Podcast appearances and mentions of Alvin Lucier

Episode 175 Chapter 34, Live Electronic Music— Foundations. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 34, Live Electronic Music— Foundations from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC FOUNDATIONS   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     John Cage, “Radio Music” (1956) from John Cage. Performed on radios by Gianni-Emilio Simonetti, Juan Hidalgo, Walter Marchetti. Each of these performers used a Panasonic multi-band portable Radio Model RF-1600 B receiver. 04:33 01:40 2.     John Cage, “Cartridge Music” (1960) from Music For Merce Cunningham. Phonograph Cartridges, Amplified Small Objects, David Tudor, Michael Pugliese, Takehisa Kosugi. Recorded at Paris, France in September 1988. 18:53 06:12 3.     Alvin Lucier, “Music for Solo Performer” (excerpt) (1965). Live recording from 1975. Brainwave amplification performed by Alvin Lucier; electronics, Nicolas Collins. 11:46 25:04 4.     Gordon Mumma, “Horn” (1965) from Live-Electronic Music. Electronic modification of horn sounds. Horn, Gordon Mumma; Cybersonic console, designed by Mumma, operated by William Ribbens; Recorded by George Cacioppo; Voice, George Cacioppo, Robert Ashley. For a hornist, two voices, and a cybersonic console operator. 09:36 36:48 5.     John Cage, “Variations V” (1965). Performance on November 11, 1966, Théâtre de Champs Élysées, Paris. Performers, John Cage, David Tudor, Gordon Mumma. 39:57 46:10 6.     David Tudor, “Bandoneon ! (A Combine)” (1966) from The Art Of David Tudor 1963–1992. Composed and performed by David Tudor. 14:15 01:26:43 7.     David Behrman, “Runthrough” (1967–68) from Wave Train. For homemade synthesizers and photocell mixers. Homemade Synthesizer, Photocell Mixer, Alvin Lucier, David Behrman, Gordon Mumma, Robert Ashley. 12:11 01:40:26 8.     Gordon Mumma, “Telepos” (1972) from Music For Merce 1952-2009.  Recorded live on February 2, 1972, La Fenice, Venice. Controlled Sounds Activated By Dancers With Telemetry-accelerometer Belts, Gordon Mumma. 18:38 01:52:34 9.     Pauline Oliveros, Rehearsals for “In Memoriam, Nikola Tesla” (excerpt) (1972). Recorded live September 1972, Köln, Germany.  No performers listed. 11:56 02:11:06 10.   Robert Ashley, “Automatic Writing” (1974–79) from Automatic Writing.  Electronics, Polymoog, Voice, Words, Produce, Recorded, Mixed by Robert Ashley; Mixing Assistance, Rich LePage; Switching Circuit Designed and Built by Paul DeMarinis; Translated by Monsa Norberg; Voice, Mimi Johnson. 46:00 02:23:04   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Três artistas e um neurocientista da Australia criaram um mini cérebro com células do compositor experimental Alvin Lucier. A instalação sonora pode ser vista até 5 de Agosto na Art Galley Of Western Australia

Weird Wednesday; How one dead composer is still creating music, an IVF mixup causes a woman to give birth to a stranger's baby, and a Star Wars wedding. On This Day in History, Albert Hoffman invents and drops LSD. Musician Who Died in 2021 Resurrected as Clump of Brain Matter, Now Composing New Music | Futurism Dead composer Alvin Lucier's biological matter creates new music : NPR Australian woman unknowingly gives birth to a stranger's baby after IVF clinic error | AP News Monash IVF: Woman gives birth to stranger's baby in Australia embryo mix-up | BBC Vegas chapel offering 'Star Wars'-themed weddings for May 4 - UPI.com Little Vegas Chapel offers Star Wars-themed weddings for May the 4th celebrations | KSNV News Flashback: LSD Creator Albert Hofmann Drops Acid for the First Time | Rolling Stone Go to my sponsor https://venice.ai/coolstuff and use code coolstuff to enjoy private, uncensored AI. Using our code will get you 20% off a pro plan. Contact the show - coolstuffcommute@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 158 Chapter 19, The Cooperative Studio for Electronic Music, Ann Arbor. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.  Playlist: THE COOPERATIVE STUDIO FOR ELECTRONIC MUSIC, ANN ARBOR Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Gordon Mumma, “Music from the Venezia Space Theater” (1963-64). Tape composition produced with Robert Ashley at the Cooperative Studio for Electronic Music in Ann Arbor, for Milton Cohen's Space Theater. 12:01 01:38 2.     Robert Ashley and Bob James Trio, “Wolfman” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 06:08 13:25 3.     Robert Ashley, Gordon Mumma and Bob James Trio, “Untitled Mixes” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 05:19 19:34 4.     Gordon Mumma and Bob James Trio, “And On” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 08:54 24:50 5.     Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 12:20 33:54 6.     Robert Ashley, “She was a Visitor” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 05:56 46:00 7.     Gordon Mumma, “Horn” (1967). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 06:22 51:54 8.     Robert Ashley, Purposeful Lady Slow Afternoon (1968). Tape composition produced at the Cooperative Studio for Electronic Music in Ann Arbor. 10:15 58:18 9.     Alvin Lucier, “Vespers” (1969). Performance piece for echolocating devices, first produced in Ann Arbor at the Once Festival. 10:03 01:08:27   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Voces y espacios se entrelazan en el mundo musical y sonoro creando diversas estéticas, percepciones y significados. Nos adentramos en el uso del espacio con sus aspectos simbólicos y físicos dentro de la música. A lo largo de los diferentes periodos y estéticas, la música explora las posibilidades sonoras de diversos espacios. Escuchamos obras de Juan Sebastian Bach, Giovanni Gabrielli, Luigi Nono y Alvin Lucier.Escuchar audio

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. –Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Oren Ambarchi discusses his trio with Johan Berthling and Andreas Werliin and their latest album, Ghosted II, living in Berlin and Winnipeg, Drag City Chicago pizza advice, when he lived in New York for stints as a young man until he was broke from buying records and seeing shows by Cecil Taylor and Miles Davis, why Stephanie Stone woke John Zorn up to meet Oren and be friends with him ever since, his work with Jim O'Rourke and Alvin Lucier, forthcoming projects and shows, other future plans, and much more. Support vish on Patreon! Thanks to the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters to Santa. Follow vish online.Related episodes/links:Ep. #898: Jon Benjamin – Jazz DaredevilEp. #884: Tim KinsellaEp. #877: Gastr del SolEp. #817: Nicole Rampersaud & Off WorldEp. #731: Bill NaceEp. #692: WilcoEp. #673: Sonic YouthSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

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Send us a Text Message.https://www.theandyhudson.com/Ever wondered how a simple mix-up could change the course of a musician's life? Join us on Speak for Change as Andy Hudson, a talented clarinetist and educator, recounts the amusing story of how he ended up with a clarinet instead of the saxophone he originally desired. Through a blend of humor and passion, Andy shares his remarkable evolution from reluctantly playing the clarinet to discovering his profound love for the bass clarinet, an instrument he now champions for its marimba-like range and versatility in the orchestra.Experience the captivating world of contemporary and experimental music as Andy takes us through a memorable performance of an Alvin Lucier piece in a Chinese restaurant. Discover the power of music in unconventional venues and the importance of connecting with young audiences through new stories and compositions. Through collaborations with composers like Yvonne Rodriguez, whose works explore themes of migration, Andy illustrates how contemporary music can foster empathy and enrich our understanding of classical repertoire, ultimately bridging cultural gaps and enhancing humanity.Explore the significance of play, experimentation, and community engagement in shaping the future of orchestral music. Andy highlights the challenges and triumphs of integrating new voices into traditional orchestra settings, celebrating the Cabrillo Festival's role in promoting innovation. From the transformative power of bringing orchestral music to local communities to the dedication of musicians interpreting contemporary works, this episode emphasizes the importance of inclusivity, accessibility, and the joy of continuous artistic exploration. Tune in for an inspirational journey that underscores how music can drive personal and collective transformation.Everyone's Music School Creating positive and lasting change in people's lives with music!Cabrillo Festival of Contemporary Music Transform the orchestral experience for artists & audiences by building a vibrant community &more Ignite NexusConsulting, life & executive coaching for organizations & individuals. Start the journey today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

