Podcasts about aslsp

When you go to a concert, you might try to get there right when the doors open. Or perhaps you take your time and skip the opening act. But generally, you want to be there when the show starts. In February, everyone who went to a concert in Halberstadt, Germany, showed up 23 years late. The performance is of a piece called ORGAN2/ASLSP. ASLSP stands for “as slow as possible,” which is how the composer meant for it to be played, and this particular day would involve a chord change. The last time ORGAN2/ASLSP had a chord change was in 2022, and this new chord will play until the next change, in August, 2026. There is a change the year after that, and the following year, and so on, until the year 2640. The full performance is meant to last 639 years. Reporter Gabe Bullard travels to Germany to witness the chord change and to discover why such a concert is even happening in the first place.As Slow As Possible

Voltamos com mais um episódio do Escuta Essa, podcast semanal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Todas as quartas-feiras, no seu agregador de podcasts favorito, é a vez de um contar um causo para o outro - neste episódio é o Denis, com várias obras de arte e experimentos que lidam com o tempo. Não deixe de mandar os episódios para aquela pessoa com quem você também gosta de compartilhar histórias! Nos siga nas redes sociais em @escutaessapod e participe dessa conversa. ... NESTE EPISÓDIO - A "Pirâmide do Tempo" idealizada por Manfred Laber está sendo construída na cidade de Wemding, na Alemanha. No site oficial é possível acompanhar a data da próxima colocação do bloco de concreto e fotos de como a obra está atualmente. - Um dos quadros de Manfred Laber contento quadrados pode ser conferido aqui. - A cidade de Wemding fica na região conhecida como "Cratera de Ries", causada por uma queda de meteoro 15 milhões de anos atrás. - O Cometa Halley é visível a olho nu na Terra a cada 75 ou 76 anos, o único com periodicidade suficiente para ser visto por todas as gerações. Danilo terá um pouco menos do que os 80 anos que previu na próxima passagem - estará quase completando 76 anos. - A obra de arte comestível citada não era de chocolates, mas de caramelos. Chamava "Push Pull" e foi criada pela artista Valeska Soares para a Bienal Internacional de Arte de São Paulo de 2014. Os 12 quilos da obra foram consumidos pelo público rapidamente. - A famosa obra de John Cage mencionada é a 4'33", de 1952, composta por 4 minutos e meio de silêncio. Dá pra assistir a ela sendo executada aqui. - A câmara de silêncio ("câmara anecoica", para ser exato) mencionada no episódio não foi criada por John Cage, apenas visitada por ele. Pertencia à Universidade de Harvard. Lá Cage atestou que o silêncio absoluto é simplesmente impossível. - A obra "ASLSP" (As Slow as Possible), composta por John Cage em 1987, começou a ser tocada em 2000 na catedral de Halberstadt e segue até hoje. Na página da Wikipedia da obra é possível ouvir uma das mudanças de acorde. - "As Letras de Utrecht", na Holanda, começaram a ser colocadas em 2012. O poema, por enquanto, fala sobre a relação das pessoas com a eternidade. - O projeto "Biblioteca do Futuro", que já conta com um livro inédito de Margaret Atwood, tem uma floresta reservada para sua impressão que pode ser vista nesse vídeo. - O último texto publicado por J.D. Salinger data de 1965. Nos quase 50 anos de reclusão posteriores, Salinger supostamente escreveu sem parar até seu falecimento em 2010. A família recentemente afirmou que publicará esses escritos póstumos durante a próxima década. - O "Relógio de Dez Mil Anos" será todo financiado por Jeff Bezos e custará cerca de 42 milhões de dólares. - O Radiolab, um dos podcasts mais famosos do mundo, tem um episódio sobre "velocidade" em que comenta sobre o Experimento da Gota de Piche. - A Gota de Piche pode ser vista em tempo real no site da Universidade de Queensland (e não, ela não caiu enquanto produzíamos esse episódio). ... AD&D STUDIO A AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.

