Podcasts about electroacoustic music

In this documentary, Neil travels back to his home town of Birmingham to learn more about what he considers to be the city's best kept cultural secret – Grosvenor Road Studios: the family-run sound facility that came to be known as ‘Birmingham's Abbey Road'. Still in operation today, the studios were founded 80 years ago by John Taylor, and his business partner Charles Hollick, to record music - which they did prolifically; as well as expanding into creating soundtracks and recording dialogue for iconic television series' and blockbuster movies. To help reveal the story, Neil talks with John Taylor's wife and creative partner Jean Taylor, their two successful musician sons Christopher and Richard Taylor, and Birmingham popular music academic, Jez Collins, from the Birmingham Music Archive. About the presenters: You can find more about Chris Taylor's work here You can find more about Richard Taylor's work here  The Birmingham Music Archive is here Details about Neil Hillman and Jason Nicholas's work as dialogue editors and mixers and how to contact them is here Details of our 1-to-1, training and coaching programmes for ambitious media professionals are available at: https://www.drneilhillman.com and https://soundproducer.com.au/coaching and www.soundformovingpictures.com Technical notes: Written, produced and presented by Dr. Neil Hillman – IMDb Programme edited and mixed by Dr. Neil Hillman on DaVinci Resolve. YouTube fair use disclaimer: Where copyrighted material appears in episodes of The Apple and Biscuit Show, it is used under the ‘fair use' guidelines of the Copyright Act: i.e. “Use of these clips follows Fair Use laws regarding commenting and criticizing”, where Fair Use allows for the unlicensed use of copyrighted material for purposes such as Commentary, Criticism, Parody, News reporting, Teaching, Scholarship, and Research. In instances where copyright or credit is questioned, please contact us directly to discuss receiving credit, or removing the featured content.

I love a good book about sound design or other aspects of the audio post industry. Think of this episode as a summer reading guide for the audio nerd. The authors of 3 recent publications about sound, get together to talk about their books, how they decided to write them and how to best use them as resources. Emi Paternostro talks about his book "The Pro Tools Post-Audio Cookbook", Gina Zdanowicz discusses "The Game Audio Strategy Guide" that she co-wrote (with Spencer Bambrick) and both Andrew Knight-Hill & Emma Margetson are here representing their book "Art of Sound: Creativity in Film Sound and Electroacoustic Music" SPONSOR: Sound Ideas Annual Memberships put Sound Ideas' full range of over 600,000 sound effects, music tracks, and production elements at your fingertips with three tiers to choose from based on your Sound Design needs. The Creator's Access Plan is perfect for the independent creator working on a smaller scale, looking for high-quality sound options at a great price. With up to 100 Downloads, you'll enjoy significant savings compared to buying individual sounds, and have free rein over Sound Ideas' extensive collection. Go to www.sound-ideas.com/Collection/105/Memberships/0/2 and use the promo code TONEBENDERS50 for 50% off of any Sound Ideas' Annual Membership, to amplify your future productions.
