Podcasts about atonal

Atonal snores, sonorous gurgles - all part of the dance of the soundscape. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. We talk spoilers and creating themes for characters. Spoilers are talked about in this episode. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part two. Now you guys did the scoring process in Air Studios, right? Just for the choir. Just for the choir. Yeah, so we flew out to London to record there. That was maybe one of the best experiences I think we've had recording. It was very, very special and cool. But yeah, it was just a small choir. And so everything had already been written. So it's just about going in there, getting rid of our MIDI choir, any of our temp choir, making it sound more human. Other than that, everything was done here. How did you guys go about choosing the themes for the characters? How did that process go? And was that something that you could really only... Before you got hired, were you... Because you did the first episode and that was kind of like your test. And I was like, yeah, you guys are hired. But were you privy at that point of kind of where the story was going so that you could know? Madsen gave us... We had access to everything. We were very close with Madsen, so we were able to get in from that side. So when we started doing character work early on, pretty much around when we were scoring the first episode, we knew where all the characters were going. So we had a very clear picture of their arc, which helped a lot. OK. All right. So I think now we're going to get into spoilers here. So this is going to be hard to talk about the music without talking about spoilers. So let's let's do it. Doing spoilers now. Click off if you don't want to hear any more. I love the idea in this story, you know, that we find out at the end that Aiko is really Malcolm Lee's mother and that the Oracle sends back his mother to save him. I just thought that was such a great twist. It didn't come out of nowhere. You can tell they protected the twist, you know, when they're on the bridge, you know, never sees her. Was that something that you got when you guys... Did that influence you guys when you knew that was kind of where it was going or is that something you guys found later? I think it influenced us a little bit. We the two themes for, I guess, like Malcolm's theme and Aiko's theme do have some similarities. And I think that was intentional. We never wanted it to be blatant, but I think having just like a it's a little bit similar. Like you hear his stuff and then you hear hers, but hers is in the future and dressed completely differently. But, yeah, there was some similarities between the two. And I think we used we knew it was going to happen. So it was we started thinking about that in the beginning. And then there was a really small, like vocal line, a female vocal line over. I forget which episode it is. I think it's episode it's when Malcolm's talking about his origins, his origin story. And, you know, during the birth moment, we have this vocal sample come in. Then again, we have it come in when he's talking to Aiko in episode eight as all this action is coming around. And then we have it again. Can I do big spoilers? Yeah, yeah. We have this vocal line that's kind of threaded through and it's subtle, but it's like we were very aware of when to thread it in. Was that something when you guys were looking at the script? We're like, oh, wow, this is really interesting where they're where they're going with this. Yeah. I mean, it was pretty fun. And there were other characters, too, that like really. But like those are spoils for other seasons. So I can't really. A lot of the kids, they have they're just starting their arc, you know. But it was really helpful knowing the clear picture of everything so that we could really create themes that would last. The theme that I feel like kind of defines the show is it will never be the same. That's kind of like we keep hearing that kind of this is that you guys talked about how you wanted to play it. If you can play it simply. I'm paraphrasing exactly what you guys said in the interview. But you said play it simply or sing it simply like just so that's something you just came up with on the on the on the piano or something. And then just for like, we'll just build on that. Yeah, well, it took time to figure out how I mean, so that was an early demo. So that was like, it'll never be the same was was from the demos way back when. So that was probably the biggest one that stuck and now and run. Yeah, the opening sequence of episode one. But Madsen kept being like, if I had it my way, it'll never be the same would be the theme of the show. And we were just like, it's not like, it's not it's really sad. It's like all everything about it feels like you're just kind of like, falling back. And we were struggling to find a way to create a theme for that ending of episode one. We had like, so many different ideas, it was a week was horrible. And then we were toward the end of it. And again, having that just ring in our head that Madsen was like, if this could just be it. We took it'll never be the same, put the chords on guitar. And I feel like it's a good songwriting trick. Anytime I get stuck with songs, or you get too caught up with production, it's like, can you play it on guitar and sing it? And does it hold up? And if it doesn't, then maybe you got too many tricks going. And you know, you're relying on production too much, like, is it solid or not? So instead of, you know, playing it on piano, I just started palm muting the chords. And then we just started singing. And naturally, we sang it in a different way. It's like it's it's very similar melody lines, but it's swung in a more anthemic driving way. It's less sad. And then that just like opened it up. They're like, Oh, right, you can just play it'll never be the same like this. And then it feels like it has more agency and it feels like a theme. It kind of comes back in the end of the world. And underground. Those are the two times where I like really noticed that being replayed. And it's laced throughout as well. But like, those are the most distinctive moments specifically into the world. That's like when we were like, okay, now let's play it as sad as possible. That's an example of just like, it was completely low hanging fruit for so long, but it took us a while to see it. And then see it that just everything unlocks. Because with Run, which is, I believe that's the first song we hear that, you know, when she's, you know, trying to get away from the, you know, the Terminator, and it's kind of, you know, gets us all going. Like right into it, you got that little distorted voice that that comes in. Was that the voice you guys are talking about with the... It almost signifies that, you know, the Terminator is coming. Is that kind of what you guys were doing with that theme? Yeah. And specifically with the beginning of Run, we wanted to take acoustic instruments and distort them to hell. So I think a big one of that was violin samples and make them sound robotic. And we kind of like made them into like a scary melody line. And it wasn't... I think the piece of Run that we wrote to the demo, like was the demo, was once things pick up. Once you get the four on the floor action part, we had written that as a demo. So it was about like, we had that piece, but then we had to kind of build it a bit because it was like... And the scene was super long. Five or six minutes. So it was a lot more to do. Yeah, because you talked in previous interviews that you didn't want the Terminator to have like its own theme. You just kind of wanted like a sound cue for when he's coming. And I think for that, it was like this like two note bass line, like duh, duh, was one of the... There's a few different signifiers for like he's coming. And then there are the metal hits that we use whenever he's sort of like attacking. And then there's like a three note horn line that we use a few times when he's like really in action. But we wanted to keep it because he is not human. And the other characters, for the most part, are at least have human tendencies. Like he didn't... He didn't... He didn't deserve a human theme because he said he needed a, you know, a more robotic. Very atonal. Atonal. Yeah. But I like that, that you guys came in for that. Because the audience might not know that, you know, but subconsciously, they'll pick up on the fact that, you know, that that's happening there. One of the themes I really like that I don't think it's talked enough about is the traveling in time theme, where you've just got like this, it almost sounds like a bell or taking like a fork and you're just hearing this. Oh, there it is. Is this what it is? That's what it is. Top of a candle holder. I thought something like that. Yeah, it's like, and the other also have this bell that we use. These are just like tongue bells. Wow. So a lot of that. Yeah. A lot of sampling those running them through like a crystallizer. Yeah, found twice crystallizer, which made it much more swirly and washed out. Yeah, a great reference that Madsen brought up was the score to brick. I don't know if you remember that. Yeah, yeah, I know. Love that. And it has a ton of melodic bells. And that was a big inspiration. It does. And it was like, this felt like a moment where we could really do something different. Because a lot of the score, it can be really moody. It can feel like it's everything's really weighing on you. And this just kind of lifts us up. And it, it became a really good sonic palette for any time they're talking about time travel. There are other moments in the film or in the in the series where time travel comes up. And a lot of times where it was appropriate. You can hear a little swell of these bells. And yeah, exactly. I so what made you guys decide on on using bells to come up with that? I think it highlights everything because now she's alone. She's just witnessed her friends, supposedly all dead. And now she's in a new time period as she's erased the clock. And you're hearing just this distorted, you know, it just is like, all I kept feeling is like alone. It's distorted. What made you decide on bells or, you know, the candle holder? I think I think that that's, you know, a testament to direction for Matson of just like, Oh, check out brick. I think this this like scene from Rick, like kind of the vibe that could be cool. And then just, you know, a late night experimenting with bells and, yeah, and piano and other things. And, yeah, you know, just like trying something out. But it was nice to use. I like we still affected it quite a bit, but it was nice to use bells in a slightly more organic way. Because a lot of Kokoro, a lot of scenes with Kokoro have I use those tongue bells on a lot of that and filtered heavily with different pedals and distortion stuff. So like you have two versions of the bells, the AI version. Yeah, this was an opportunity to bring it back, but in a more natural way. Yeah, because I don't know that one just stands out so much to me because it's such a change from what we've heard in the series. That's what I really like about this score is it's like, it's not just relying on the same thing. It's you're going for something that I mean, it's bold. I mean, you could have just gone for this, you know, very determined score thing. But that's what really stands out to me is just the complexity of the music and just those different sounds. Talk a little bit about Choose and how you guys came to that. God. I've been talking a lot. No, but this sort of started with you. Well, so back when we were doing episode one, they were like, and you kind of even gotten the kick, but they were like, can you? Can you create like, a bunch of other music that we can like sprinkle in later for temp music later or something? They were starting episode, they were working on episodes like two and three, and we were still on one. And they were like, we would love you to write us some temp music so that we can animate to it. And we were like, Okay, hope we get the gig. Funny enough, they never got temp music since it was all this stuff. They probably worked on it, though. Maybe. But so we had this whole other group of songs, a lot of the character themes came from, from this, this push, and it was this, this was a potential Terminator theme. When we first wrote it, we thought that this could maybe be like the theme. It wasn't, and it wouldn't have been good for it. But we had this idea that was like half-baked, but it had like all the elements that you hear in Choose. And we were working on the last episode, and we're like, wow, we still haven't used this one idea. And we were watching this scene, the death scene. And, you know, oftentimes, sometimes you get lucky when you just throw things in. And we were like, okay, let's use this theme. And then it can be a theme that we can carry out through other seasons. And we just dropped it in and it just like, just took off. And we obviously changed it and made it way cooler. And we brought in the choir element, which was like really awesome. That was one of my favorite choir moments. Yeah. I think I have a video of us in the, at Air Studios, like that happening and us all listening to it. And it was one of those moments that like, you know, we'd written these choir parts and, you know, I usually will sing them in as my voice. So it's like a bunch of my voice stacked. And they were really dissonant and they were weird, but like getting in and hearing it with the choir, like it's like this pulsing, dissonant, crazy chords that hit really, really hard. And it was like a very intense experience to just be in this like iconic studio and hear them, like this like wall of sound coming out of just eight singers. Yeah. Very cool. And then- Just a real moment, you know? Yeah. Like probably what Beethoven felt when he discovered the Ninth Symphony. You know, just like, wow. Exactly that. Exactly. Bliss of God. Please like, share and subscribe. Thank you for watching. 00:00:00 - Introduction 00:00:05 - Scoring Process and Character Themes 00:01:40 - Spoilers and Character Development 00:01:55 - Musical Themes and Influences 00:04:31 - Creating the Theme 'It Will Never Be The Same' 00:07:43 - Creating the Theme 'Run' 00:10:13 - Creating the 'Traveling in Time' Theme 00:13:58 - Creating the Theme 'Choose' 00:17:00 - Conclusion