Episode 94 Electronic Drone Music   Playlist Yves Klein, “Monotone-Silence Symphony” written in 1947. I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this drone work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I've examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on. La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” from 31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta (1969 Edition X). Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct. Tony Conrad, “Process Four of Fantastic Glissando” from Fantastic Glissando (2006 Table of The Elements). Dating from 1969, this recording contains various versions of the same sound piece, each processed slightly differently. “Process Four” accumulates the processed applied to the previous three processes. The first glissando recording was made using a sine wave oscillator processed through pump counter with a stereo-phase glissando. Recorded December 12, 1969, on a Revox reel-to-reel tape recorder set at 3¾ ips. Conrad was in LaMonte Young's circle of friends and performers and joined him on many productions of The Theatre of Eternal Music. Teresa Rampazzi , “Duodeno normale” and “Duodeno Patologico” from Musica Endoscopica (1972). Here we have two short electronic works from this remarkable women composer that emphasize the drone. The pulsing tones and textures were played manually using audio oscillators. Music produced by the N.P.S. (Nuove Proposte Sonore) group for the documentary entitled "Gastroscopia" (Gastroscopy) realized in 1972 by Prof. Domenico Oselladore, University of Padova, in collaboration with Istituto De Angeli s.p.a., Milan. This documentary was presented at the Scientific Film Festival, Policlinico Universitario di Padova, 1972. “Duodeno Normale” begins with a drone consisting of two continuous tones: a low-pitched buzz from a sawtooth wave accompanied by a pulsating higher-pitched tone. The drone is joined at the 11-second mark by a high-pitched ringing tone played on a third oscillator. This ringing tone is repeated every 5–8 seconds and sustained for two or more seconds each time. The irregular timing of the tone suggests that Rampazzi was manually playing it by turning the dial of an oscillators. The ringing tone is sustained for the duration of the piece, creating a three-part drone. The drones fade out, beginning with the lower buzzing tone. “Duodeno Patologico” uses a similar process. The Taj-Mahal Travelers, “The Taj-Mahal Travelers Between 6:20~6:46P.M.” from July 15, 1972 (1972 CBS/Sony). Released in Japan. Early album by the group founded by experimental electronic musician and violinist Takehisa Kosugi. Electronic Contrabass, Suntool, Harmonica, Performer Sheet Iron, Ryo Koike; Guitar Electronic Quiter, Percussion, Michihiro Kimura; Electronic Trumpet, Harmonica, Castanets, Seiji Nagai; Vibraphone, Santoor Suntool, Yukio Tsuchiya; Electronic Violin, Electronics, Radio Oscillators, Voice, Takehisa Kosugi; Vocals, Tokio Hasegawa. This album was recorded live at Sohgetsu Hall, Tokyo, Japan, July, 1972. Originally released using Sony's SQ quadraphonic system. Yoshi Wada, “Earth Horns with Electronic Drone”(1974) from Earth Horns with Electronic Drone (2009 EM Records). Recorded at Everson Museum of Art, Syracuse, New York, February 24, 1974. Electronics, Liz Phillips; Pipehorn Players, Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada; Electronic equipment designed by, Liz Phillips, Yoshi Wada; Pipehorns constructed by, composed by, recorded by, Yoshi Wada. Combining four of Wada's self-made "pipehorns" (constructed of plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early drone/minimalism. The performance filled the space with complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. Lou Reed, “Metal Machine Music” (1975 RCA). All music and electronics by Lou Reed. Inspired by LaMonte Young, this is what I would call a noise drone! Reed himself points to the influence of Young in his lean liner notes. "SPECIFICATIONS: No Synthesizers, No ARP, No Instruments?” Sony 1/2 track; Uher 1/4 track; Pioneer 1/4 track; 5 piggyback Marshall Tube Amps in series; Arbitor distortor (Jimi's); Marantz Preamps; Marantz Amps; Altec Voice of America Monitor Speakers; Sennheiser Headphones; Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music; Rock orientation, melodically disguised, i.e. drag; Avoidance of any type of atonality.; Electro-Voice high filter microphones; Fender Tremolo Unit; Sunn Tremolo Unit; Ring Modulator/Octave Relay Jump; Fender Dual Showman Bass Amp with Reverb Unit (Pre-Columbia) white. Eliane Radigue, “Triptypch” Part 2” (1978). (2009 Important Records). Electronic Instrumentation: ARP 2500 modular synthesizer and analog, multitrack tape composition. The piece uses real-time ARP programming, tape loops, and recorded acoustic sounds. This piece is characteristic of Radigue's fervent exploration of gradually changing layers of harmonically intersecting tones. It is the kind of drone work that can easily dip the listener into a pool of trance and is one of the composer's many works grounded by her dedication to Tibetan Buddhism. Note the overall slowly evolving changes formed by overlapping sustained tones presented without any clearly articulated beginnings and endings. John Cage, Gary Verkade, “Organ2/ASLSP” from The Works for Organ (2013 Mode). John Cage composed “Organ2/ASLSP” in 1987 for solo organ. This piece has been realized at a variety of lengths, from about 30 minutes, to 8 hours, and what is arguably the longest interpretation of music ever played, now 23 years into its projected run of 639-years being performed now in Halberstadt Cathedral, Germany where a special organ was created to perform the piece unattended until a chord change is called for. This work is not electronic, although the pipe organ may be thought of by some, including me, as the first synthesizer. Although I won't be playing this work except in the background of this introduction, I needed to mention it because of its significance in the canon of drone music. “This composition consists, like Cage's ASLSP, of 8 pieces. Unlike ASLSP, however, all pieces here should be played. Any of the 8 pieces may be repeated, and these repetitions may be played subsequent to any of the other pieces. The published score consists of a title page, brief instructions, and 4 leaves with music. Each page contains 2 pieces.” Phill Niblock, “Guitar, too, for four—The Massed Version” from G2,44+/x2 (2002 Moikai). 24-track mix of guitar samples from Rafael Toral, Robert Poss, Susan Stenger, David First. Guitarists adding 2 live parts each to the 24 track mix version: Kevin Drumm, Lee Ranaldo, Thurston Moore, Robert Poss, Alan Licht. Niblock's usually works with acoustic instruments, so this venture with electric guitar is somewhat unique in his body of work. He asks musicians to play parts that are first recorded and then reworked in the mixing and editing process, largely to eradicate pauses and silences so that the sounds can be blended without such interruptions. Pauline Oliveros and Reynols, "Half a Dove in New York, Half a Dove in Buenos Aires" (1999) (2022 Smalltown Supersound). Reynols is an Argentinian experimental band that began in 1993 as Burt Reynols Ensamble. Band member Alan Courtis wrote to me, saying, “First of all, thanks a lot for mentioning our Pauline Oliveros in the arms of Reynols collaboration in your book Electronic & Experimental Music. She was a great musician/composer and friend.” After which he pointed me to a “recent release of an old project we made with Pauline back in 1999.” This is it! Opening background music: Tony Conrad, Arnold Dreyblatt, Jim O'Rourke, “Side 1” from Tonic 19-01-2001 (2023 Black Truffle). Performers, Arnold Dreyblatt, Jim O'Rourke, Tony Conrad. Recorded January 19,2001 at Tonic, New York City. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Die französische Satirezeitschrift Charlie Hebdo merkt an, dass die Islamisten ihre Ziele ein Stück weit verwirklichen konnten: So wie der Westen auf die "Satanischen Verse" reagiert ... Feuilleton von Jörg Schieke