 Episode Notes: 
https://tonebenderspodcast.com/307-recent-books-about-sound/ Podcast Homepage: www.tonebenderspodcast.com 
 This episode is hosted by Timothy Muirhead

German producer & multi-instrumentalist Aukai, aka Markus Sieber, grew up in the former East Germany, but his travels have taken him through Latin America, and he is now based in Colorado. "Aukai" is a Hawaiian term for a seafaring traveler, and on 2018 record, Branches of Sun, he has captured a certain nomadic wanderlust which might connect a listener to a certain peace of being in nature, high in the mountains. With an ensemble that centers on the South American ronroco, a kind of mandolin-like lute, (“the bigger brother of the charango”), harp, violin, percussion and electronics, Aukai and Ensemble perform some of his electro-acoustic creations, in the studio. (From the Archives, 2018.) Watch the complete live session:

Poseedor de un lenguaje propio de Xenakis que conecta arquitectura y música a nivel estructural propone, con la música estocástica, la utilización de estructuras matemáticas en la praxis compositiva. Desarrolla el sistema UPIC y es pionero en el uso del algoritmo en la composición musical.____Has escuchadoLa Légende d'Eer. Nuevo remix en estéreo, a partir de la cinta original de siete canales, realizada del 3 al 4 de junio de 2004 por Gerard Pape. Mode (2005)Metastaseis (1953-1954). SWF Symphony Orchestra; Hans Rosbaud, director. Col Legno (2000)Oresteïa. Les Euménides (1965-1966, rev. 1989). L'Ensemble de Basse-Normandie; Dominique Debart, director; Ensemble Vocal d'Anjou; Robert Weddle, director de coros. Salabert Actuels (1990)Pléïades. Métaux (1978). Les Pléiades; Sylvio Gualda, director. Erato (1992)____Selección bibliográficaBARTHEL-CALVET, Anne-Sylvie, “MÉTASTASSIS-Analyse: un texte inédit de Iannis Xenakis sur Metastasis”. Revue de Musicologie, vol. 89, n.º 1 (2003), pp. 129-187*CASTANET, Pierre Albert, “We Must Open Our Ears and Eyes”: A Philosophical Lesson from the Polymath Iannis Xenakis”. Itamar. Revista de investigación musical: territorios para el arte, n.º 9 (2023), pp. 95-106DI SCIPIO, Agostino, “Compositional Models in Xenakis's Electroacoustic Music”. Perspectives of New Music, vol. 36, n.º 2 (1998), pp. 201-243*GIBSON, Benoît, The Instrumental Music of Iannis Xenakis: Theory, Practice, Self-Borrowing. Pendragon Press, 2011HARLEY, James, “The String Quartets of Iannis Xenakis”. Tempo, n.º 203 (1998), pp. 2-10*—, Xenakis. His Life in Music. Routledge, 2004HARLEY, Maria Anna, “Music of Sound and Light: Xenakis's Polytopes”. Leonardo, vol. 31, n.º 1 (1998), pp. 55-65*HILL, Peter, “Xenakis and the Performer”. Tempo, n.º 112 (1975), pp. 17-22*JONES, Evan, “Residue-Class Sets in the Music of Iannis Xenakis: An Analytical Algorithm and a General Intervallic Expression”. Perspectives of New Music, vol. 39, n.º 2 (2001), pp. 229-261*KANACH, Sharon, “Xenakis's Hand, or The Visualization of the Creative Process”. Perspectives of New Music, vol. 40, n.º 1 (2002), pp. 190-197*KANACH, Sharon (ed.), Performing Xenakis. Pendragon Press, 2010KIOURTSOGLOU, Elisavet, “An Architect Draws Sound and Light: New Perspectives on Iannis Xenakis's Diatope and La Légende d'Eer (1978)”. Computer Music Journal, vol. 41, n.º 4 (2017), pp. 8-31*LIZ, Ángel, “La alianza artes/ciencias a través de la obra de Iannis Xenakis”. Quodlibet: Revista de Especialización Musical, n.º 39 (2007), pp. 98-114*LUQUE, Sergio, “The Stochastic Synthesis of Iannis Xenakis”. Leonardo Music Journal, vol. 19 (2009), pp. 77-84*MÂCHE, François-Bernard, Portrait(s) de Iannis Xenakis. Bibliothèque Nationale de France, 2002MARCO ARAGÓN, Tomás, “Xenakis o la implacabilidad de la idea”. En: Jesús Villa Rojo (coord.), Músicas actuales: ideas básicas para una teoría. Ikeder, 2008*NAKIPBEKOVA, Alfia (ed.), Exploring Xenakis: Performance, Practice, Philosophy. Vernon Press, 2019PAPE, Gérard, Iannis Xenakis and the Ethics of Absolute Originality. UTEURP, 2023PARDO, Salgado, “El sonido cinemático. Iannis Xenakis”. En: Begoña López Herranz (coord.), Campos interdisciplinares de la musicología: V Congreso de la Sociedad Española de Musicología (Barcelona, 25-28 de octubre de 2000). Sociedad Española de Musicología, 2002*PECK, Robert W., “Toward an Interpretation of Xenakis's Nomos Alpha”. Perspectives of New Music, vol. 41, n.