Thomas Alva Edison crea el cilindro de cera en 1877 en New Jersey. En 1991, el ingeniero Karlheinz Brandenburg concluye la investigación sobre la transferencia de música usando líneas telefónicas que derivará en el mp3. Entre ambos sucesos media la gran historia de la música grabada._____Has escuchadoI Am Sitting in a Room (1969) / Alvin Lucier. Sound on Paper Editions (2021)Early Electronic & Tape Music. Imaginary Landscape No. 5 (1952) / John Cage. Sub Rosa (2014)Extended Play (2008) / Janek Schaefer. Line (2008)Mary Had a Little Lamb (1877) / Thomas Edison. Grabación realizada el 12 de agosto de 1927, con las palabras de Thomas Edison en la Golden Jubilee of the Phonograph Ceremony, West Orange, New Jersey (EE.UU.): [Web]The Disintegration Loops (2003) / William Basinski. Temporary Residence Limited (2012)_____Selección bibliográficaBAYLEY, Amanda (ed.), Recorded Music: Performance, Culture and Technology. Cambridge University Press, 2010* BORIO, Gianmario (ed.), Musical Listening in the Age of Technological Reproduction. Ashgate, 2015*DYSON, Frances, Sounding New Media: Immersion and Embodiment in the Arts and Culture. University of California Press, 2009*FRANKLIN, Marianne, Sampling Politics: Music and the Geocultural. Oxford University Press, 2021*GALINDO, Bruno, Toma de tierra. Libros del KO, 2021—, “Del barroco a la inteligencia artificial (un breviario de música y tecnología)”. Conferencia en el Festival Visiones Sonoras, Morelia (México), octubre de 2022GOLDMAN, Jonathan, Avant-Garde on Record: Musical Responses to Stereos. Cambridge University Press, 2023*GRUBBS, David, Les disques gâchent le paysage: enquête John Cage, les années 1960 et l'enregistrement sonore. Les Presses du Réel, 2015*KATZ, Mark, How Technology Has Changed Music. University of California Press, 2010MACÉ, Pierre-Yves, Musique et document sonore: enquête sur la phonographie documentaire dans les pratiques musicales contemporaines. Les Presses du Réel, 2012*MILNER, Greg, El sonido y la perfección. Lée/me Libros, 2015SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2009*STERNE, Jonathan, The Audible Past: Cultural Origins of Sound Reproduction. Duke University Press, 2003* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Greetings! This week's program certainly emphasizes "multi-genre", a concept that has always been the keystone to the programming of "Pushing The Envelope" over the past 35 years (this fall, to be technical). A quick glance at this week's playlist will make that quite apparent. Cybotron to String Noise playing Alvin Lucier to The Allman Brothers (R.I.P. Dickey Betts) in the same program... makes sense to me! Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com  Twitter-like x thing: https://twitter.com/envpusher1     4-20-24 PTE Playlist   Fragment 17 Phase One (Proximian Mythos Cycle) - Cybotron (Richard Davis) - Cyber Ghetto - Fantasy (1995)    Hpirep (Meson Peripheral Mix) - Phase4our - Language Barrier - Machine Records (2024) https://machinerecords.bandcamp.com/album/language-barrier    Halo (for one or more violiings) (2019) - String Noise: Conrad Harris / Pauline Kim Harris - composer: Alvin Lucier - STRING NOISE - Black Truffle Records (2020) https://blacktruffle.bandcamp.com/album/string-noise    Links No. 8 (Confessions -- Witness to 48 Things) - vibraphone: Berndt Thurner / flute: Gisela Mashayekhi-Beer, composer: Stuart Saunders Smith - The Links Series of Vibraphone Essays - New World Records (2009) https://www.newworldrecords.org/products/stuart-saunders-smith-the-links-series-of-vibraphone-essays    Les Brers in A Minor - The Allman Brothers Band - Eat A Peach - Capricorn (1972) In Memory of Elizabeth Reed - The Allman Brothers Band - The Fillmore Concerts - Polydor (1971/1992) https://allmanbrothersband.com/forrest-richard-dickey-betts-december-12-1943-april-17-2024/    Walking The Wheel - Hawkstrel - Chaos Rocks - Purple Pyramid Records (2024) https://hawkestrel.bandcamp.com/album/chaos-rocks    Death of Trumpet - Kleinemaschinen - Nice​[​ish] Stereo - Borenail Records (2024) https://kleinemaschinen.bandcamp.com/album/nice-ish-stereo    Dayenu - Teiku - Teiku - 577 Records (2024) https://577records.bandcamp.com/album/teiku    The Infinite Cosmos Are Calling You You You (excerpt) - Federico Ughi (drums) feat. Leo Genovese (keyboards) and Brandon Lopez (bass)  - Infinite Cosmos Calling You You You, Vol. 1 - 577 Records (2024) https://federicoughi.bandcamp.com/album/infinite-cosmos-calling-you-you-you-vol-1-feat-leo-genovese-and-brandon-lopez 

On today's episode, I talk to musician Rafael Toral. Born in Lisbon in 1967, Rafael has been intrigued by the potential of sound and the functions of music since he was a teenager. Working with electric guitar and electronics, in the 1990's he pioneered a blend of Ambient and Rock and recorded acclaimed albums like Wave Field or Violence of Discovery and Calm of Acceptance. In 2004, he began the ambitious 15-year project entitled Space Program, which used experimental instruments to explore an approach to electronic music based on silence. Rafael has performed and recorded with everyone from Jim O'Rourke to Alvin Lucier, Phill Niblock, Sonic Youth and so many more, and his latest album, Spectral Evolution, a synthesis of everything he's explored over the course of his career, was just released in February on Drag City. This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here!  

On today's episode, I talk to composer and artist Arnold Dreyblatt. Originally from New York City, Arnold is part of the second generation of New York minimal composers, having studied with Pauline Oliveros, La Monte Young, and Alvin Lucier. His first album Nodal Excitation was released in 1982, and since then, he's recorded almost a dozen more, including 1995's Animal Magnetism, which was released on Tzadik. Based in Berlin since 1984, Arnold was Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany for almost a decade and a half and is currently deputy director of the visual arts section at the German Academy of Art. His most recent album Resolve was released last August on Drag City, and it is fantastic! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here!  