Exploramos algunas de las potencialidades de un instrumento musical, el órgano, que simultáneamente podemos describir como uno de los más antiguos (pues sus antecedentes, como recordamos en este programa, nos remiten a la Grecia clásica, e incluso al imperio egipcio) pero también como una herramienta sonora radicalmente contemporánea. Centrándonos en esta última dimensión, y examinando algunos parentescos entre el órgano y algunos recursos propios de la música electrónica, escuchamos "Volumina", de György Ligeti (1923-2006). Esta pieza, compuesta entre 1961 y 1962 -aunque fue revisada en 1966-, plantea unas sonoridades (a menudo basadas en "clusters" o acumulaciones de sonidos próximos entre sí en los teclados, a modo de racimos de notas) que pueden recordarnos a los -escasos y breves, por otra parte- trabajos electrónicos del propio compositor, como "Artikulation", de 1958. Al escudriñar la evolución de la práctica organística durante las últimas décadas se hace igualmente necesario apelar a la figura de otro músico húngaro, Zsigmond Szathmáry, nacido en 1939. Tras estudiar composición con Ferenc Szabó y órgano con Ferenc Gergely en la Academia de Música Franz Liszt de Budapest entre 1958 y 1963, Szathmáry continuó trabajando en Viena con Alois Forer y, a partir de 1964, con Helmut Walcha en la Musikhochschule de Frankfurt. Paralelamente participó, entre 1964 y 1967, en los Cursos de Colonia para la Nueva Música, estudiando composición con Henri Pousseur y Karlheinz Stockhausen, y asistió igualmente a los Cursos de Darmstadt en 1964 y 1965 con el propósito de trabajar, precisamente, con Ligeti. Zsigmond Szathmáry, además de desarrollar su propia labor como compositor, ha mantenido una tradición -muy característica de los organistas, incluyendo aquellos que no cultivan el repertorio contemporáneo- que de nuevo aproxima la práctica de ese instrumento hacia una importante tendencia dentro de las músicas experimentales: la improvisación. Ajeno -por no decir contrario- a cualquier práctica improvisatoria, John Cage (1912-1990) concibió en 1967 "Music for Carillon No. 5". Fue escrita en un viejo tablero, y su notación sigue la estructura de las vetas de la madera. El resultado del proceso compositivo consiste en diez fotografías de varias piezas de madera contrachapada, cuya estructura determina los parámetros que normalmente se indican mediante la notación convencional. Para continuar indagando en el cuestionamiento de esos sistemas tradicionales de notación -lo cual, en la obra y el pensamiento de Cage, equivale a decir: en las concepciones del tiempo que esos sistemas presuponen o implican- concluimos nuestro programa presentando un fragmento -obviamente- de "Organ²/ASLSP (As SLow aS Possible)", otra composición de John Cage quizás conocida por requerir la interpretación musical de mayor duración jamás realizada. Se escribió en 1987 para órgano, adaptando la obra "ASLSP" de 1985 tras las sugerencias del organista Gerd Zacher. La interpretación actual de la pieza en la iglesia de San Burchardi (en Halberstadt, Alemania) comenzó en 2001 y está programada para tener una duración de 639 años, por lo que debería concluir en el 2640. Escuchar audio