º 1 (2003), pp. 66-118*REYNOLDS, Roger, “Xenakis:… Tireless Renewal at Every Instant, at Every Death…”. Perspectives of New Music, vol. 41, n.º 1 (2003), pp. 4-64*REYNOLDS, Roger y Karen Reynolds, Xenakis Creates in Architecture and Music: The Reynolds Desert House. Routledge, 2022SERRA, Marie-Hélène, “Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 236-257*SOLOMOS, Makis, Iannis Xenakis. P. O. Éditions, 1996—, “El universo de la sonoridad en Xenakis”. Quodlibet: Revista de Especialización Musical, n.º 10 (1998), pp. 3-18*—, “The Unity of Xenakis's Instrumental and Electroacoustic Music: The Case for ‘Brownian Movements'”. Perspectives of New Music, vol. 39, n.º 1 (2001), pp. 244-254*—, “De l'apollinien et du dionysiaque dans les écrits de Xenakis”. En: Formel, informel: musique-philosophie. Editado por Makis Solomos, Antonia Soulez y Horacio Vaggione. L'Harmattan, 2003SOLOMOS, Makis (ed.), Iannis Xenakis: la musique électroacoustique. L'Harmattan, 2015SOUSTER, Tim, “Xenakis's Nuits”. Tempo, n.º 85 (1968), pp. 5-18*STERKEN, Sven, “Towards a Space-Time Art: Iannis Xenakis's Polytopes”. Perspectives of New Music, vol. 39, n.º 2 (2001), pp. 262-273*VARGA, Bálint A., Conversations with Iannis Xenakis. Faber and Faber, 1996XENAKIS, Iannis, Formalized Music: Thought and Mathematics in Composition. Pendragon Press, 1992—, Música de la arquitectura. Akal, 2009*XENAKIS, Iannis et al., “Xenakis on Xenakis”. Perspectives of New Music, vol. 25, n.º 1-2 (1987), pp. 16-63*XENAKIS, Iannis y Bálint András Varga, Conversations with Iannis Xenakis. Faber and Faber, 1996 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Robyn and Bonny welcome Dr. Rachel Basso and Rachel Rugh onto the pod to discuss your brain on art....and art on the brain! More on our guests: Dr. Julia C. Basso is an Assistant Professor in the Department of Human Nutrition, Foods, and Exercise at Virginia Tech, Director of The Embodied Brain Lab, and Co-Director of The Science and Art of Movement Lab. She also holds affiliate faculty positions in the Virginia Tech School of Neuroscience and is a Fellow at both the Institute for Creativity, Arts, and Technology and the Center for Health Behaviors Research at the Fralin Biomedical Research Institute at Virginia Tech Carilion. With a PhD in Behavioral and Neural Science, a BA in Dance, and certification as a yoga teacher, Dr. Basso's work bridges the fields of art and science, focusing on the body-brain connection and using movement to enhance brain function and physiology. A Renée Fleming Neuroarts Investigator, her research has been featured in prominent outlets such as The New York Times, Dance Magazine, Psychology Today, Virginia Living, and on National Public Radio. In addition to her scientific work, Dr. Basso creates dance performances and artistic installations that explore the visualization and sonification of brain activity. www.embodiedbrainlab.com Rachel Rugh is a dancer, teacher, mover and shaker based in Blacksburg, Virginia. A joyful and enthusiastic movement educator, she has over a decade of experience teaching creative dance to all ages and stages of movers, and currently teaches at Virginia Tech. She has presented her work at a variety of national performing arts conferences including the National Dance Education Organization (NDEO), the Society for Electro-Acoustic Music in America (SEAMUS), the Mid-Atlantic Teaching Artists' Retreat, the Virginia Tech Gender, Bodies and Technology Conference (GBT), and the American College Dance Association (ACDA). Prior to her position at VT, Rugh taught at Radford University and directed the summer residential dance program at the Virginia Governor's School for Humanities and Visual and Performing Arts from 2017- 2023. She is a faculty fellow at the VT Center for Communicating Science. Her recent research has focused on connections between the brain and body through her work with the Virginia Tech Embodied Brain Laboratory, where she co-directed the first annual Science and Art of Movement Festival in summer 2024. In her *spare* time, she is the director of Blacksburg Dance Theater, which provides the local community with joyful and accessible creative dance training for all ages. She holds a BA in dance from the University of North Carolina at Greensboro, and an MFA in Dance from the University of Wisconsin-Milwaukee.