"I'm a noodler." The vaunted experimental producer and DJ discusses his playful approach to engaging with philosophy and making art live at Atonal's OPENLESS in Berlin. British artist Lee Gamble has long been captivating listeners with high concept dance music. A loyal affiliate of Kode9's Hyperdub label, Gamble—whose work sits somewhere at the intersection of philosophy, computer music and sound art—has been building weird and wonderful musical worlds that have shot him to experimental stardom since the early 2010s. In this RA Exchange recorded live from Hard Wax at the one-off event Atonal OPENLESS, Gamble meditates on his penchant for eschewing conventions, beginning with growing up in the countercultural, working class hub of Birmingham. Gamble reflects on the first time he experienced what's called "future shock," a reference to a book by the same name written by sci-fi author Alvin Toffler. This set him on the pursuit of finding and making music that had a similarly bizarre quality. Gamble isn't just a producer but an avid admirer and connoisseur of critical theory, and he also discusses the thinkers who have informed his production (and even his approach to DJing), as well as his recent interest in the ethics and applications of AI and deep fakes, which he explores in a touching full-length, Models. Listen to the episode in full.

Was tun gegen einen Rechtspopulismus, der auch die Demokratie zunehmend in Frage stellt? Das PODIUM-Festival Esslingen stellt sich an diesem Wochenende im Kloster Bebenhausen der Herausforderung. Neben Konzerten und musikalischen Erkundungen steht das Thema „Widerstand, Musik und Demokratie“ auf dem Programm. Dazu zählt vor allem auch das Projekt „Atonal für Deutschland“, ein Kunstprojekt gegen Rechtsextremismus, für das ein erstes Musikvideo entstanden ist: „Requiem für Alice“ des Komponisten Elia Rediger. Silke Arning stellt es vor.

"Soundscapes reveal a lot about how people think and behave." The field recordist and musician talks about listening culture, repatriating African sounds and his new album with The Bug. Today's conversation moves away from the dance floor, focusing instead on the soft, ambient soundscapes of the Berlin-based musician Joseph Kamaru—AKA KMRU—whose work has been featured at festivals like CTM, Mutek, Atonal, Horst Music and Arts, Dekmantel, and Unsound; concert halls like The Barbican; and major galleries and site-specific installations around the world. Kamaru moved to Europe from Nairobi, where he first became interested in music production, and field recordings specifically. As a graduate student in the sonic arts, he learned that the majority of the discourse around sound art practices is specific to Western Eurocentric or occidental ways of thinking. He's since embarked on a mission to use field recording as a means of repatriating African identities that are often left out of institutional archives and grapple with the legacy of colonialism. In this RA Exchange, Kamaru reflects on the sociopolitical angle of his work, and his observation that listening, by its very nature, is never neutral. He also talks about how civilisation and technology has changed our collective listening habits; how sound sources beyond the human hearing range make their way into his work with the use of electromagnetic microphones; and his new album, Disconnect, made with the musician Kevin Richard Martin (AKA The Bug). Listen to the episode in full.

"Soundscapes reveal a lot about how people think and behave." The field recordist and musician talks about listening culture, repatriating African sounds and his new album with The Bug. Today's conversation moves away from the dance floor, focusing instead on the soft, ambient soundscapes of the Berlin-based musician Joseph Kamaru—AKA KMRU—whose work has been featured at festivals like CTM, Mutek, Atonal, Horst Music and Arts, Dekmantel, and Unsound; concert halls like The Barbican; and major galleries and site-specific installations around the world. Kamaru moved to Europe from Nairobi, where he first became interested in music production, and field recordings specifically. As a graduate student in the sonic arts, he learned that the majority of the discourse around sound art practices is specific to Western Eurocentric or occidental ways of thinking. He's since embarked on a mission to use field recording as a means of repatriating African identities that are often left out of institutional archives and grapple with the legacy of colonialism. In this RA Exchange, Kamaru reflects on the sociopolitical angle of his work, and his observation that listening, by its very nature, is never neutral. He also talks about how civilisation and technology has changed our collective listening habits; how sound sources beyond the human hearing range make their way into his work with the use of electromagnetic microphones; and his new album, Disconnect, made with the musician Kevin Richard Martin (AKA The Bug). Listen to the episode in full.

Solo piano - from the Baroque and Classic to Atonal and Bossa Nova - concert music re-interpreted by jazz pianist Chick Corea.

Atonal Headwear's Growth And Hot Market for The Chiefs by Printavo

TECH CLUBBERS PODCAST W/ ALESSANDRO ADRIANI Alessandro Adriani is a lot of things – producer, DJ, live performer and label owner of Mannequin Records – but above all he is a tireless music researcher. The Berlin-based Italian goes further than your average “crate digger” in pursuit of information about sounds, styles, artists and record labels, devoting countless hours to unearthing the untold stories behind the music he loves, regardless of when it was made. Adriani's obsession has naturally shaped his other musical endeavors, not least Mannequin Records, the label he established over than a decade ago, voted label of the month by Resident Advisor in 2017. Over the years, the imprint has won praise from buyers and critics alike for its open-minded blend of on-point reissues, archival collections and fresh productions. The intriguing, leftfield mixture of material on offer – think techno, electro, cold wave, industrial, EBM, minimal synth, and more – is naturally a reflection of Adriani's wide-ranging and off-kilter tastes ( as you'd discover if you had a quick flick through his vast and growing record collection ). Adriani is distinctively drawn towards the dark and obscure, and you can hear this approach amongst the long, drawn-out mixes of his similarly eclectic DJ sets. Alessandro has contributed outstanding mixes for Resident Advisor, FACT, Crack Magazine, Bleep, Cxema and Dekmantel. On the festival circuit he's made appearances at Berghain, Tresor, Atonal, Boiler Room, Dekmantel, ADE, Dimensions, Neopop, Positive Education, Signal and more, together with his bi-monthly dates at Berghain and Panorama Bar, a residency he's held from 2016 to 2020. As a producer, Adriani's output naturally draws on these inspirations, but also reflects his obsession with electronic hardware. Under his own name Adriani has built a reputation for delivering heavy, angular and forthright club cuts for such celebrated labels as L.I.E.S. Records, Stroboscopic Artefacts, Jealous God, Pinkman and - of course - Mannequin Records. Follow ALESSANDRO ADRIANI here: Instagram: https://www.instagram.com/adriani.alessandro/ Soundcloud: https://soundcloud.com/alessandro-adriani-mnq

Wherein your hosts talk AT LENGTH about the Netflix adaptation of "All The Light We Cannot See", why Mark Ruffalo was miscast, who the German George MacKay is, what worked, what didn't, and what they'd hide in secret rooms in their houses.