In this episode of Backstage Jazz, musician Matt Smiley shares a few tracks with us from his upcoming double CD.   Matt Smiley is a bassist, composer, and educator who has performed in various musical settings over the last fifteen years. He has a bachelor's degree in music industry with a jazz studies minor from James Madison University and a Master of Music in jazz studies from the University of Northern Colorado.    An avid and enthusiastic musician, Smiley has performed nationally and internationally at universities nationwide and the Montreux, North Sea, and Montreal Jazz Festivals.    Currently, Matt resides in Fort Collins, Colorado, where he plays jazz weekly with the Subterraneans at Ace Gillett's. He has recently performed with legendary jazz musicians Terrell Stafford and Greg Osby and worked with composer Alvin Lucier. Matt has assisted Dr. Paul Elwood with the University of Northern Colorado's Open Space Music Festival for the last five years and worked with festival artists Stephen Drury, Christian Wolff, and Jean-Claude Risset.    Matt released Quartet Art on the Dazzle label in 2011, featuring David Pope on saxophone. Peaceful Contact Proved Elusive, with guitarist Alex Nauman, followed in 2014 as a limited-edition vinyl. Matt is featured on several Dazzle releases by artists Josh Quinlan, Annie Booth, and Ryan Fourt.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

Australian experimentalist Oren Ambarchi has charted a course that crosses modern composition, post-rock and electronic music without ever lingering long in any genre. In this episode, he talks about how music by Keith Jarrett, Miles Davis and Alvin Lucier shaped his work. Essential Tremors is produced by Matt Byars and Lee Gardner and distributed by Your Public Studios.See omnystudio.com/listener for privacy information.

It's “Three for Thursday” as Jay brings us three new releases to check out. First up, Jason Isbell released his ninth studio album, “Weathervanes,” this past week. It's a calmer and more intimate sounding record than some of his previous and is getting great reviews from past critics. Next up we have a reordered & amended reissue titled "The Complete Dirty South" by The Drive-By Truckers. Comprised of songs from their 2004 album “The Dirty South,” but in a different track order and with some new songs added. Jay received his special edition vinyl prior to the actually release date, so we're getting some early hot takes. Finally we give Bob Dylan's latest (surprise) album "Shadow Kingdom" a listen. The album features re-recorded versions of past songs and there's a movie too? Apparently there is, and apparently it's awesome.Songs:Jason Isbell & the 400 Unit - "Death Wish"Drive-by Truckers - "TVA"Bob Dylan - "Watching the River Flow"Nick came across a NY Times story about the adoption of A.I. technology within the classical music world. From classical singer Jen Wang's performance Alvin Lucier's “The Duke of York” accompanied by a digital rendition of her voice, to composer Robert Laidlow's “Silicon,” which incorporates various technologies throughout the movements of the piece, to the music designed by George E. Lewis for the last four decades, the article presents a conservative genre exploring controversial aspects of music's relationship to technology. There was plenty to discuss…Song: Huntertones - “Stede”Finally, Greg is excited to announce that because Manchester City completed the treble this past weekend, Liam Gallagher will have to make good on his tweets and reunite with brother Noel for an Oasis reunion. Then the bickering and taunts commenced and now they're at each other's throats again…freakin brothers. Nevertheless, we haven't talked much about the band Oasis and decided now was the time!Songs:Oasis - “Supersonic (Live at Knebworth 1996)”Oasis - “Champagne Supernova (alternate take)”Episode 201 Page

Percussionist, Composer, Instrument Maker, Sound Designer, Filmmaker, and Dancer Bri Wiegand stops by to talk about her PASIC 2022 presentation on vibraphone twitching and her background in sound design (02:10), her current activities at Penn State (15:30), growing up near Philadelphia, her musical family, her piano background and beginnings of composing and arranging, along with teaching dance (29:35), her undergrad years at Penn State (47:10), and finishing with the Random Ass Questions, including discussions of IDE issues, costuming fun, horror movies, pro wrestling, and Alvin Lucier (01:03:20).Finishing with a Rave on the 2022 film Corsage (01:40:20).Links:Bri Wiegand's PASIC pageBri Wiegand's Instagram pageA Midsummer Night's Dream - William ShakespeareMark BalloraLogic ProOwen Wilson “Wow” compilationThe Shining recut as a rom-com“Libertango” - Eric SammutSingin' in the Rain trailerThe Tick first episode from the 1990sThe Tick first episode Live ActionRobot Chicken - Villain Car Pool“Fool for your Loving” - Flesh TuxedoAlfred's Piano Series“Rustles of Spring” - Christian Singing“Solfeggio in C Minor” - CPE Bach“Toccata and Fugue in D Minor” - JS Bach“Bohemian Rhapsody” - Queen“Jump” - Van Halen“Good Enough” - EvanescenceLee HinkleDan ArmstrongGifford HowarthBaljinder SekhonSteven RiceCorpse Bride trailerGrand Budapest Hotel trailerJesus Christ, Vampire Hunter trailerMurder on the Orient Express trailerHisss trailerMen trailerRubber trailerThe Lightning Thief - Rick RiordanThe Bell Jar - Sylvia PlathMindhunter - John E. Douglas and Mark OlshakerThe Shining - Stephen King2001: A Space Odyssey trailerWWE: BiographyWawa Meatballs“Firefish” - Blake Tyson“I Am Sitting in a Room” - Alvin LucierVibraphone CenturyRaves:Corsage trailer

"The first time I heard the Antarctic blue whale recording, I was amazed by its really subtle signal on my headphones. I knew I was not able to hear it entirely, because it was coming from far beyond our human scale of sensibility. So, I heard it a second time on my speakers, to help me bring the basses, and then, everything around my room started to tremble. It made me think of the Alvin Lucier's project on “Music for Solo Performer” in which he brings to our senses his own brain waves by using percussions as a medium. I appreciate this gesture of not translating the unhearable but rather approach us to this sort of abyss from which we have little knowledge of. "To begin this submersion, I decided to operate with “Izotope Iris 2”, to analyze the spectrum of the sound and choose the frequencies I wanted to work with. It allowed me to silence the higher frequencies and focus on the most powerful ones between 0 and 100 Hz. There was a constant beating in the singing that reminded me of a way of playing an earth instrument I build last year. Inspired by the “Udu” percussion, this instrument had two entries of air. We were two players trying to reach the same frequency with our voice inside of the vase and whenever we succeeded, there was this beating in the air making our bodies and the earth vibrate.  "I wanted to use this sound as a form of response, inspired by the work of Aline Pénitot in “Feral Interactions—The Answer of the Humpback Whale” where she was able to communicate through the play of a bassoon, I lowered the frequencies of our playing recording so it could match the blue whale's tone.  "I started then by curiosity to transpose the whale singing from octave to octave in my midi instrument until recognizing the scale at which normally it is presented, where it is the most audible. Each time “I leveled it up” the time of reproduction was getting shorter. It made me think of the shorter life of insects and how we're undoubtedly inside of a fractal scale play where size, sound and time are related to our rhythm of existence.  "It appears to me that the earth has a complex system to regulate itself from the micro to the macro world and we're just a piece of it, we can only sense a piece of it. Recognize our perception limits can help us redesign our sound interactions with other species. Helping us to avoid the unconscious invasion of what's out of our range. "The end of this composition called “Señal profunda” reminds me of the sound of a warning, a kind of alarm coming from this depth signal asking us, if we are going to wait to be able to hear the damage we're doing to stop it." Blue whale reimagined by Nicole Vereau. Part of the Polar Sounds project, a collaboration between Cities and Memory, the Helmholtz Institute for Functional Marine Biodiversity (HIFMB) and the Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research (AWI). Explore the project in full at http://citiesandmemory.com/polar-sounds. 

Joan speaks about her journey into singing, new music and composing. She worked with fellow musicians John Cage Morton Feldman, Robert Ashley, Alvin Lucier, David Behrman, Steve Reich, Philip Glass and her husband, Morton Subotnick and talks about her experiences developing pieces with these composers who wrote for her unique abilities, concepts and specialized techniques. She talks about composing, writing and specific aspects of the human voice and how she found her own means of expressing her inner thoughts and ideas.