Música creada por el compositor francés Pierre Schaeffer en 1948, en París, cuando trabaja en la Radio Televisión Francesa. Su atención está en los sonidos naturales—el paso de un tren, el trino de un pájaro—que graba en cinta magnética y transfiere de modo “concreto”._____Has escuchadoCinq études de bruits. Étude aux chemins de fer (1948) / Pierre Schaeffer. Ina Éditions (2010)Cinq études de bruits. Étude noire (1948) / Pierre Schaeffer. Ina Éditions (2010)Crayonnés ferroviaires (1992) / Michel Chion. Ina GRM (1998)Étude aux sons animés (1958) / Pierre Schaeffer. Ina Éditions (2010)Hors Phase (1977) / Bernard Parmegiani. Ina Éditions (2008)_____ Selección bibliográficaALLEN, Richard, “The Sound of ‘The Birds'”. October, vol. 146 (2013), pp. 97-120*BERTRAND, Loïc, Pierre Schaeffer & Pierre Henry: Symphonie pour un homme seul. Contrechamps Éditions, 2021CHION, Michel, El arte de los sonidos fijados. Traducido por Carmen Pardo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2001*—, Pierre Henry. Fayard, 2003DALLET, Sylvie y Anne Veitl, Du sonore au musical: cinquante années de recherches concrètes (1948-1998). L'Harmattan, 2001DELHAYE, Cyrille, “Orphée 53 de Pierre Schaeffer et Pierre Henry. Aux origines du scandale de Donaueschingen”. Revue de Musicologie, vol. 98, n.º 1 (2012), pp. 171-191*GAYOU, Évelyne, Le GRM: Groupe de Recherches Musicale: cinquante ans d'histoire. Fayard, 2007*GIRAULT, Hervé, “Les Affichages de Pierre Henry - ‘Apparitions Concertées': Analyse d'un parcours”. Musurgia, vol. 17, n.º 3 (2010), pp. 39-58*HENRY, Pierre, Le son, la nuit. La Rue musicale, 2017*—, L'œuvre: catalogue illustré, opus et musiques d'application 1945-2017. Philharmonie de Paris, 2021JUDD, Frederick Charles, Electronic music and musique concrète. Foruli Classics, 2013MANNING, Peter, “The Influence of Recording Technologies on the Early Development of Electroacoustic Music”. Leonardo Music Journal, vol. 13 (2003), pp. 5-10*PALOMBINI, Carlos, “Pierre Schaeffer, 1953: Towards an Experimental Music”. Music & Letters, vol. 74, n.º 4 (1993), pp. 542-557*POLSON, Simon, “(Demolishing) Concrete Music”. Leonardo Music Journal, vol. 23 (2013), pp. 55-57*SCHAEFFER, Pierre, A la recherche d'une musique concrète. Seuil, 1952—, Tratado de los objetos musicales. Traducido por Araceli Cabezón de Diego. Alianza, 1988*—, De la musique concrète à la musique même. Mémoire du livre, 2002STEINTRAGER, James A. y Rey Chow (eds.), Sound objects. Duke University Press, 2019*WEDGEWOOD, Richard B., “Dziga Vertov's ‘Enthusiasm': Musique Concrète in 1930”. College Music Symposium, vol. 23, n.º 2 (1983), pp. 113-121* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Episode 121 Crosscurrents in Early Electronic Music of Canada, Part 2   Playlist   Track Time Start Time Introduction –Thom Holmes 04:32 00:00 1.             John Mills-Cockell, “On The Heath” from A Third Testament (1974 True North). John Mills-Cockell is a Canadian composer from Toronto who was a very early adopter of the original Moog Synthesizer. He was part of the multi-faceted and ground-breaking work with the avant garde/poetry group Intersystems in the late 1960s and then the group Syrinx. I became acquainted with John more recently and he told me that his original Moog modules, used for Intersystems, burned up in a fire and so he turned to the use of ARP instruments around 1971. I am featuring his synthesizer work from a couple of solo albums as a representative of the independent stream of electronic music artists from Canada. John has continued to produce works for and for his numerous works for radio, television, film, ballet, and stage, and he is still active. 02:30 04:32 2.             John Mills-Cockell, “North African Gladiator” from A Third Testament (1974 True North). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 04:08 07:00 3.             John Mills-Cockell, “Collision” from Gateway (1977 Anubis Records ). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 03:32 11:03 4.             Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977) from McGill Wind Ensemble (1980 McGill University Records). This collection of contemporary Canadian works was released by McGill University's own label. This track is the only work with electronic sounds on the album, by Argentinean-born composer Lanza. Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976. 11:20 14:34 5.             Dennis Patrick, “Phantasy III (Excerpt)” (1977-78) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 04:53 25:48 6.             Barry Truax, “Arras” (1980) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Truax represented the left coast of Canada, and worked with R. Murray Schafer beginning in 1973 on the World Soundscape Project. Several of the composers in this episode came from that same environment, mixing natural acoustic sounds with electroacoustic treatments. This work was made using four computer synthesized tracks. Truax became known for his computer compositions as well as soundscapes. 10:08 30:38 7.             Canadian Electronic Ensemble, “Chaconne À Son Goût” from Canadian Electronic Ensemble (1981 Centrediscs). Performers, David Grimes, David Jaeger, James Montgomery, Larry Lake. Composed by David Grimes. The ensemble was founded in Toronto in 1971 by David Grimes, David Jaeger, Jim Montgomery and Larry Lake, "to promote the live performance of electronic music and thereby the composition of new repertoire for this medium." This is another nice example of music by independent artists working in Canada. 17:21 40:34 8.             Dennis Patrick, “Metasuite” (1982) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 07:55 57:54 9.             David Keane, “Aurora” (1985) from Aurora (1985 Cambridge Street Records). A work from a fellow author, David Keane who wrote a book called Tape Music Composition in 1981 (Oxford University Press). He was born in America but became a Canadian citizen in 1974. At the time of “Aurora” Keane was a professor of music theory and director of the electronic music studio at Queen's University in Kingston, Ontario, which I think he founded in 1970. The music was created to be played during a dance performance in which movement was seen through colored images projected on the dancers. The work was realized in the Queen's University Electroacoustic Music Facility. 10:17 1:05:48 10.         Claude Schryer, “A Kindred Spirit” (1985) from Group Of The Electronic Music Studio - McGill University (1986 McGill University Records). Bass Clarinet, Yves Adam; Cello, Andras Weber; Composed and conducted by, Claude Schryer; Flute, Jill Rothberg; Guitar Daniel Desjardins; Percussion, Helen Barclay; Piano, Laurie Radford. Recorded at McGill University Recording Studios. This work is notable for its use of the Synclavier, a high-end digital synthesizer/sampler/workstation from the mid-1980s. 16:02 1:16:04 11.         Bruno Degazio, “Heatnoise” (1987) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Degazio is a composer, researcher and film sound designer based in Ontario, Canada. “Heatnoise is one of a series of algorithmic compositions applying principles of fractal geometry to music.” It uses digital synthesis. 11:24 1:32:04 12.         Hildegard Westerkamp, “Cricket Voice” (1987) from from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). A super accomplished sound ecologist, Westerhamp is best known today as the creator of many works of sound art that use natural acoustic environments. She also composed many tape works. This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time. 11:09 1:43:18 13.         