Backed Vibes (clean) Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Atonal in C-ish Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Anachronist Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Was man über atonale Musik wissen muss – und warum diese Epoche musikalisch wichtiger war, als wir oft glauben.

In the early 20th century, the system of tonal harmony started to break down. The vertical accumulations of notes became too complex for our powers of memory and recognition, and some have suggested that this led to a loss of meaning and even humanity in music.In this lecture we will discuss expressive uses of atonality, and also the return of familiar chords to music, but outside the grammar that used to give them their logic.A lecture by Marina Frolova-Walker recorded on 18 May 2023 at LSO St Luke's Church, London.The transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/watch-now/atonal-musicGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport the show

The church bells in Sete Cidades in the Azores ring out - they are somewhat atonal and out of tune, making for a less harmonious soundscape than you would usually expect from church bells - birds nesting in the trees either side of a path leading up to the church provide a more melodious accompaniment.  Recorded by Cities and Memory.

Atonal snores, sonorous gurgles - it's all part of the dance of the soundscape. In this episode we continue to explore the soundscape with nature recordist Lang Elliot, with some wonderfully textured sounds recorded in La Cienega's National Conservation area in Arizona. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bienvenidos amantes de la música, cuando hablamos de Medeski, Martin & Wood hablamos de un trío tanto eclécticos como disruptivos. En su música vemos presencia del Funk, Soul, Rock y Jazz de base. Tocan juntos desde 1991 cuando nacieron bajo la mano del baterista y productor Bob Moses. En sus discos y actuaciones en vivo saben rendir tributo a los clásicos y nuevos standars pero siempre aportando su visión y sonido propio que hace que sean muy reconocibles. "Esta banda es cada uno de nosotros expresando quienes somos realmente" comentó John Medeski en una entrevista. Les invitamos a disfrutar una selección de nuestros temas favoritos de este original trío. Los temas son: 1. Curtis 2. Where's Sly? 3. Coconut Boogaloo 4. Queen Bee *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

Support this podcast with a small monthly donation to help sustain future episodes https://anchor.fm/meditation-sounds/support The Universe Has Brought You Here For Answers... Draw Five Cards & Begin Your Self Discovery... https://bit.ly/3weKVRF --- Send in a voice message: https://anchor.fm/meditation-sounds/message Support this podcast: https://anchor.fm/meditation-sounds/support

Support this podcast with a small monthly donation to help sustain future episodes https://anchor.fm/meditation-sounds/support The Universe Has Brought You Here For Answers... Draw Five Cards & Begin Your Self Discovery... https://bit.ly/3weKVRF --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/meditation-sounds/message Support this podcast: https://anchor.fm/meditation-sounds/support

Support this podcast with a small monthly donation to help sustain future episodes https://anchor.fm/meditation-sounds/support The Universe Has Brought You Here For Answers... Draw Five Cards & Begin Your Self Discovery... https://bit.ly/3weKVRF --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/meditation-sounds/message Support this podcast: https://anchor.fm/meditation-sounds/support

Ancient Frequencies Atonal Meditation --- Send in a voice message: https://anchor.fm/starrynightchill/message Support this podcast: https://anchor.fm/starrynightchill/support

La classe magistral del músic i conferenciant Ramon Gener.

La classe magistral del músic i conferenciant Ramon Gener.

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TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, El Mundo Today, Marta del Vado, Carlos de Hita e Iñaki de la Torre

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, El Mundo Today, Marta del Vado, Carlos de Hita e Iñaki de la Torre

TodoPorLaRadio con Toni Martínez, Especialistas Secundarios, El Mundo Today, Marta del Vado, Carlos de Hita e Iñaki de la Torre

Ancient Frequencies Atonal Meditation Calmness, Focus, Concentration --- Send in a voice message: https://anchor.fm/starrynightchill/message Support this podcast: https://anchor.fm/starrynightchill/support

Deep Atonal Meditation - Peaceful Relaxation Soundscape --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/starrynightchill/message Support this podcast: https://anchor.fm/starrynightchill/support

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Ancient Frequencies Atonal Meditation Music --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/starrynightchill/message Support this podcast: https://anchor.fm/starrynightchill/support

Atonal music is music that isn't written in a key, music that doesn't follow the traditional rules of harmony. But although the term “atonal” tells us what a piece isn't, it doesn't tell us what it is. Many different styles and musical languages, whether harsh or lush, cool or intense, simple or complex can be described as atonal.

The 20th century scientific explosion had been in the works since the Enlightenment, but the rate of change, which had been slow, and adaptable, now came in flashes – like a supernova - and repeatedly,  one major wave after another and in ways that dramatically changed our society; instead of having time to gradually adapt and fold these changes into our ordered lives, our lives were forced to conform instead.I hope you're ready for an adventure, because this episode, and actually the next two after this, are going to challenge you.  You see, the music we'll discover together was written in complete rejection of the basic assumptions about western music.   What's equally fascinating is what the rest of the music world did with these musical ideas!  To understand what was happening in America, we have to start away from home, in Europe, in the late 1930's.  There were a number of European musicians and composers who developed completely new ways of creating, performing, and sharing music that had an equally transformative influence on the music being made in America. In This EpisodeArnold Schoenberg Milton BabbittCharles Wuorinen Jerrald Goldsmith Gerard Schurman Wendy Carlos and Rachel Elkind The BeatlesPrimusDave BrubeckBill EvansJohn ColtraneOrnette Coleman 

In the world of Doctor Horror, not every pharmacist is your friend... And, as always, be sure to listen all the way to the end. ----------------------------- Introduction by Caleb Brown. Production by Landry Ayres. Written and performed by Doctor Horror. Music attributions: Atonal in C-ish by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4066-atonal-in-c-ish License: https://filmmusic.io/standard-license SCP-x7x (6th Floor) by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/6737-scp-x7x-6th-floor- License: https://filmmusic.io/standard-license Scp X3x (I Am Not OK) by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/6733-scp-x3x-i-am-not-ok- License: https://filmmusic.io/standard-license Stay The Course by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5048-stay-the-course License: https://filmmusic.io/standard-license Sound effects courtesy of Zapsplat.com

Turn around...every now and then we get a little bit tired of traditional harmony...and there's one way in particular to remedy that! Also, reunions abound and a purpose is found! The organization we are donating to this month is The Joy of Music and Movement, so check them if you'd like to help us support them! Our Die Hard Dice promo code is " BARDcore " (sorry about the mix up in the middle bit!) so if you need dice and/or dice accessories, use that code at checkout to save 10% on your order! Episode 78 will be out on October 19 and Episode 79 will be out on November 2. Thank you so much for joining us and stay safe out there! http://bombardedcast.com https://www.patreon.com/bombardedcast  http://bombarded.bandcamp.com @bombardedcast #bardcast

The 1950s featured a musical battle, pitting composers like Boulez, Carter, and Babbit against Bernstein, Copland, and Messaien. But how did the Post World War II movement towards total serialism and the avant-garde came about? And how did even the most forward thinking of artists become caught between the two camps of the tonalists and the serialists? We'll talk all about this today, as the battles between these two camps have ensnared almost every composer and continue to this day. Join us to learn more!

This week we're talking all about atonal music! I'm going to tell you all about the history of this controversial development in classical music, its development, and perhaps most importantly, I'll try to find a way to help you enjoy this music in all of its complexity, intensity, and yes, beauty. Part 1 is focused on 12 tone music and the beginnings of this powerful movement that transformed 20th century music, and according to some, ruined it. If you're ready to give atonal music a shot, join us!

Neue Musik - das ist doch dieses Schlachtfeld aus schiefen Tönen und Lärm, oder? Auch, aber nicht nur! Wir zeigen euch, dass Neue Musik keinesfalls immer elitär ist oder unangenehm abstrakt klingt. Der Zugang macht's! Und den liefern euch Laury und Uli in dieser Folge Klassik für Klugscheisser frei Haus. Also lasst die Hornbrillen und Rollkragen-Pullover im Schrank, holt eure Zwölftonreihe raus und freut euch auf die Wunderwerke des Techno-Pierre, die Geburtsstunde des Sampling, 3D-Sound im Orchestergraben und das längste Musikstück der Welt, während wir durch das 20. Jahrhundert streifen und Schönberg, Cage und Co. treffen.

