The Mirror”, “Stalker” resulted in serious experiments in electronics and the specific sphere of audio-video contact.
Now we can listen to the soundtrack created by Artemiev for Solaris by Andreij Tarkovsky, today republished on a CD that collects extracts from the three Tarkovsky films with music by Artemiev (Solaris (1972), Stalker (1979) and The Mirror (1975)) , released on the Electroshock label, managed by his son Artemly.
Obviously all sounds are created by analog synthesizers.
Red-shifted Harmonies
DAC Crowell is a 41 composer from Illinois.
He hate describing his music, but he say
As for the sound of my own work, it often employs sounds that change _very_ slowly over time. So there are a lot of drone-type elements, things which appear to repeat, and the like…but the real fact is that there are very slow permutations going on, usually at a rate slower than most listeners’ perceptions. I also like a very ‘immersive’ sound, something which surrounds and envelops the listener. At first, this might seem like I’m trying to do something ‘New Age’, but I don’t think the term applies at all because I often like to add ‘noisy’ elements to my works, or use an overall feel that’s darker than the average fluffy New Age sound.
DAC Crowell è americano. Ha 41 anni e compone dei brani in lenta evoluzione pubblicati dalla netlabel Magnatune.
Nella sua pagina in Magnatune trovate molte informazioni.
Mi piace la sua dichiarazione di amore per le onde corte. È una cosa che da bambino ho provato anch’io: passavo ore a giocare con la radio.
Years and years ago, around the same time I was first learning piano as a small child, I also encountered the shortwave radio. It fascinated me…this box of strange sounds, pulsations, voices from other places phasing in and out. And then later in the 1960s, I heard the first stirrings of the Moog synthesizer…and others as well, as I attended a concert given by David Rosenboom while still in the second grade, with him performing his meditative style of electronics on a massive ARP 2500 rig. I suppose it was that formative experience that cemented what I was to try and do in my life.
Dall’album omonimo del 2003, Red Shifted Harmonies.