Peter Knight is an Australian composer, trumpeter, and sound artist. He has been Artistic Director of the Australian Art Orchestra for the last ten years, performed with Anthony Braxton, Senyawa, and Alvin Lucier, and played at some of the most significant festivals and venues in the world. He has also recently released his twelfth album, Shadow Phase, on the inimitable @Room40 imprint. @phjk From Peter: "This is a mix of tracks that have inspired me, particularly across COVID when I was craving that sense of 'strange beauty' that each of these works impart - at least to me. Sometimes when I am making music I will 'check in' with albums that relate somehow to the music I am working on, and each of these tracks has a quality that seemed relevant to what I was working on for Shadow Phase." David Sylvian - Small Metal Gods [Manafon; Samahdi Sound] Christian Wallumrod - Eliasong [A Year From Easter; ECM] Marina Rosenfeld - Sweetest Sensation [Plastic Materials; Room40] Oren Ambarchi - Remedios the Beauty [Grapes from the Estate, Touch Music] Julia Reidy - Of Neither [Brace, Brace; Slip] Jon Hassell and Brian Eno - Ba-Benzélé [Fourth World Vol 1: Possible Musics; Editions EG]

Alec and Nick discuss the implications of American and European musical avant-gardes as participating in militaristic and nationalist rhetorics that precode our contemporary “culture war” discourse. The conversation explores how aesthetic “war-games” — in their varyingly diplomatic and contentious outcomes — are imbricated in the broader colonial trajectory of 20th and 21st century institutions. Topics include the correspondences of Cage and Boulez, Julius Eastman's controversial performance of Cage, Alvin Lucier, the American hotdog, Charles Ives, Hamilton, anti-Italian Twitter, the US Open, John Adams' “Nixon in China,” the Cold War-era military funding for abstract expressionism, Henry Flynt and Tony Conrad's anti-Stockhausen demonstration and more.

In this episode, Nina Cnockaert-Guillou talks to Llewelyn Hopwood, a DPhil student at the University of Oxford, about his doctoral research, which focuses on ‘Sound and Control' in medieval Welsh poetry during the Beirdd yr Uchelwyr period (c. 1300–1600). Llewelyn first explains how he got the idea for such an innovative research project and talks about Celtic Studies in Oxford. He then discusses sound studies and his own research in more detail, and treats us with a few readings from medieval Welsh poems! This episode was recorded in August 2022. Host: Nina Cnockaert-Guillou Guest: Llewelyn Hopwood Languages: English, with poetry readings in Welsh Music: “Kesh Jig, Leitrim Fancy” by Sláinte, CC BY-SA 3.0 US (https://creativecommons.org/licenses/by-sa/3.0/us/), available from freemusicarchive.org Poems, songs and films referenced by Llewelyn: Dafydd ap Gwilym ‘Trafferth Mewn Tafarn' ll. 31–46, ed. and trans. Dafydd Johnston Lewys Glyn Cothi, ‘Marwnad Phelpod ap Rhys' ll. 1–2, 49–52, ed. Dafydd Johnston, trans. Llewelyn Hopwood Ieuan ap Rhydderch, ‘Awdl i Fair' ll. 65–68, ed. R. Iestyn Daniel, trans. Llewelyn Hopwood Iolo Goch, ‘Dychan i'r Gwyddelyn' ll. 91, 32, 86, ed. and trans. Dafydd Johnston For the translations of the above extracts, please visit our blog Blackkklansman (2018) Sorry to bother you (2018) Alvin Lucier, I Am Sitting in a Room (1969) Carwyn Ellis & Rio 18, Joia! (2019) Voicing the Verse / Y Gerdd ar Gân (2010) --- Send in a voice message: https://podcasters.spotify.com/pod/show/celticstudents/message

This week we talk about Music 109 by Alvin Lucier: a book detailing the thought process and inspiration behind some of the most interesting American experimental music compositions of the last century or so. Albums of the Week: Scott: Dinosaur Jr.—Without A Sound Elaine: Gillian Welch—Hell Among the Yearlings

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Alvin Lucier, "I am Sitting in a Room" (Source: Music of the Avant Garde) 1970 Source Magazine 2. Robert Haigh, "Beginner's Mind" (Human Remains) 2022 Unseen Worlds 3. Can, "Brighton 75 Sieben (Excerpt)" (Live in Brighton 1975) 2021 Spoon 4. Loop, "Halo" (Sonancy) 2022 Cooking Vinyl 5. Skee Mask, "Dolan Tours" (Pool) 2021 Ilian Tape 6. thisquietarmy x N, "deconstructed and reconstructed by Dirk Serries" (Zerstoeren) 2021 Midira 7. Leron Carson, "Runaway Train Trax" (Under the Conditions) 2021 Sound Signature 8. Andrew Liles, "MCCXXI - IIIIIIIIIIII" (1221) 2021 self-released 9. Pontiac Streator, "eerie dawns (feat mathilde chambon)" (Select Works . vol II) 2021 self-released 1ß. Felicia Atkinson & Jefre Cantu-Ledesma, "Ornithologie" (Un hiver en plein été) 2021 Shelter Press 11. Leather Rats, "A Marauding Gang of Seaside Mods (live)" (No Live 'Til Leather '98) 2021 Bokeh Versions 12. Edward Ka-Spel, "Dark Window" (Dark Window Wave) 2021 self-released # Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. * http://brainwashed.com

In this episode, we interview composer Julio Zúñiga, a Costa Rican composer living in Cambridge, MA. If you're interested in field recordings, memory,  rainforests, semiotics, gratitude and/or noise, this is an episode for you.   musical example citations (plus some other things we mentioned): (in order of appearance): USED FOR EDUCATIONAL PURPOSES - IF YOU WOULD LIKE YOUR MUSIC REMOVED FROM THE PODCAST PLEASE EMAIL US   Schumann Dichterliebe Op. 48 No. 13 Peter Schreier, tenor Norman Shetler, piano   Julio Zúñiga - 24 (2014) for double bass, harp, and percussion commissioned and premiered by PULSAR Trio (Eloïse Labaume, Noam Bierstone, Florentin Ginot) Fondation Suisse, Paris, 2014/5/18   Julio Zúñiga - mein liebstes Bild (2015): for large orchestra and electronics premiered by the Dresdner Philharmonie, HfMDD, 2015/5/18   Michael Pisaro field recording article   Julio Zúñiga - GIS (2017): for clarinet, trombone, percussion, and electronics written for and premiered by Richard Haynes, Ben Marks, and Peter Neville of the ELISION Ensemble   Alvin Lucier - Wind Shadows (1994) for trombone and closely tuned oscillators James Fulkerson, trombone; Alvin Lucier, oscillator; Barton Workshop)    Julio Zúñiga - MAM (2018): for amplified flute, cello, clarinet, and electronics   Julio Zúñiga - stars from the earth stars from the stars (2019): for amplified flute, clarinet, violin, cello, percussion, and electronics written for Madison Greenstone and the [Switch~ Ensemble]   Carlos Reygada's Silent Light   György Ligeti - Atmospheres (Conductor, Sir Simon Rattle, Berliner Philharmoniker)   Julio Zúñiga & Danny Walden - Parallel Peaks   Julio Zúñiga & Elena Rykova - Sí Hay MONSTER (2018): written in collaboration with Elena Rykova site-specific performance/installation for the Montreal-based group No Hay Banda   Julio Zúñiga - CAS (2017): for amplified piccolo flute, contrabass clarinet, octave pedals, and low sine tones premiered by Ensemble Adapter, Harvard University, 2017/11/4   Chaya Czernowin: Duo Leat Petra Stump - Bassklarinette Heinz-Peter Linshalm - Bassklarinette Uraufführung am 13.06.2010, Hohenems   Julio Zúñiga - schemes that offer us a sense of futurity (2021): for amplified soprano voice, flute, clarinet, violin, and electronics written for TAK Ensemble SCORE     interview recorded 4/13/2022   others mentioned during interview to check out: Madison Greenstone Elena Rykova Chaya Czernowin   Follow us on Twitter!