The die has been cast. Having been tipped off and supported by Sariah Leavitt, our hapless but well-meaning group of investigator-friends head in to raid the Manwill compound, hoping to rescue the most recent batch of abused girls. All is not as it seems however, as their discoveries will shock and surprise you. TRIP BUCKSWORTH: "In certain fight or flight situations..." MUSIC FROM THIS EPISODE... SemMuel, "Back in Time" — Colton Dewberry, "Snow Pack" — Soft Alchemy, "Antium on Fire" — VA - Best of NTNS Radio, "Mental Health Consumer - Atonal" — Sara Afonso, "Underwater 02" — Sara Afonso, "Underwater Experience" — Kevin MacLeod, "Snow Drop" — Daniel James Dolby, "Dark Times" — Daniel James Dolby, "Broken Things" — Bloom, "Atonal" — Daniel James Dolby, "Something to Watch Over Me" — Split Phase, "Espionage" — Alex Mason, "Raid on the Camp" — Yari, "Short of Breath" — Alan Piljak, "Sun" — Lazy Salon, "Union" — Hogan Grip, "Interlude - Reading the Greens" Many thanks to freesound.org and it's amazing collection of contributors.

Música atonal, contemporanea de compositores como Edgar Valcarcel, Celso Garrido Lecca. Cantantes Ima Sumaq y Silvia Falcon cerramos con la flor de la canera del disco A Chabuca cantada por Ruben Blades

Join in today as I interview Atonal and his brand of Dancehall music ........The brother will be here to let you know what drives him to create his music TELL  A FRIEND    BRING A FRIEND     STAY TIL THE END

Intro - 0:00Part I, Works and Philosophies of Harry Partch  - 01:10Delusion of the Fury: Exordium: The Beginning of a Web - 03:13Harry Partch - Music Studio - Part 1 of 2 - 05:04Harry Partch - The World of Harry Partch (1969) - 28:10Harry Partch - Chorus of Shadows - 32:12Part II, Works and Philosophies of Henry Cowell - 32:33Henry Cowell - Anger Dance (Schleiermacher) (1914) - 37:12Henry Cowell - “The Banshee” for piano strings - 38:43Henry Cowell: Hymn and Fuguing Tune No. 1 - 53:09Outro - 53:35Full Playlist for EP 13VVMC Book ClubVVMC: Friends & Voices, a Collaborative PlaylistVoices from the Vernacular Music Center

TRS 3118 -- // Lilly Palmer // ------------------------------------------------ All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: set@trip-records.com and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ------------------------------------------------ ► Are You a Dj? Send Your Video or Dj Set: http://www.trip-records.com/Sets/index.html  ► Subscribe to Trip Records Sets: http://www.youtube.com/c/TripRecordsSets  ------------------------------------------------ RENOVATIO Ep by Ian Carpenter is out! ► https://www.beatport.com/release/renovatio/3260764 ----------------------------------------------- Link Podcast ► https://podcasts.apple.com/it/podcast/trip-records-sets/id1176106514  Unique Podcast Without Service Interruptions. Others tend to hang.

Robert Fripp alternate picking cross picking guitar atonal angular lines lesson and analysis. Guitar craft primary exercises for alternate picking development. https://www.jazzimproviser.com https://youtube.com/c/AlternatePickingGuitar --- Send in a voice message: https://anchor.fm/clifford-martin/message

Techniques, modes, scales arpeggios, polytonality and compositional techniques that I employ for composing atonal music at the piano. From Messiaen to Boulez to Schoenberg. Concepts for composition and improvisation for 20 century classical music. https://www.jazzimproviser.com --- Send in a voice message: https://anchor.fm/clifford-martin/message

Esta semana, en una nueva sesión de Rebelión Sónica, los invitamos a escuchar el nuevo disco de la importante banda del rock industrial inglés, Cabaret Voltaire, “Shadow Of Fear”. Editado el 20 de noviembre por el sello Mute, se trata del primer trabajo del proyecto con el fundador Richard H. Kirk como único integrante y es el sucesor del álbum “The Conversation”, publicado hace 26 años, en julio de 1994. De acuerdo a Mute, “Cabaret Voltaire siempre ha sido un grupo adelantado a su tiempo, incluso profético y este álbum continúa esa evolución”. La disquera añadió que “como ocurre con gran parte del trabajo de Kirk, el significado y la narrativa concretos de su música están maduros para la interpretación, pero no para ser explicados”. “El surrealismo siempre ha sido muy importante para Cabaret Voltaire y eso todavía está presente en este nuevo disco”, agregó Kirk. El punto de partida de “Shadow Of Fear” se encuentra en el festival Atonal de Berlín de 2014, donde Kirk hizo el primer show solista como Cabaret Voltaire. El concierto fue el inició de una nueva era para el pionero grupo de la ciudad inglesa Sheffield, cuya influencia en la música electrónica, el post-punk y el rock industrial sigue siendo intocable en la actualidad”. Desde entonces, Kirk ha actuado en festivales y conciertos en toda Europa, dando forma al sonido actual de Cabaret Voltaire. “Comencé a desarrollar las nuevas pistas específicamente para presentaciones en vivo, con cosas que eran bastante sencillas y toscas. Cada vez que visitaba un lugar nuevo para actuar, escribía algo nuevo”. Grabado en la última ubicación de Western Works, el estudio utilizado a lo largo de la historia de Cabaret Voltaire, Kirk intentó actualizar su antigua configuración digital, pero después de una falla en la computadora, decidió conservar su equipo original. “Hacer este álbum me recordó un poco a los viejos tiempos con la banda, cuando no había tanto equipo y realmente tenías que usar la imaginación”. Sin embargo, Mute indicó que “hasta ahí llegan las comparaciones con los viejos tiempos de Cabaret Voltaire. Esta es nueva música para una nueva era. Kirk finalizó diciendo que “es bueno que la gente aprecie lo que he hecho en el pasado, pero es un lugar peligroso para vivir”. Aparte de revisar este nuevo trabajo, en la parte final del programa escucharemos el single ‘Nag Nag Nag’ (1979), clásico de la primera época de la banda. Cabaret Voltaire se formó en Sheffield en 1973 y en 1978 firmaron con Rough Trade Records. Lanzaron su primer álbum “Mix-Up” en 1979 y no pararon de editar numerosos discos hasta que se disolvieron en 1994. Eso hasta 2014, año en que Kirk revivió a la banda, para tocar en el festival germano mencionado más arriba.

Esta semana, en una nueva sesión de Rebelión Sónica, los invitamos a escuchar el nuevo disco de la importante banda del rock industrial inglés, Cabaret Voltaire, “Shadow Of Fear”. Editado el 20 de noviembre por el sello Mute, se trata del primer trabajo del proyecto con el fundador Richard H. Kirk como único integrante y es el sucesor del álbum “The Conversation”, publicado hace 26 años, en julio de 1994. De acuerdo a Mute, “Cabaret Voltaire siempre ha sido un grupo adelantado a su tiempo, incluso profético y este álbum continúa esa evolución”. La disquera añadió que “como ocurre con gran parte del trabajo de Kirk, el significado y la narrativa concretos de su música están maduros para la interpretación, pero no para ser explicados”. “El surrealismo siempre ha sido muy importante para Cabaret Voltaire y eso todavía está presente en este nuevo disco”, agregó Kirk. El punto de partida de “Shadow Of Fear” se encuentra en el festival Atonal de Berlín de 2014, donde Kirk hizo el primer show solista como Cabaret Voltaire. El concierto fue el inició de una nueva era para el pionero grupo de la ciudad inglesa Sheffield, cuya influencia en la música electrónica, el post-punk y el rock industrial sigue siendo intocable en la actualidad”. Desde entonces, Kirk ha actuado en festivales y conciertos en toda Europa, dando forma al sonido actual de Cabaret Voltaire. “Comencé a desarrollar las nuevas pistas específicamente para presentaciones en vivo, con cosas que eran bastante sencillas y toscas. Cada vez que visitaba un lugar nuevo para actuar, escribía algo nuevo”. Grabado en la última ubicación de Western Works, el estudio utilizado a lo largo de la historia de Cabaret Voltaire, Kirk intentó actualizar su antigua configuración digital, pero después de una falla en la computadora, decidió conservar su equipo original. “Hacer este álbum me recordó un poco a los viejos tiempos con la banda, cuando no había tanto equipo y realmente tenías que usar la imaginación”. Sin embargo, Mute indicó que “hasta ahí llegan las comparaciones con los viejos tiempos de Cabaret Voltaire. Esta es nueva música para una nueva era. Kirk finalizó diciendo que “es bueno que la gente aprecie lo que he hecho en el pasado, pero es un lugar peligroso para vivir”. Aparte de revisar este nuevo trabajo, en la parte final del programa escucharemos el single ‘Nag Nag Nag’ (1979), clásico de la primera época de la banda. Cabaret Voltaire se formó en Sheffield en 1973 y en 1978 firmaron con Rough Trade Records. Lanzaron su primer álbum “Mix-Up” en 1979 y no pararon de editar numerosos discos hasta que se disolvieron en 1994. Eso hasta 2014, año en que Kirk revivió a la banda, para tocar en el festival germano mencionado más arriba.