Un excéntrico compositor y su obra que dura más de 600 años

A music composition designed to play for over 600 years just changed its chord for the first time in seven years. The piece, titled As Slow as Possible (ASLSP), was written by avant-garde composer John Cage in 1985. His works include the piece 4'33” (Four Minutes and 33 Seconds), a composition in which performers remain silent the whole time. ASLSP was originally meant to be played on a piano, but Cage adapted it for the organ two years after he first created the piece. The St. Burchardi Church in Halberstadt, Germany, started playing the composition on a specially made organ back in 2001. Its last chord change occurred in 2013. The composition is supposed to be played for a total of 639 years until the year 2640. This was decided by a group of German musicians and theologians following Cage's death in 1992. According to the group, they decided on the duration to commemorate the number of years between 1361, the year when Germany's first modern organ was made, and the turn of a new millennium in the year 2000. In September, the St. Burchardi Church organized a solemn ceremony to celebrate the chord change. The ceremony was livestreamed so that interested fans who were unable to go to the medieval church in person could witness it. During the event, two new pipes were added to the organ to change its sound. The piece's next chord change is expected to take place in February 2022.

Join Blake as he attends the first note change in 7 years in the longest organ performance on Earth -- John Cage's 'Organ²/ASLSP' in Halberstadt, Germany.

This week we start out with a riotous round of “Who Dis?” and then we discuss our three topics:The centuries-long performance of “Organ^2/ASLSP” in Halberstadt GermanyNew York Times articleThe moment of the chord change on the archived YouTube livestream“The Bowmakers” documentary by Ward SerrillGet your tickets through September 20, 2020“Music Theory and White Supremacy” by Adam NeelyThe original videoDavid Bruce's “The Map of Music”CLASSICAL MIXTAPEThe full playlistWillCharles-Marie Widor, Organ Symphony No. 5: ToccataTiffanyOrlando di Lassus, “In monte Oliveti”KenshoAnton Bruckner, Mass No. 3 in F Minor VI. BenedictusThink you can stump us? Go ahead and try!Google Form for “Name that Tune: Stump the Hosts Edition” You can reach us at classicalgabfest@gmail.com and on social mediaFacebookTwitterInstagram

Wie langsam kann langsam sein? Im Fall des Stücks „ORGAN²/ASLSP“ so langsam wie möglich. John Cage schrieb für seine Aufführung 639 Jahre vor. Jeder Klagwechsel ist ein Ereignis. Nun steht nach sieben Jahren wieder einer an. Musikkritiker Uwe Friedrich bilanziert: "Sehr unterhaltsam." Uwe Friedrich im Gespräch mit Maja Ellmenreich www.deutschlandfunk.de, Kultur heute Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

GOMBAGYŰJTÉS 2020 / A gombagyűjtéses és patreonos támogatók keddig töltsék ki a kérdőivet, amit az emailben találnak!

Even starting this piece was an act of pure optimism. Now to finish it.

This song will finish in about another 600 years. To hear more episodes, go to www.theworldaccordingtosound.org/

Simon's friend Edward has flown in to the veld to be our guide for the very wild ASLSP project in Halberstadt.

Online 24 hours each day 1 – 31 March, avfestival.co.uk / thepixelpalace.org - Radio Boredcast is a 744-hour continuous online radio project, curated by artist Vicki Bennett (People Like Us)

Online 24 hours each day 1 – 31 March, avfestival.co.uk / thepixelpalace.org - Radio Boredcast is a 744-hour continuous online radio project, curated by artist Vicki Bennett (People Like Us)

Online 24 hours each day 1 – 31 March, avfestival.co.uk / thepixelpalace.org - Radio Boredcast is a 744-hour continuous online radio project, curated by artist Vicki Bennett (People Like Us)