Alec and Nick discuss the poetry and politics of the experimental music festival. At first exploring the history and economy of music festivals such as Big Ears, Moogfest, Hopscotch, Red Bull Music Academy, and the European Festival circuit—the conversation then launches into a  personal discussion probing Nick's curatorial role at ISSUE Project Room and Alec's curatorial role in the Neo-Pastiche: Changes In American Music Festival. Notions of community, consumption, and audience take shape around anecdotes of  DIY organizing, non-profit culture, Dick Higgins, Black Mountain College, Alvin Lucier, George Lewis, and more.

Programa homenagem ao grande artista, músico, compositor e poeta americano Alvin Lucier com o seu longo e pioneiro poema I'm sitting in a room em gravação do autor em 1981.Repertório:01 – I'm sitting in a room – Alvin LucierProdução, gravação, edição e locução: Marcelo BrissacMúsica “Drácula” usada no prefixo e sufixo, autoria de Marcelo Brissac e Livio Tragtenberg

YOU WILL NOT AGREE WITH this discussion of three NME Top 100 Albums of All-Time lists. And then a modest political tirade. Topics and soundbites include: Lou Reed on Warhol as "producer" of Velvet Underground & Nico, AcclaimedMusic.net, New Musical Express magazine, Pet Sounds by the Beach Boys, Sgt Pepper by the Beatles, pop music as high art, Sex Pistols, What's Going On by Marvin Gaye, Nevermind by Nirvana, Stone Roses, London Calling by the Clash, Dark Side of the Moon by Pink Floyd, Exile on Main St. by the Rolling Stones, It Takes a Nation of Millions and Fear of a Black Planet by Public Enemy, Harold Bloom, Shakespeare, the Smiths, Joy Division, Bob Dylan, Jimi Hendrix, Exit Planet Dust by the Chemical Brothers, global influence of boomer-era popular music vs. influence of other collective works, Thriller by Michael Jackson, Elvis Presley, James Brown, David Bowie, Eminem, Dr. Dre, Prince, canon and hierarchy, Mirwais, Paul's Boutique by the Beastie Boys, Endtroducing..... by DJ Shadow, Kanye West, Music and Words by Paul Morley, I Am Sitting in a Room by Alvin Lucier, "Can't Get You Out of My Head" by Kylie Minogue, George W. Bush, terrorism, Iraq War, "completely unreliable assholes" from The Shining, Henry Kissinger, Dulles brothers, George H.W. Bush, collapse vs. singularity, mental illness of guardian class, everyone in academia constantly on verge of psychological breakdown, people unable to admit they were wrong about anything ever, anti-war protests, U.S. operation/occupation in Afghanistan, Obama, "weapons of mass destruction", John Kerry, Hillary Clinton, Bernie Sanders, "Axis of Evil", McCain, Romney, "uniparty", RollingStone, Rudy Giuliani, "post-truth" world, interconnections supersede personal responsibility in technological society, drone strikes, Biden, Trump, hyperbolic hysterical media, George Costanza (Seinfeld) on lying, double-think, "The Cathedral" by Curtis "Moldbug" Yarvin, "deep state", public education and schooling, "dumbing down", false opposition, Tucker Carlson, Tragedy & Hope by Carroll Quigley, Bill Clinton, "blow off steam" and "vote the rascals out", Nixon, JFK, Chuck Schumer on the intelligence community, Ted K Unabomber movie, "Am I Crazy?" by Prodigy (of Mobb Deep), Alan Watt on Vince White's book, "Sucks to Be You" by Prozzak, Joe Strummer on music and meaning.

Episode 66 Those We Have Lost—Electronic Musicians Who Passed in 2021   Playlist In this episode, we pay tribute to electronic composers and musicians who passed in 2021. I've put together what I hope will be a satisfying playlist of these diverse artists and their works. Alvin Lucier, “Vespers” from Electric Sound (1972 Mainstream). This work was performed by Lucier and other members of the Sonic Arts union, David Behrman, Robert Ashley, and Gordon Mumma. The musical instrument was a device not intended for making electronic music. It was the Sondol, a hand-held pulse oscillator designed for “boat owners, acoustic engineers, and the blind.” Lucier bought a few of these devices and worked out a piece for echolocation. Each performer was equipped with a Sondol and asked to move blindfolded inside a defined performing space. This resulted in a work comprised of four independent streams of percussive pulses that sound as if they have their own relationship to one another as each musician moves about in the space. VESPERS is written as a prose score in which Lucier invites the performer to explore the world beyond human limits: “Dive with whales, fly with certain nocturnal birds or bats (particularly the common bat of Europe and North America of the family Vespertilionidae), or seek the help of other experts in the art of echolocation.” Richard H. Kirk, with Cabaret Voltaire, “Let it Come Down” from International Language (1993 Plastex). This album was released during a period of transformation for CV. Founding member Chris Watson had left to pursue other sound interests, while Mallinder and Kirk remained and headed into the instrumental direction embodied by dance music. The liner notes for this album state, “Abandon thinking. Everything you will hear in the next seventy-four minutes is true. This music is dedicated to the Merry Pranksters past present & future.” Not sure what that means, but hey. This group was fantastic. Richard H. Kirk, solo, "Information Therapy" from Disposable Half-Truths (1980 Industrial Records). This was from Kirk's first solo cassette release while he maintained his parallel work with Cabaret Voltaire. Joel Chadabe, “Rendevous” from Rhythms for Computer and Percussion (1981 Lovely Music). Joel had such a long list of accomplishments in electronic music, a pioneer of analog systems as well as computer music. On this album, his collaboration with percussionist Jan Williams was startlingly fresh. Electronics, computer synthesizer system (Synclavier), Joel Chadabe; percussion, wood block, vibraphone, marimba, slit drum, log drum, temple block, cowbell, singing bowls, Jan Williams. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music." Jon Hassell, “Abu Gil” Last Night The Moon Came Dropping Its Clothes In The Street (2009 ECM). Trumpet, keyboard, composed by Jon Hassell; bass, Peter Freeman; Live sampling, Jan Bang; guitar, Rick Cox; drums, Helge Norbakken; violin, Kheir-Eddine M'Kachinche. Jon Hassell, “Wing Melodies” from Power Spot (1981 ECM). Trumpet, composed by Jon Hassell; guitar, electronic treatments, Michael Brook; electric bass, Brian Eno; electronic keyboards (bass, percussion, string sounds), Jean-Phillippe Rykiel; percussion, acoustic and electronic, alto flute, J. A. Deane; produced by Brian Eno and Daniel Lanois. Sophie, Eeehhh” from Nothing More to Say (2012 Huntleys & Palmers). Electronics, vocals, composed and performed by Sophie Xeon. I chose a couple of earlier tracks that were largely instrumental experiments. Sophie, “Elle” from Bipp/Elle (2013 Numbers). Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music. Malcolm Cecil, “Gamerlonia Dawn” from Radiance (1981 Unity Records). Composed By, Performer, Producer, Engineer, Malcolm Cecil. English bassist and inventor of the unique TONTO synthesizer ("The Original New Timbral Orchestra"), a massive integrated synthesizer system that was used on many analog electronic albums in the early 1970s. Episode 36 was devoted to Cecil's work so you might want to catch-up with that to get more detail about this amazing musician and producer. This track uses TONTO and also features the “golden flute” of Paul Horn. Peter Zinovieff, “M Piriform” from Electronic Calendar—The EMS Tapes (2015 Space Age Recordings). Computer music from 1981 by the founder of EMS, Peter Zinovieff, with composer/conductor Justin Connolly. Collaborating with classical composer Connolly, Zinovieff created the electronic music in his Putney studio, using computer-controlled audio generators, and combined it with instrumental parts written by Connolly for soprano, flute, and violin. This performance of the work was staged in 1969 and featured Jane Manning (soprano), Judith Pearce (flute) and Pauline Scott (violin), who all played along with a tape recording of the electronic part. Murray Schafer, “Threnody” from Threnody (Youth Music by R. Murray Schafer) (1970 Melbourne). This Canadian release features an instrumental work with electronic sound by Schafer, who is perhaps more familiar to us as a creator of soundscapes and ambient audio experiments. But he also worked in traditional instrumental music and featured electronics in some of these. There are not many recordings such as this example from 52 years ago. Background music: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