Mika Oki is an expert in spatial design, whether through the music she makes or the sculpture she creates. The French-Japanese visual artist works with video, sound, and electro-acoustics to create abstract textures and mental imagery that perfectly intersect the worlds of club rhythm and ambient experimentation. In the past she has been behind 24 hour performance pieces involving dancers, performers and poets, has played high concept festivals such as Atonal and Nyege Nyege and recently served up 'As Clean As I Was,' a debut production for a forward looking compilation on Metaphore Industrie. On top of this, she also opened up the Brussels branch of LYL radio and hosted a fundraiser for the vital community station. Her mixes are never less than faultless and this week she crafts one such trip which balances many opposites: heady ambient synth work and rugged drums, busy acid workouts and sparse, bass heavy rhythm tracks, cathartic passages of musical mindfulness with brutal drum assaults. Artists like Pq, Sirio, Low End Activist, Simo Cell, Aphex Twin and Hanz all feature to make for a selection that tugs you in many different directions at once, both physically and emotionally, and for that reason we cannot get enough.

Atonal? What does that mean? Welcome to the Class Half Full Episode 9- where Ben and Jordan share their favorite ATONAL pieces! Hear the full pieces they cover in the YouTube playlist below.Episode 9 YouTube playlist-https://www.youtube.com/playlist?list=PLy0LiTJDltJuJofFrsMj73en4G6JEvaHhConfused on how to use the YouTube Playlist? Check out this link!https://www.youtube.com/watch?v=ceNcaS7K26sWe want to hear from YOU! Email us or reach out on social media with questions/comments/suggestions for future episodes!Follow us on social media for exclusive behind the scenes content!Facebook: https://www.facebook.com/classhalffullpodcast/?eid=ARB5uTB-CQQP1se5rvxa5Ce5UFJrW_irbRnmMH5J3Ubsvp8oQ1Bugikl-2sFTmfYdIXc-P-u7jAE8YzJInstagram: @classhalffullpodcastEmail: classhalfpodcast@gmail.comPatreon: https://www.patreon.com/Classhalffullpodcast

Welcome back, thanks for tuning in. Lots of great new podcast episodes today from Osiris — hope you enjoy! Bob Weir on Politics of Truth. This week Bob welcomes back Bob Costa of the Washington Post, and the two of them speak with the legendary Bob Weir. They talk about a lot of stuff, including not being on the road, his love for California, and the political relevance today of some old Grateful Dead tunes. Subscribe to Politics of Truth. Randy Jackson on Eric Krasno Plus One. There's a lot to love about this latest episode where Eric sits down to talk to Randy Jackson, the bassist, producer, and TV personality. He's played with everyone from Aretha Franklin to Bruce Springsteen and many others—and he talks to Eric about his journey, in more ways than one. We also hear a special story about the naming of Eric's new baby. Subscribe to Eric Krasno Plus One. Atonal Phish with The Ravine. Host Brian Brinkman is back with another episode. This late-night, stumble upon a radio station style show is really cool and I look forward to new episodes every month. This edition has a clip from a jam as far back as 1987 and as recent as 2018. Subscribe to The Ravine. Jim & Nell Band on No Simple Road. The crew speaks with Jim of the Jim & Nell Band, which is a band that plays bluegrass and beyond. Jim has his roots deep in the Grateful Dead Family playing with the likes of David Grisman in The David Grisman Bluegrass Experience. Jim takes on on a conversational journey through his illustrious career, meeting the love of his life and making beautiful music together, and how Jim and Nell give back to the communities that have given so much to them. Subscribe to No Simple Road. ICYMI: Tom & RJ Interview. As we mentioned last week, Tom and I were interviewed for “The Smartest People in the Room,” which you can check out now on the link above. In that interview, we talk about our new partnership with Premier Music Group, which is very exciting. See acast.com/privacy for privacy and opt-out information.

Since its first appearances in the early 1900s, atonal music has been one of the most polarizing topics in the classical music world. Some people believed that atonal music was the only way forward, while some thought that it would ruin music for good. Today, we're going to explore the roots of atonal music and then look at the 12 tone period and the brilliant music of Schoenberg, Berg, and Webern. If you're not a fan of atonal music, give it a chance this week. Let's open our ears and dive in together!

This week we're focusing on the 1950s and the musical cold war between composers of the total serialist school like Boulez, Babbitt, and Carter, and the tonalists like Copland and Bernstein. Caught in the middle of pitched battles over the future were Stravinsky and Messiaen. Every composer had a different way of dealing with the post-war order and of expressing the anger, rage, and nihilism of the art of the time. This is music that has never been popular with audiences, so let's try to demystify it today.

Since its first appearances in the early 1900s, atonal music has been one of the most polarizing topics in the classical music world. Some people believed that atonal music was the only way forward, while some thought that it would ruin music for good. Today, we're going to explore the roots of atonal music and then look at the 12 tone period and the brilliant music of Schoenberg, Berg, and Webern. If you're not a fan of atonal music, give it a chance this week. Let's open our ears and dive in together!

‘Mango Drive’-vært Pernille Krog Mogensen har fingeren på pulsen, når det kommer til elektronisk musik – hvad end det er house, techno, ambient, dub eller glitch. Lyt med og bliv opdateret på, hvad der sker på den elektroniske scene, verden rundt.Astrid Engberg – Beat Up (Power of an Army)Nejrup – Manda VersionMotor City Drum Ensemble – Escape to NowhereRepro – 015SKYRune Bagge – C27Sofie Birch – ReverieLaraaji – Introspection (edit)SØS Gunver Ryberg – Let GoSØS Gunver Ryberg – Op ad DybetNeri J – Valentines Day AcidLyra Valenza – Reality BlizzAEpep – HoxA-11.1_ 7p15.3Mark Ernestus' Ndagga Rhythm Force – JigeenWhen Saints Go Machine – So DeepMary Lattimore – Hello From the Edge of the EarthClarissa Connelly – De NovoSoho Rezanejad / Frederik Valentin – One of my ShadesRoll The Dice / Alessandro Cortini – HydraBen Klock – Subzero (Sandwell District remix)Nkisi – VE-Saggila – Glass WingSource Direct – Web of Sin

Time to kick off your weekend with Friday music at Five!CogitoCogito is an improvisation for bass and keyboard. It was inspired by the Meditations on First Philosophy by Rene Descartes. This work, for all intents and purposes, represents the very birth of the modern mind. What Descartes actually went through in order to produce this work was really a rebirth of the mind. In the book, he describes a deeply spiritual personal struggle to really come to grips with what he actually knows, separating genuine knowledge from mere belief.All sorts of really deep things are explored in this work. Among the things he struggles with are the nature of God, the nature of being, the nature of the human soul and body, and many others. What he finally arrives at is the idea that the only two things that can be known independently are that God exists, and that He is truthful, and that he himself must exist, because that must be the case in order for him to even ponder the question. From this point, he is slowly able to come to grips with the rest of existence. Some Notes on CogitoIn the Meditations, Descartes comes to the conclusion that there are two sorts of things: Res Cogitans, and Res Extensa. Res Cogitans is the mind, and Res Extensa is the physical world. Thus, he divides existence into two parts: the world of the soul, and the world of matter. He considers the body to be that part of Res Extensa that is connected to Res Cogitans; the machine or ship of the soul.In this piece, the keyboard is the rich, inner, mental world. The bass is the outer body. The two interact and act in coordination, but they do not follow the same rules. The piece centers around C. Much of it is in C Major, but the keyboard explores atonality and sound clusters, as well as octatonic modes at times, whereas the bass is mostly in a blues modality.Copyright, Philip John Cornell, 2018, some rights reserved. You may download this content freely. If you share it, it must be prominently attributed to "PJ Cornell," and if shared online, a link to the original content must be provided in a prominent location. This audio and video content may not be used for commercial purposes or modified in any way without permission from the copyright owner. Only the latest episodes of this show are available on iTunes and Soundcloud. To locate archives of this podcast, visit: http://pjcornell.com/category/asterisked-music/piano-podcastFollow me on Soundcloud: https://soundcloud.com/pj-cornellFollow me on iTunes: (Asterisk Piano Podcast)Follow me on Steemit: https://steemit.com/@pjcomposerJoin the conversation on my site: http://pjcornell.com