Ann Southam, “Fluke Sound” (1989) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Southam is another female Canadian composer of note. Much of her career has been spent composing works for dance. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music. 10:22 1:54:13 14.         Norma Beecroft, “Evocations: Images Of Canada (1992) (2003 Ovation Volume 3). In contrast to the earlier tape works of Beecroft featured in part 1 of this series, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer. Commissioned by the Music Department in Toronto of the Canadian Broadcasting Corp. with the purpose of utilizing their then new digital mixing facilities. The materials for this composition represent the many aspects of Canadian culture and was a statement around her concern for the “future of Canada as a unfied country.” 16:01 2:04:22 Opening background music: David Keane, “Lumina” (1988) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). For tenor voice and “digital tape recorder” to sample and manipulate the sound. Created in Keane's studio in Scarborough, Ontario. Voice, Richard Margison. 11:46 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.  

Episode 120 Crosscurrents in Early Electronic Music of Canada, Part 1 Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 10:36 00:00 1.    Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. I chose a recording from a CD compilation spanning the first 45 years of electroacoustic music in Canada. The original version of Dripsody was monophonic. Le Caine produced this stereophonic version in 1967 for Folkways records. 2:12 10:36 2.    Maurice Blackburn / Norman McLaren, “Blinkity Blank” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Another early work of tape music from Canada, produced around the same time as “Dripsody.” As a member of the National Film Board of Canada, Blackburn created this soundtrack with Norman McLaren by hand drawing on the optical soundtrack of a short film. 5:07 12:36 3.    Hugh LeCaine, “Ninety-Nine Generators” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time. 1:42 17:34 4.    Hugh LeCaine, “Arcane Presents Lulu” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:50 19:14 5.    Hugh LeCaine, “This Thing Called Key” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:53 21:04 6.    Hugh LeCaine, “Invocation” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 2:21 22:56 7.    Anhalt, “Electronic Composition No. 2” (1959) from Electronic Composition No. 2 ("Sine Nomine II") (1985 Radio Canada International). 8:47 25:18 8.    Hugh LeCaine, “Nocturne” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). This piece was played on a conductive keyboard using printed circuit keys (designed by Rene Farley) and tape delay. Notes are sounded by the pressing of a finger on the conductive surface of the keys. 3:08 34:04 9.    Norma Beecroft, “From Dreams of Brass” (1964) from Music And Musicians Of Canada Centennial Edition Vol. II / Musique Et Musiciens Du Canada Edition Du Centenaire Vol. II (1967 CBC Radio Canada). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. As a professional composer, she was one of the first non-students to be able to experiment in the new facility. There she focused on multitrack recording and looping as an extension of existing instrumental or vocal sounds. This particular work contrasts tape sounds with sung and spoken word sounds. 15:59 37:12 10.Paul Pedersen, “Themes From The Old Testament” (1966) consisting of 1) Saul And David; 2) David And Bathsheba; 3) Lot's Wife; 4) Parable Of Trees” (1966) from Paul Pedersen – Portrait Musical – Portrait No.1 (1976 CAPAC). Excerpts of a larger work. Produced in the Electronic Music Studios of McGill University and the University of Toronto. Paul Pedersen is a Canadian composer, arts administrator, and music educator. He was head of the McGill University Electronic Music Studios from 1971-1974. Concordia University in Montreal created 'The Paul Award in Electroacoustics' to celebrate Paul Pedersen's contribution to the development of electroacoustics in Canada. 