""As I sit in my own home..." reworks a recording of King George V's Christmas message from December 1934. It takes its inspiration from the aspects of the king's voice - everything from diction and use of voice to actual recording techniques - and in the surface noise and crackle of the recording medium itself (the recording sounds like a 78, but is most likely an acetate used for broadcast). Thus the methodology pursued was premised on the granular decomposition of the voice, and the use of surface noise as a rhythmic element.  Nevertheless, the key part of the speech was the sentence "As I sit in my own home, I am thinking of the plenty multitudes all listening to my voice". It is representative of a moment in history when recorded sound, and sound transmission, was indeed so new that the monarch feels it relevant to point this out in his address to the nation. It is also reminiscent of Alvin Lucier's contemporary music classic "I Am Sitting in a Room". The sentence recurs throughout the piece, and also provides it its title." Composition by Acoustic Mirror. Part of the Shortwave Transmissions project, documenting and reimagining the sounds of shortwave radio - find out more and see the whole project at https://citiesandmemory.com/shortwave

Everybody against everybody, the left hand of the Qin master, tin can Beatles. The Beijing-based musician and poet talks about three important albums.Yan Jun's picks:Ævangelist – Enthrall To The Void Of BlissVarious – Sound Spaces: 9 Sound InstallationsThe Qin Repertoire Of LIU Shao-ChunCheck out the websites for Yan Jun's own work and Sub Jam. Both are on Bandcamp too (Yan Jun, Sub Jam). We talked about the work twice, produced in collaboration with Zhu Wenbo, which you can check out here.

Damos la bienvenida, con esta emisión, al año 2022. Tradicionalmente el primer programa de Ars Sonora de cada año ha cobrado una dimensión especial, y de hecho hoy no perderemos esa costumbre. Ahora bien, lejos de acometer una temática festiva, en esta ocasión —dando continuidad al impulso iniciado la pasada semana, en el programa que sonó durante la Nochebuena— hemos preferido plantear esta edición de nuestro espacio como un homenaje a algunos compositores que nos han abandonado durante los últimos doce meses. Un recuerdo dedicado a aquellos músicos y artistas —muy relevantes, en muchos casos— que han fallecido en el año pasado, un periodo en el que además de las consecuencias, de diverso tipo, provocadas por la pandemia del COVID, también otras circunstancias han puesto fin a las respectivas vidas de algunas figuras fundamentales para las prácticas relacionadas con la música experimental y el arte sonoro. Así, retomando el testigo de la emisión anterior de nuestro espacio, continuamos recorriendo el año 2021 en orden cronológico, rememoramos el fallecimiento de los siguientes autores a través de la escucha de algunos fragmentos de su música: Frédéric Rzewski (“De Profundis”); John Hassell (“Time And Place”); Louis Andriessen (“Il Duce”); Jeremy Peyton Jones (“Will I Live Again?”); Ruben Radica (“Per Se II”); Raymond Murray Schafer (“Entrance To The Harbour”); Sylvano Bussotti (“O Lachrimae”); Luis García Núñez —LUGÁN— (“Tres grifos sonoros”); Luis de Pablo (“WE”); Hartmut Geerken (“The Heliopolar Egg”); Mario Lavista (“Plegarias para fagot y sonidos electrónicos”); Alvin Lucier (“The Only Talking Machine of its Kind in the World”); Francisco Kröpfl (“Música para saxo y percusión electrónica”); Jurg Wyttenbach (“D’Hommage oder Freu(n)de nicht…”); Sophie Xeon (“L.O.V.E.”). Escuchar audio

In this final episode of 2021, Alec and Nick wrap up the year by revisiting an early concept from the Flavortone archive: the Cochlear Wind. The Cochlear Wind is a figurative mascot, intended to both cheer and taunt the way composers bamboozle listeners (and often, themselves) through flurries of tactical language, technological posturing and evocations of site-specificity. Poking fun at platitudes found in sound art and phenomenology, this idea is a parody of "the mystery of sound," where sonority and noise disorient the always beleaguered, insufficient Ear as it attempts to understand an audible world. Topics include: the Trap Card of Yu-Gi-Oh!, Jeff Witscher, Oda speaker company, Alvin Lucier, François Bonnet, Pascale Criton and more!  Art by Char Esme, www.charesme.info.

Tributes to experimental sound artist Alvin Lucier, and to Greg Tate, Burnt Sugar leader and influential writer, both passed away in December 2021. Thanks for all you've done! New Canadian and Local.Playlist: Ryan Summers - Unplanned EscapeAlvin Lucier - I am Sitting in a RoomAlvin Lucier - Nothing Is RealAlvin Lucier - VespersMarcus Strickland Twi Life, Greg Tate - On My MindMelvin Gibbs for Greg Tate - FlyBoy's Bardo EZ PassBurnt Sugar- Greg Tate - Spartacus Free The SlavesEyeglass - Me Moor Va SenetZenjungle & Valiska - Holding onto the PastJoseph Michel - There's No Other WaySaman Shahi - Microlocking III

Podcast de tecnología musical e historia de la música electrónica. En este episodio del podcast charlamos de: Alvin Lucier VCV Rack 2 Waldorf M Enhancia Plume

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. --Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson.

Episode 551: December 5, 2021 playlist: Alvin Lucier, "I am Sitting in a Room" (Source: Music of the Avant Garde) 1970 Source Magazine Robert Haigh, "Beginner's Mind" (Human Remains) 2022 Unseen Worlds Can, "Brighton 75 Sieben (Excerpt)" (Live in Brighton 1975) 2021 Spoon Loop, "Halo" (Sonancy) 2022 Cooking Vinyl Skee Mask, "Dolan Tours" (Pool) 2021 Ilian Tape thisquietarmy x N, "deconstructed and reconstructed by Dirk Serries" (Zerstoeren) 2021 Midira Leron Carson, "Runaway Train Trax" (Under the Conditions) 2021 Sound Signature Andrew Liles, "MCCXXI - IIIIIIIIIIII" (1221) 2021 self-released Pontiac Streator, "eerie dawns (feat mathilde chambon)" (Select Works . vol II) 2021 self-released Felicia Atkinson and Jefre Cantu-Ledesma, "Ornithologie" (Un hiver en plein ete) 2021 Shelter Press Leather Rats, "A Marauding Gang of Seaside Mods (live)" (No Live 'Til Leather '98) 2021 Bokeh Versions Edward Ka-Spel, "Dark Window" (Dark Window Wave) 2021 self-released Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

durée : 01:00:10 - En pistes, contemporains ! du dimanche 12 décembre 2021 - par : Emilie Munera - Cette semaine, retrouvez la musique de Graciane Finzi mais aussi celle d'Emile Naoumoff ou encore Alvin Lucier au piano. En piste... avec les contemporains ! - réalisé par : Max James