Time to kick off your weekend with Friday music at Five!CogitoCogito is an improvisation for bass and keyboard. It was inspired by the Meditations on First Philosophy by Rene Descartes. This work, for all intents and purposes, represents the very birth of the modern mind. What Descartes actually went through in order to produce this work was really a rebirth of the mind. In the book, he describes a deeply spiritual personal struggle to really come to grips with what he actually knows, separating genuine knowledge from mere belief.All sorts of really deep things are explored in this work. Among the things he struggles with are the nature of God, the nature of being, the nature of the human soul and body, and many others. What he finally arrives at is the idea that the only two things that can be known independently are that God exists, and that He is truthful, and that he himself must exist, because that must be the case in order for him to even ponder the question. From this point, he is slowly able to come to grips with the rest of existence. Some Notes on CogitoIn the Meditations, Descartes comes to the conclusion that there are two sorts of things: Res Cogitans, and Res Extensa. Res Cogitans is the mind, and Res Extensa is the physical world. Thus, he divides existence into two parts: the world of the soul, and the world of matter. He considers the body to be that part of Res Extensa that is connected to Res Cogitans; the machine or ship of the soul.In this piece, the keyboard is the rich, inner, mental world. The bass is the outer body. The two interact and act in coordination, but they do not follow the same rules. The piece centers around C. Much of it is in C Major, but the keyboard explores atonality and sound clusters, as well as octatonic modes at times, whereas the bass is mostly in a blues modality.Copyright, Philip John Cornell, 2018, some rights reserved. You may download this content freely. If you share it, it must be prominently attributed to "PJ Cornell," and if shared online, a link to the original content must be provided in a prominent location. This audio and video content may not be used for commercial purposes or modified in any way without permission from the copyright owner. Only the latest episodes of this show are available on iTunes and Soundcloud. To locate archives of this podcast, visit: http://pjcornell.com/category/asterisked-music/piano-podcastFollow me on Soundcloud: https://soundcloud.com/pj-cornellFollow me on iTunes: (Asterisk Piano Podcast)Follow me on Steemit: https://steemit.com/@pjcomposerJoin the conversation on my site: http://pjcornell.com

This coffee break continues the discussion of the 20th Century Crisis in classical music where atonality and electronic music divided listeners into separate camps. We listen to a piece by Milton Babbitt to illustrate how music became more academic. The music evolved in the later part of the century and reconnected with audiences in brilliant new ways, particularly in narratives such as Peter Westergaard's opera based on Moby Dick and Qiang Zhang's Nanking Nanking. We discuss Karel Husa's Apotheosis of This Earth (hear the piece by clicking below.) Help support Your Classical Coffee Break by donating at http://mauriceriverpress.com/html/yccb.html Listen to Karel Husa "Apotheosis of This Earth" https://www.youtube.com/watch?reload=9&v=hG6HHExLDzY

Weston inducts another composer into the OBS Hall of Fame... In ‘Chalk Talk’, the OBS boys celebrate opening night of the Metropolitan Opera’s 2018 season by looking at future programming initiatives from Music Director Yannick Nézet-Séguin... George pays tribute to David DiChiera, Founding General Director of Michigan Opera Theater, who died last week at age 83... And in the ‘Two Minute Drill’, find out who just spent fifty million quid on opera in London... www.facebook.com/OBSCHI1/

Les deux émissions de Radio Campus Paris était prédestinées à se rencontrer et à fricoter ensemble. Et cette semaine, nous allons donc à Berlin, choix trop évident.  La capitale mondiale de l'underground n'a toujours pas de concurrente directe. Un choix de destination trop évident pour cette première rencontre géographique. Le paradis des expatriés anglo-saxons, hispters, vegans, pansexuels, polyamoureux et explorateurs urbains dans un monde industriel. Les deux émissions jouent cartes sur table et dévoilent une programmation 100% musique berlinoise : techno (minimale ou pas), musique expérimentale, krautock, synthétiseurs, pop dégénérée, indie raffinée... Vous pourrez également écouter un reportage de Planisphère enregistré en août au festival Atonal de Berlin. Avec des interviews de Chevel et Olivier Rossi. La Musique Berlinoise : Raw, weird and techno Einstürzende Neubauten - Steh auf Berlin Paul Kalkbrenner - Train Planningtorock - Living It Out Peaches - Fuck The Pain Away Die Ärzte - Friedenspanzer Atari Teenage Riot - Fuck All! Rammstein - Du Hast Ideal - Blaue Augen Stereo Total - Du bist gut zu Vögeln Max Graef et Glenn Astro - Titel 08 (feat. Paul Frick) Puppetmastaz - Puppetmad Âme - Rej 1h03 : REPORTAGE ATONAL [playlist tracklist="false" images="false" artists="false" ids="77567"] Ziúr - U Feel Anything? Ellen Allien - Abstract Pictures Monolake - Ghosts Fjaak - The Tube The/Das - Have No Fear Apparat - Arcadia Aaron Ahrends - Eyes Closed Schwefelgelb - Ez Zieht Mich Cascada - Everytime We Touch Phase Fatale - Under Marble Guido Möbius - Batagur Baska Anika - Sadness Hides The Sun Abonnez-vous dans nos réseaux Si vous voulez en savoir plus sur Planisphère, suivez-les sur Facebook et Instagram pour avoir les dernières informations sur leurs activités. la prochaine émission aura lieu le jeudi 20 septembre à 21h et parlera de Protokol, le projet musical d'un de leurs membres. Pour suivre Mappemonde, vous pouvez vous abonner à la page Facebook  ainsi que le compte Instagram. Vous pouvez écouter l’intégrale des podcasts via iTunes et autres plateformes de podcast (cherchez : « mappemonde radio campus paris » et abonnez-vous aux updates). Photo : Berlin © Ansgar Koreng

Les deux émissions de Radio Campus Paris était prédestinées à se rencontrer et à fricoter ensemble. Et cette semaine, nous allons donc à Berlin, choix trop évident.  La capitale mondiale de l'underground n'a toujours pas de concurrente directe. Un choix de destination trop évident pour cette première rencontre géographique. Le paradis des expatriés anglo-saxons, hispters, vegans, pansexuels, polyamoureux et explorateurs urbains dans un monde industriel. Les deux émissions jouent cartes sur table et dévoilent une programmation 100% musique berlinoise : techno (minimale ou pas), musique expérimentale, krautock, synthétiseurs, pop dégénérée, indie raffinée... Vous pourrez également écouter un reportage de Planisphère enregistré en août au festival Atonal de Berlin. Avec des interviews de Chevel et Olivier Rossi. La Musique Berlinoise : Raw, weird and techno Einstürzende Neubauten - Steh auf Berlin Paul Kalkbrenner - Train Planningtorock - Living It Out Peaches - Fuck The Pain Away Die Ärzte - Friedenspanzer Atari Teenage Riot - Fuck All! Rammstein - Du Hast Ideal - Blaue Augen Stereo Total - Du bist gut zu Vögeln Max Graef et Glenn Astro - Titel 08 (feat. Paul Frick) Puppetmastaz - Puppetmad Âme - Rej 1h03 : REPORTAGE ATONAL [playlist tracklist="false" images="false" artists="false" ids="77567"] Ziúr - U Feel Anything? Ellen Allien - Abstract Pictures Monolake - Ghosts Fjaak - The Tube The/Das - Have No Fear Apparat - Arcadia Aaron Ahrends - Eyes Closed Schwefelgelb - Ez Zieht Mich Cascada - Everytime We Touch Phase Fatale - Under Marble Guido Möbius - Batagur Baska Anika - Sadness Hides The Sun Abonnez-vous dans nos réseaux Si vous voulez en savoir plus sur Planisphère, suivez-les sur Facebook et Instagram pour avoir les dernières informations sur leurs activités. la prochaine émission aura lieu le jeudi 20 septembre à 21h et parlera de Protokol, le projet musical d'un de leurs membres. Pour suivre Mappemonde, vous pouvez vous abonner à la page Facebook  ainsi que le compte Instagram. Vous pouvez écouter l'intégrale des podcasts via iTunes et autres plateformes de podcast (cherchez : « mappemonde radio campus paris » et abonnez-vous aux updates). Photo : Berlin © Ansgar Koreng