5:47 53:10 11.Anhalt, “Cento” (1967) from Istvan Anhalt (1972 Radio Canada International).  “CENTO was composed in 1966 under a grant from the Centennial Commission, and its premiere performance took place in 1967, Canada's Centennial Year. The composer describes his work thus: ‘It is a work for a twelve-part mixed choir and two channels of tape-recorded sounds. Most of the sounds on the tape are also vocal, and it was my intention to blend, as much as possible, the live and the recorded voices. The effect I was seeking is that of a single choir performing in an acoustical space the character of which is partly real, partly unreal. "Much of the electronic equipment in both works was invented and built by Dr. Hugh Le Caine at the National Research Council of Canada.” 11:23 59:02 12.Norma Beecroft, “Two Went to Sleep” from Norma Beecroft – CAPAC Musical Portraits (circa 1976 CAPAC). Excerpt from a larger work, released on the Musical Portraits series of extended play 7-inch discs. This piece was written for soprano, flute, percussion, and tape with words by poet Leonard Cohen. It is a great example of the kind of work that combined instruments with tape. 2:49 1:10:24 13.Hugh LeCaine, “Music for Expo” (1967) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Produced using Le Caine's Serial Sound Structure Generator, a device intended to provide controls for making twelve tone serial music. Tones and other parameters were created using rotary dials on the control panel. Created for Expo '67 World Exposition in Montreal. 2:34 1:13:12 14.Peter Huse, “Space Play” (1969) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Fraser was a west coast person and composed this work while at Simon Fraser University. He was assistant director of the World Soundscape Project. 3:46 1:15:46 15.Hugh LeCaine, “Mobile” (1970) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). One of the first pieces of music to be composed on the NRC Computer Music System.   1:19:28 16.Micheline Coulombe Saint-Marcoux, “Trakadie (3 Excerpts), For Percussion And Tape” (1970) from Micheline Coulombe Saint-Marcoux: Musical Portrait (1976 CAPAC). This series of composer's Musical Portraits was initiated and sponsored by the Composers, Authors and Publishers Association of Canada. Micheline Coulombe Saint-Marcoux was a Canadian composer and music educator who played an important role in the contemporary classical music scene of Canada and France from the late 1960s through the mid-1980s. Primarily a composer of contemporary classical music, she experimented with electroacoustic music from time to time with some amazingly original and fresh results. From 1968 to 1971 she studied musique concrete with Pierre Schafer in Paris, and from this period comes this work. 4:17 1:21:20 17.Michel Longtin, “La Mort Du Pierrot” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced in the electronic music studio of McGill University. 5:21 1:25:34 18.David Paul, “Eruption” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced at the University of Toronto, using Le Caine's equipment, this work explores sound densities and glissandi. 6:07 1:30:56 19.Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau's and the electronic sounds were composed using Le Caine's Polyphonic Synthesizer. 4:21 1:37:02 20.Hugh LeCaine, “Paulution” (1972) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Uses Le Caine's Polyphonic Synthesizer, a new device created by the scientist around this time. Much of this was created in real-time with little tape manipulation. 