Continuamos la serie de tres capítulos titulada "Antecedentes de la música drone", en la que estamos presentamos algunas manifestaciones musicales que podrían haber influido en la aparición de un género (o, más bien, una práctica compositiva) que se caracteriza por la presencia de sonidos estáticos, mantenidos durante largos periodos de tiempo, que, en su caso, evolucionan muy lentamente. A menudo, esos sonidos ocupan el registro más grave y, sobre ese bordón o nota pedal (expresión que nos permitiría referirnos a esta práctica como "música pedal", prescindiendo de anglicismos), los parciales superiores que completan su espectro armónico van presentando diferentes variaciones tímbricas, texturales, rítmicas, etc. Si en el primer programa de la serie, después de ofrecer un panorama con algunos de los autores más representativos en el ámbito de la llamada "drone music", nos centramos en creaciones sonoras procedentes de la India, en esta ocasión también comenzamos con el homenaje a una de esas figuras, ya clásicas, en este género musical, Alvin Lucier, que falleció el pasado 1 de diciembre, con noventa años. Recordamos a nuestro querido y llorado maestro con la audición de su pieza "On The Carpet Of Leaves Illuminated By The Moon". Otro destacado protagonista en esta emisión es Angus MacLise, conocido principalmente como el primer percusionista de la Velvet Underground, el grupo fundado por Lou Reed y John Cale en Nueva York en 1964. Allí volcó MacLise las influencias procedentes de su experiencia en el budismo, que se sumaron a las aportadas por John Cale (quien, por su parte, había colaborado con La Monte Young en su Theater of Eternal Music), y a las que, procedentes del blues más primitivo, incorporaba Lou Reed al acervo del grupo. El resultado de esa combinación a veces adoptó formas muy cercanas a la música drone, como se manifiesta en la conocida canción "Heroin", incluida en el primer disco del grupo, de 1967, titulado The Velvet Underground & Nico. Todo este recorrido preliminar nos permite abordar, en la segunda parte de esta edición de Ars Sonora, las conexiones de la "drone music" con diferentes músicas tradicionales procedentes de los Estados Unidos, a través de estilos como, por ejemplo, el blues, el góspel o la llamada "hillbilly music". Es el caso de la música de ciertos cultos afroamericanos cuyos cantos se caracterizan por su estructura responsorial, como ejemplifica la pieza "Good Lord (Run Old Jeremiah)" —cantada aquí por Austin Coleman y Joe Washington—, pero también del "Wandering Blues" (que nos llega en la interpretación de John Lee Hooker), de "On The Road Again" (la escuchamos en la voz del chicagüense Floyd Jones), de piezas más cercanas al "bluegrass", como "The Coo-Coo Bird" (que presentamos en la versión de Clarence Ashley, destacado intérprete de banjo), o de la austera música del artista conocido como One String Sam, cuya composición "I Need A Hundred Dollars" también incorporamos en nuestro recorrido a través de estos "antecedentes de la música drone". Escuchar audio

This week's news through our eyes-- and briefly! Mixed Media is a LIVE podcast broadcasting every Friday at 7PM on YouTube and Twitch. We love integrating our live audiences into our show so SUBSCRIBE to get notified for the next stream to join the conversation. We post our podcasts/ videos in split segments during the week after they are recorded. Become a supporter for VALUABLE PERKS to the podcast/ stream and exclusives: https://mixedmedia.locals.com Continue the conversation on DISCORD: https://auriela.co/mixedmedia/discord INSTAGRAM: https://auriela.co/mixedmedia/instagram TWITCH: https://auriela.co/mixedmedia/twitch PODCAST: https://auriela.co/mixedmedia/listen RUMBLE: https://auriela.co/mixedmedia/rumble Want to be interviewed or have any business questions? Send us an email: mixedmediapodcast@outlook.com TAGS: mixed media,mixed media podcast,Alvin Lucier,contemporary music,experimental music,alvin lucier dead,blender updates,blender 2.8,blender,blender news,blender 3d,blender 2.92 new features,alec baldwin,alec baldwin rust,alec baldwin shooting,alec baldwin interview,rust,inflation,inflation news,stock market,irving nestor,ben costello,nathan nestor,podcast

"Antecedentes de la música drone" es el título del triple programa monográfico que se inicia con este espacio, y en el que presentaremos algunas manifestaciones musicales que pudieron influir en la aparición de un género (o, más bien, una práctica compositiva) caracterizado por la presencia de sonidos que se mantienen durante largos periodos de tiempo y que, en su caso, evolucionan muy lentamente. A menudo, esos sonidos estáticos ocupan el registro más grave y, sobre ese bordón o nota pedal (expresión que nos permitiría referirnos en nuestro idioma a esta práctica como "música pedal", prescindiendo de anglicismos), los parciales superiores que completan su espectro armónico van experimentando diferentes variaciones tímbricas, texturales, rítmicas, etc. Antes de abordar la escucha de ciertos usos precursores de estas técnicas compositivas, en el inicio de esta emisión repasamos algunas de las figuras más representativas en el ámbito de la llamada "drone music", al tiempo que presentamos algunos fragmentos representativos de su trabajo (y rememoramos también las apariciones de estos autores en pasadas ediciones de Ars Sonora -para los oyentes que deseen profundizar en sus respectivas creaciones a través del podcast de nuestro espacio-). Nombres como los de Phil Niblock (con piezas como "Poure", que nos acompaña en el inicio), La Monte Young o Alvin Lucier -fallecido el pasado 1 de diciembre- se entremezclan con los de compositoras tan reconocidas como Eliane Radigue (de quien presentamos un fragmento de "Koume"), Pauline Oliveros o Ellen Fulman (cuya "Bass Song" también recordamos), en una clara muestra de cómo las artistas mujeres han destacado especialmente en este terreno creativo. Tras ese panorama, dedicamos este primer capítulo del monográfico a presentar diferentes composiciones tradicionales procedentes del subcontinente indio. En ellas es frecuente el uso de una nota pedal que sirve como base de la interpretación musical. El instrumento encargado de esta función suele ser la tampura (también conocida en nuestro idioma como tambora), instrumento de cuerda pulsada de la misma familia de la vina, que está relacionada con la diosa Saraswati, patrona y musa de las Bellas Artes en el panteón hindú. Los ejemplos que escuchamos van desde la música carnática de Veenai Dhanammal (1867-1938) hasta el trabajo de los músicos de la compañía del bailarín Uday Shankar, hermano mayor de Ravi Shankar, el conocido virtuoso del sitar (cuya música también ofrecemos), pasando por la audición de otro resultado de la influencia de estos creadores en canciones de The Beatles como "Within You Without You", integrada en el disco "Sgt. Pepper's Lonely Hearts Club Band", de 1967. Escuchar audio

Tegen middernacht een wonderlijk maar ook ontroerend stuk van de eerder deze week overleden Alvin Lucier, componist en klankonderzoeker. Maar ook is er de Doorgeef-CD-Van-De-Week (Come Out, Caioni van het Ensemble Black Pencil), een nieuwe CD van het Amstel Quartet (met werk van de Letse componist Georgs Pelēcis) èn een tip voor twee fijne concerten met kerstmuziek door vocaal kwartet Hollands Collectief. 23.04 CD Come out, Caioni! (Dreyer Gaido CD 21135) Anoniem: The Other Gypsies Ensemble Black Pencil 3'37” 23.10 CD Sacred & Secular Music (Globe GLO 5254) Francis Poulenc: O Magnum Mysterium Nederlands Kamerkoor olv Eric Ericsson 3'29” 23.14 eigen opname musici John Dowland: Come again Hollands Collectief 1'39” eigen opname musici Albert de Klerk: Pater Noster Hollands Collectief 2'09” CD Yuletide (Quattro 401998) Andrew Smith: Veni, redemptor gentium Vox Humana olv Dag Jansson 3'13” 23.28 CD Pelecis (Amstel Records AR022) Georgs Pelecis: Sunlight Sonata - Confession - Weeping - Consolation - Absolution (Sunlight) voor saxofoonkwartet en piano Amstel Quartet; Laura Sandee [piano] 18'14” 23.41 CD Nothing is Real (Strawberry Fields Forever) (Ensemble Musikfabrik z.nr.) Alvin Lucier: Nothing is Real (Strawberry Fields Forever) Ulrich Löffler [piano] 11'13”