Les deux émissions de Radio Campus Paris était prédestinées à se rencontrer et à fricoter ensemble. Et cette semaine, nous allons donc à Berlin, choix trop évident.  La capitale mondiale de l'underground n'a toujours pas de concurrente directe. Un choix de destination trop évident pour cette première rencontre géographique. Le paradis des expatriés anglo-saxons, hispters, vegans, pansexuels, polyamoureux et explorateurs urbains dans un monde industriel. Les deux émissions jouent cartes sur table et dévoilent une programmation 100% musique berlinoise : techno (minimale ou pas), musique expérimentale, krautock, synthétiseurs, pop dégénérée, indie raffinée... Vous pourrez également écouter un reportage de Planisphère enregistré en août au festival Atonal de Berlin. Avec des interviews de Chevel et Olivier Rossi. La Musique Berlinoise : Raw, weird and techno Einstürzende Neubauten - Steh auf Berlin Paul Kalkbrenner - Train Planningtorock - Living It Out Peaches - Fuck The Pain Away Die Ärzte - Friedenspanzer Atari Teenage Riot - Fuck All! Rammstein - Du Hast Ideal - Blaue Augen Stereo Total - Du bist gut zu Vögeln Max Graef & Glenn Astro - Titel 08 (feat. Paul Frick) Puppetmastaz - Puppetmad Âme - Rej 1h03 : REPORTAGE ATONAL [playlist tracklist="false" images="false" artists="false" ids="77567"] Ziúr - U Feel Anything? Ellen Allien - Abstract Pictures Monolake - Ghosts Fjaak - The Tube The/Das - Have No Fear Apparat - Arcadia Aaron Ahrends - Eyes Closed Schwefelgelb - Ez Zieht Mich Cascada - Everytime We Touch Phase Fatale - Under Marble Guido Möbius - Batagur Baska Anika - Sadness Hides The Sun Abonnez-vous dans nos réseaux Si vous voulez en savoir plus sur Planisphère, suivez-les sur Facebook et Instagram pour avoir les dernières informations sur leurs activités. la prochaine émission aura lieu le jeudi 20 septembre à 21h et parlera de Protokol, le projet musical d'un de leurs membres. Pour suivre Mappemonde, vous pouvez vous abonner à la page Facebook  ainsi que le compte Instagram. Vous pouvez écouter l'intégrale des podcasts via iTunes et autres plateformes de podcast (cherchez : « mappemonde radio campus paris » et abonnez-vous aux updates). Photo : Berlin © Ansgar Koreng

Pernille Krog Mogensen har fingeren på pulsen, når det kommer til elektronisk musik – hvad end det er house, techno, ambient, dub eller glitch. I Mango Drive får du en opdatering på de nye udgivelser, artister, festivaler, serveret på en solid baggrundsviden. Du er i gode hænder, når den ekstremt vidende vært giver dig et dugfrisk overblik.Asmus Odsat – Soften the ClocksKassel Jaeger – Exposure Scale — Clair de LuneCaterina Barbieri – Virgo RebellionClaude Speeed – Ambien RaveAstrid Sonne – A Modular BodyHiro Kone – Scotch Yoke pt. I & IISkee Mask – JuntKassem Mosse – 578British Murder Boys – Dead SunSleeparchive – Radio TransmissionBarker & Baumecker – A Murder Of Crows (Part 1)Marcel Dettmann – AimOnmutu Mechanics – Phosphor (Norman Nodge remix)Vainqueur – Lyot (Maurizio Mix)Substance & Vainqueur – LibrationBasic Channel – Quadrant Dub IRhythm & Sound – Mango DriveAlva Noto + Ryuichi Sakamoto – Berlin

Pernille Krog Mogensen har fingeren på pulsen, når det kommer til elektronisk musik – hvad end det er house, techno, ambient, dub eller glitch. I Mango Drive får du en opdatering på de nye udgivelser, artister, festivaler, serveret på en solid baggrundsviden. Du er i gode hænder, når den ekstremt vidende vært giver dig et dugfrisk overblik.Astrid Sonne – RealFever Ray – Mustn't Hurry (Aasthma remix)Hiro Kone – Less Than Two SecondsSkee Mask – Flyby VFRLNS – GuppiesLanark Artefax – Touch AbsenceAlpha 606 – GuajiroGabór Lázár – UnfoldActress – X22RMEObjekt – The Goose that Got AwayPTU – A Broken Clock is Right Twice A DaySolid Blake – Mario (DJ Stingray remix)ENA – Absorption#2Klara Lewis – UntitledBen Frost – Nolan (Regis Self Medicating Edit)British Murder Boys – Dead SunSigha – A Better Way of LivingBlue Hour – Reference 97Machine Woman – Camile from Ohm Makes Me Feel LovedAlessandro Adriani – Death Move #1Jayson Wynters – Technological Enslavement (Kowton Remix)Roly Porter – Giant

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

SØS Gunver Ryberg makes big, powerful music. Hailing from Denmark the former stunt woman turned BAFTA nominated producer and composer lays down driving rhythms and textures for exhiliarating live shows at Berghain, Atonal, and on Boiler Room, or labels like Contort. Often stitching in field recordings to add texture and timbre to her work it adds up to a brilliantly dark and insular experience somewhere between noise and techno. Says the woman herself of her podcast for us, “this is a mix between unreleased tracks, jams and some already released tunes. All music is by SØS Gunver Ryberg except the remix for Else Marie Pade.” The resulting 45 minutes start off as an all out assault: a flurry of synths and frazzled lines, overdriven drums and apocalyptic overtones. But the heaviness subsides and the energy dissipates into muggy and dystopian ambient. Drums do then return and bring with them a real eeriness that makes this an utterly compelling session.

Wolf Müller & Niklas Wandt, Ahu, Instrumentalmusik Von Der Mitte Der World Liquid Liquid, Lock Groove (out), Successive Reflexes Keysha, Stop It!, Stop It! / What Is Love Today? Birdbone Unlimited, All the Freaks Out Tonight, Freaky Things We Do / All the Freaks Out Tonight Patrick Nuissier, Pou Qui Ca, Digital Zandoli 2 Zasha, Arrow Dub, Gumba Fire: Bubblegum Soul & Synth-Boogie in 1980s South Africa Nisantashi Primary School, Past Yesterday (Goldenliustra Mix), Nisantashi Primary School Sidecar, Man From Manchester, Songs From Another Cupboard Midnight Runners, Dandy Funky, Nusantara Funk Breaks Two The Mystic Jungle Tribe, Sguardi, Qvisisana S.P. Balasubrahmanyam & Manjula Guru, Prema Rudaayade (Loving Hearts), Asia Classics 1 Mock & Toof, Digit 3, Digits 1, 2 & 3 Yannick Chevalier, Ecoute Le Son Du Soleil (Instrumental) (Albion edit) Nisantashi Primary School, Hills, Nisantashi Primary School Betty Botox, Voodoo 2, Rvng Of The Nrds Vol. 2 The Mystic Jungle Tribe, Visioni, Qvisisana DJ Python, Las Palmas, Dulce Compañia Jun Kamoda, Blind Disco, Blind Disco Kansado, Una Pa Celia, Futuro Tumbao EP Modified Man, Kingswood Drive, Kingswood Drive David Joseph, Lets Live It Up (Nite People) Instrumental Peggy Gou, It Makes You Forget (Itgehane), Once Hector Plimmer, Bossa B (Glenn Astro Remix), Sunshine Remix Album Sampler Señora, Paul, Señora Space Garage, Space Garage, Space Garage

Pernille Krog Mogensen er tilbage fra Atonal, og forkæler dig med to timers god rigtig musik i det elektroniske hjørne. God fornøjelse.Pepe Bradock – Deep BurntDavid Morley – TonewaveMarco Shuttle – The Vox AttitudeSandwell District – Grey Cut OutVarg – Red Line IIPact Infernal – Death & RebirthBelief Defect – DeliveranceSissel Wincent – Tricky Question WhyMatti Bye – A Smile UnderwaterBremer/McCoy – I EetNils Frahm – AmbreAphex Twin – Blue CalxBoards of Canada – Amo Bishop RodenThe Cure – All Cats Are GreyCroatian Amor – Love Means Taking ActionVarg – Attributes: Under Beige NylonPlastikman – RekallGabby – Break From RealityCentral – Pillow Peace