In Europa war er unterschätzt, in den USA galt er als Altmeister der Avantgarde: der Pionier der elektronischen Musik Alvin Lucier. Nun ist er gestorben. Das Portrait, das 2016 zu seinem 85. Geburtstag entstand, würdigt sein Lebenswerk. Seine Kompositionen sind Versuchsanordnungen, die mit der Wahrnehmung spielen, den Raum erforschen und auf der ständigen Suche sind nach der Grundsubstanz des Klanges.  Mit geschlossenen Augen sitzt Alvin Lucier auf einem Stuhl. Elektroden sind an seiner Kopfhaut befestigt. Nur wenn er an nichts denkt, sendet sein Gehirn Alphawellen aus, welche präparierte Lautsprechermembrane anregen. «Music for a solo performer» heisst dieser Klassiker von Alvin Lucier, uraufgeführt 1965. In Musik unserer Zeit erzählt der Komponist von seiner kindlichen Faszination am Klang, vom künstlerischen Erforschen physikalischer Phänomene und seinem wachsenden Interesse an traditionellen Instrumenten. Über seine Bedeutung reflektieren die Sängerin Joan La Barbara, der Cellist Charles Curtis und die Klanganthropologin Sabine Sanio. Erstausstrahlung: 09.11.16

Alvin Lucier died the day we recorded this. I explain his seminal piece... poorly. Then we listen to the first episode as played from Brandon's computer, picked up by his mic, and then recorded from my computer speakers with my mic. As always with this episode, taking the wrong lessons from avant garde greats. We're never gonna get that CIA seed money. In keeping with the spirit of this episode, here's what Wikipedia says about Lucier. Alvin Augustus Lucier Jr. (May 14, 1931 – December 1, 2021) was an American composer of experimental musicand sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University in Middletown, Connecticut, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.

(00:00:44) Der Avantgarde-Komponist Alvin Lucier gilt als einer der einflussreichsten Komponisten des 20. Jahrhunderts. In den USA wird er auf einem Level wahrgenommen wie John Cage. Auf einzigartige Weise hat Alvin Lucier Wesen und Wirkung von Akustik und Klang erforscht. Weitere Themen: (00:05:09) Schonungslos und manchmal trotzdem hoffnungsvoll: Das sind die Filme Human Rights Film Festival in Zürich. (00:09:10) Seine Bilder sind eine Wucht: Im Tessin ist eine Retrospektive des deutschen Nachkriegskünstlers A.R. Penck zu sehen. (00:13:46) Ohne ihn gäbe es die Jüdischen Studien in Basel nicht: ein Nachruf auf den Theologen Ekkehard Stegemann. (00:17:38) Ein digitales Zertifikat soll die Kunstwelt am meisten prägen: Das «ArtPower 100»-Raking setzt eine Software auf den ersten Platz. (00:22:10) Marthe Wandou kämpft seit Jahrzehnten gegen sexuelle Gewalt – jetzt wird die Kamerunerin mit dem «Right Livelihood Award» ausgezeichnet.

Jake records the episode stuck between all of his pets. Miraculously, none of them interfere with any part of the recording process.Music recommendations are “Selected Pieces: 2015-2020” by Mary Lattimore, and “Two Circles” by Alvin Lucier.Wake & Jake (Bonus Content)https://www.patreon.com/wakeandjakepodWake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid

Vinyl ist in. Vinyl schlägt alle Rekorde: Erstmals seit 1987 wurden dieses Jahr mehr Schallplatten als CDs verkauft. Kleine und mittlerweile auch grosse Labels releasen neuste Sounds oder geben Vergriffenes, Verschollenes und alte Hits neu heraus. Die Käuferschaft ist Generationen- und Musikstilübergreifend. Die Community tauscht sich weltweit aus und neue Schallplatten sind oft schon vor dem Release ausverkauft. Wie erklärt sich der Hype? Wie funktionieren Streaming und Vinyl zusammen? Geht es um den spezifischen Klang, ums Ritual oder um's Taktile in einer Zeit der permanenten Verfügbarkeit, vielleicht um Entschleunigung in Zeiten der Digitalisierung? Oder ist Vinyl einfach ein cooles Accessoire: das Ding, das man haben «muss»? Die Reportage geht den Gründen für den Hype auf die Spur, im Gespräch mit einem Vinyl-Macher der ersten Stunde und einem Forscher, der Vinyl als gesellschaftliches Phänomen befragt: zu Wort kommen Oren Ambarchi, vom kleinen Berliner Vinyl-Label Black truffle records und der Mediensoziologe Oliver Zöllner von der Medienhochschule in Stuttgart. Dazu gibt's viel an Re-Releases auf Vinyl zu hören von Alvin Lucier, Annea Lockwood und Ruedi Häusermann. Ein Portrait der analogen runden schwarzen Scheibe in der Ära der Digitalisierung von Gabrielle Weber.

On this ART NIGHT 2019 Special Edition of the ART HOUR, Vassiliki is joined by: - Abigail McLachlan from East of Eden & Alex Stevens from Audio Visual Mechanism - Roy Immanuel - Amy Pettifer - Alice Theobald TRACK LIST Abigail McLachlan from East of Eden & Alex Stevens from Audio Visual Mechanism Salvaticus Selvatico, Don't Look Back Orfeo Salvaticus Selvatico, Harmonic Encounters Roy Immanuel (from 25:03) Alvin Lucier, I am Sitting in a Room Sharon Gal – Bloo (FMC33), Premiere John Russell, Le Bruit de la Musique Amy Pettifer (from 46:33) Cocteau Twins, Carolyn's Fingers Heathcliff, It's me Alice Theobald (from 59:23) Hal Hartley, Get Your Truck Tokyo GA, Dick Tracey [OST] Tokyo GA Magazine, Parade Will Powers, Adventures in Success

Composer/saxophonist/educator/electronic musician stays busy, very busy. He's a scholar and a gentleman. Raised in Taipei, he originally moved to the United States to study electrical engineering at Princeton, before getting bitten by the experimental/contemporary music bug. He's studied with Anthony Braxton, Alvin Lucier and Milton Babbitt and has performed his own work all over the world at the Kitchen, SF MOMA, STEIM and many more. He's a solid and thoughtful music maker and his wide interests seem to only broaden with time and experience.

Based in Sydney, Australia, Oren Ambarchi is a gifted composer, multi-instrumentalist and improviser who has been traveling the world, crafting a most singular musical vision for the past twenty five years. He's also an enthusiastic listener and avid record collector, a gourmand and happens to be one of my favorite musicians around. On a quick visit to New York for performances with Alvin Lucier and Loren Connors, Oren dropped by for a candid conversation about his early days as an Hasidic student in NYC, record collecting, learning to play guitar, running his own record label and a whole lot more. I love Oren's music deeply and am delighted conversation got to happen. After our talk, Oren and I headed over to Russ & Daughters Cafe and gorged on smoked fish and chopped liver.