I anledning af den tyske festival Atonal, retter Pernille blikket mod Berlin og sætter spot på den elektroniske festivals stærke program.Karlheinz Stockhausen – EtudeCarla dal Forno – Fast Moving CarsPessimist – BalaklavaPeder Mannerfelt – Lines Describing CirclesPeder Mannerfelt + Hodge – All My LoveDemdike Stare – 40 Years Under the CoshRegis – Blood WitnessSchackleton & Appleblim – Death is not FinalPinch – TeleportationEquiknoxx – TimebirdDJ Stingray – Temporary BondCourtesy & Solid Blake – 27Borderland – LightyearsEluize – Make Me Sin (Ena Cosovic remix)Kasper Marott – Mere (Tandoori's Modern Sax mix)Josefine Hellstrøm Hansson – Water CaveAssembler – Spiked Grinning CatEbende – BANG!Uffe – Keep SmilesErosion Flow – SyvvMartyn feat Spaceape – Is This Insanity (Ben Klock remix)

The Techno Takeover weekly radio show every Tuesday morning from 2 -6 am broadcasted live on 89.5 fm in CT and worldwide on wpkn.org. 1) Emerson, Digweed & Muir - Tracer (Darren Emerson Womb Mix) 2) Alex Mine - Common Ject (Original Mix) 3) Gaston Zani & Sonate - Cymatics (Original Mix) 4) Lewis Delay - Astral Projection (Original Mix) 5) Jay Lumen & Roberto Capuano - Octaves (Original Mix) 6) Alias - The Truth (Original Mix) 7) Dast - Ixor (Original Mix) 8) Lunatique Sublime - Feel The Rhythm (Original Mix) 9) Lunatique Sublime - Resonance (Original Mix) 10) Montel - Semper (Original Mix) 11) Tiger Stripes - A Feeling (Original Mix) 12) Enrico Sangiuliano - Hook At The Border (Original Mix)

'Las noches de Ortega', con juan Carlos Ortega

'Las noches de Ortega', con juan Carlos Ortega

Hoy, dos términos nuevos en Yo También Quiero Hablar como los Músicos: Tonal y Atonal (ElÁtico47)

Hoy, dos términos nuevos en Yo También Quiero Hablar como los Músicos: Tonal y Atonal (ElÁtico47)

Bertolt Brecht, Lion Feuchtwanger, Fritz Lang, Thomas Mann, Arnold Schoenberg - names which heavily contributed to Germany's 20th century intellectual history. What unites these cultural giants is their choice of exile during the rise of Adolph Hitler - Los Angeles.   The Soul of California is pleased to have UCLA Professor Dr. Ehrhard Bahr on the programme, author of Weimar on the Pacific - German Exile Culture and the Crisis of Modernism. In this 35+ minute interview, Dr. Bahr covers a range of topics including the circumstances in which these writers, artists and musicians came to the United States, their reception once they arrived and the ups an downs of being in exile while their own country Germany was being led into hell.   Dr. Bahr discusses the role of Los Angeles in German cultural history, from the salons which were an extension of life in Berlin to the strained relationships between some of these pivotal figures and their difficulties in representing Germany in their adopted land.

Jazzfarbrorn Thomas leder En Kvart i Veckan! Atonal frijazz introduceras för Johan och han blir glad. Tomas går kort genom jazzens historia och Nadine vill dansa vals. Veckans Ord glöms inledningsvis bort men kommer efter drygt tio minuter så alla ni Veckans Ord-entusiaster får helt enkelt ge er till tåls. Dubidadadaduppdupp! Inlägget 34. Vad är jazz? dök först upp på En Kvart i Veckan.

Hi. I tuned on the mics to sing atonally and say thanks to some people who were cool this year. If you talk to me on Twitter/email often and like hearing your name on the show, this is the one … Continue reading → The post An atonal Alexxcast Holiday greeting appeared first on The Alexxcast.

[...] Pour sa dernière émission de la saison, la Salle 101 te gâte en t’offrant plusieurs lectures délicieuses, dont une série télé (chroniquée par Hippolyte et Mao, nouvelle recrue), que tu ne regretteras évidemment pas : Les fabuleuses chroniques d’une souris taciturne, de Martin Romero. Treme, série télé fomentée par David Simon. Aventures d’un romancier Atonal, [...]

[…] Pour sa dernière émission de la saison, la Salle 101 te gâte en t'offrant plusieurs lectures délicieuses, dont une série télé (chroniquée par Hippolyte et Mao, nouvelle recrue), que tu ne regretteras évidemment pas : Les fabuleuses chroniques d'une souris taciturne, de Martin Romero. Treme, série télé fomentée par David Simon. Aventures d'un romancier Atonal, […]

Club Moral - Live Outtakes (C-90 cassette) A-01 - Oorlog A-02 - Nazis of the Night A-03 - 4 Safe Walls A-04 - Le Locataire A-05 - Hunting Man A-06 - 19 Keys A-07 - Ik Daag U Uit B-01 - Oorlog B-02 - Man Heeft Angst B-03 - Each Man Kills the Thing She Loves B-04 - Hail to Thee Black Prince B-05 - Lies B-06 - Here Lives My House B-07 - L'Age D'Or This is a collection of live recordings throughout Belgium, United Kingdom, Holland and Germany in 1985 and 1986. Some Club Moral classics are included, and some are unique or rare versions of other tracks. Side 1; Oorlog was recorded at the Batschkapp in Frankfurt-am-Main on 24 April 1986. On the way there we blew the engine of our car and arrived some 15 minutes before we were scheduled to play. The support act was a guy called Seewo, with a chainsaw who accidently cut his hand. Nazis of the Night was recorded at the Ambulance Station in London on 1 June 1985, a festival organised by Recloose Organisation. Several other bands played as well. All the time we stayed at the Ambulance Station, we had to block the kitchen where we were supposed to sleep on the floor because a small army of bums steadily tried to break in the door looking for food and other valuables. Our driver slept in his car for three days but still the car was burgled, while we were playing. 4 Safe Walls was recorded at the Berlin Atonal Festival on 17 February 1985. Among other bands playing were Etant Donnés, Laibach, Test Department and Gerechtigkeitsliga. Le Locataire was a performance on the occasion of an AMVK-exhibition at Time Based Arts in Amsterdam on 1 May 1985. Two days later we played at Staalplaat, who made a good cassette from the show there. Hunting Man was recorded at the Jazzbunker in Rotterdam on 30 November 1985. 6de Kolonne also played in this ex-biker hellhole. 19 Keys was recorded in Leguit, Antwerpen on 19 January 1986, a night organised by Hugo Roelandt. It is a rare calling of the 19 Enochian Keys in Dutch. During the night the power failed a couple of times, during our performance the main switchboard finally burned out. Ik Daag U Uit was recorded at AntiChambres in Gent on 13 June 1986. This exhibition and night of performances was an artists' statement against the posh "Chambres d'Amis" exhibition organised by Jan Hoet. In our performance DDV was locked in a metal cage which he pulled over the floor himself by ropes attached to the wall. The sound is produced by contact microphones glued to the metal. Side 2; Oorlog was recorded at the Mermaid in Birmingham on 29 September 1985. A festival organised by Con-Dom, who played also as were Victor/im and Iron Brotherhood. When we showed up at the venue, already three local Teenybop bands were moving in their equipment and setting up the stage. There was a discussion with the Indian owner of the place, and finally he settled for the 'International' bands. Too bad for him only a handful of people showed up and they hadn't expected that kind of noise. Man Heeft Angst was recorded at Vooruit in Gent on 26 October 1985 on the occasion of "Nuit Erotique". It is actually a Dutch version of Therapist Fears and came with a Super8film. Each Man Kills the Thing She Loves is a live cut-up, recorded on the same event. Hail to Thee Black Prince was recorded at Staalplaat in Amsterdam on 3 May 1985. Lies was recorded at the Mermaid in Birmingham on 26 September 1986, it is a poem by convicted murderer Jack Henry Abbott. Here Lives My House was also recorded at the Mermaid. L'Age D'Or was recorded at the Stadsschouwburg in Maastricht on 1 November 1986 as an integral part of an AMVK-installation. All recordings were made by Club Moral and are either binaural stereo or PA-mix recordings. No remixing or re-editing done. 4 Safe Walls and Nazis of the Night are originally by The Parts, lyrics by Erik Vloeberghs.

Atonal orchestration for strings & chorus. Beyond tonality atonality awaits. Reaching atonality over dissonances is better than serialism. There are no nice dissonances but there are fitting and unfitting ones.