4:09 1:41:18 21.Micheline Coulombe Saint-Marcoux, “Zones” (1972) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music. 9:02 1:45:22   Opening background music: Hugh Le Caine, Rhapsody in Blue, performed on the Electronic Sackbut (1953) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation)00:58; Hugh Le Caine, Safari: Eine Kleine Klangfarbenmelodie (1964) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation). Played on the Sonde, a Le Caine instrument that could generate 200 sine tones separated by intervals of 5 Hertz, as a demonstration of textures and densities. 3:10 (then repeated). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

En un Japón destrozado por la victoria aliada, una nueva generación de músicos nacidos en la década de los 30, se divide entre el nacionalismo y la aceptación de las tendencias occidentales. Toshirō Mayuzumi,Toshi IchiyanagiyTōru Takemitsusonalgunos de ellos._____Has escuchadoMandala Symphony (1960) / Toshirō Mayuzumi. NHK Symphony Orchestra; Hiroyuki Iwaki, director. Odyssey (1967)November Steps (1967) / Tōru Takemitsu. Saito Kinen Orchestra; Seiji Ozawa, director.Sello: Philips (1991)Requiem: For String Orchestra (1957) / Tōru Takemitsu. Toronto Symphony Orchestra; Seiji Ozawa, director. RCA (1969)Sapporo (1962) / Toshi Ichiyanagi. Ensemble Musica Negativa; Reiner Riehn, director. Odeon (1972) _____Selección bibliográficaBATTIER, Marc y Kenneth Fields (eds.), Electroacoustic Music in East Asia. Routledge, 2020BURT, Peter, The Music of Tōru Takemitsu. Cambridge University Press, 2001COOK, Lisa M., “Venerable Traditions, Modern Manifestations: Understanding Mayuzumi's ‘Bunraku' for Cello'”. Asian Music, vol. 45, n.º 1 (2014), pp. 98-131*FUKUNAKA, Fuyuko, “World Music History and Interculturality: Toward Recontextualizing Post-War Japanese Avant-Garde Music”. The World of Music, vol. 6, n.º 1 (2017), pp. 59-71*GALLIANO, Luciana y Martin Mayes, Yōgaku: Japanese Music in the Twentieth Century. Scarecrow Press, 2002HEIFETZ, Robin J., “East-West Synthesis in Japanese Composition: 1950-1970”. The Journal of Musicology, vol. 3, n.º 4 (1984), pp. 443-455*HERD, Judith Ann, “The Neonationalist Movement: Origins of Japanese Contemporary Music”. Perspectives of New Music, vol. 27, n.º 2 (1989), pp. 118-163*LOUBET, Emmanuelle, Curtis Roads y Brigitte Robindoré, “The Beginnings of Electronic Music in Japan, with a Focus on the NHK Studio: The 1950s and 1960s”. Computer Music Journal, vol. 21, n.º 4 (1997), pp. 11-22*PACUN, David, “Nationalism and Musical Style in Interwar ‘Yōgaku': A Reappraisal.” Asian Music, vol. 43, n.º 2 (2012), pp. 3-46*SMALDONE, Edward, “Japanese and Western Confluences in Large-Scale Pitch Organization of Tōru Takemitsu's November Steps and Autumn”. Perspectives of New Music, vol. 27, n.º 2 (1989), pp. 216-231*TAKEMITSU, Tōru, “Contemporary Music in Japan”. Perspectives of New Music, vol. 27, n.º 2 (1989), pp. 198-204*UTZ, Christian, Musical Composition in the Context of Globalization: New Perspectives on Music History in the 20th and 21st Century. Transcript Verlag, 2021*YANG, Chien-Chang, “Technologies of Tradition in Post-War Musical Avant-Gardism: A Theoretical Reflection”. The World of Music, vol. 6, n.º 1 (2017), pp. 41-58* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Compositora argentina. Su catálogo cuenta con casi 700 piezas, obras de naturaleza acusmática que nacen de sensaciones personales que convierte en sonido. Compone también para películas, ballets y espectáculos. Parte de su trabajo en la música se enfoca en lo terapéutico._____Has escuchado“Antidiáspora, Beatriz Ferreyra”. YouTube Vídeo. Publicado por Centro de Experimentación, 6 de agosto de 2015: [Vídeo]“Beatriz Ferreyra (entrevista), La Casa Encendida”. YouTube Vídeo. Publicado por La Casa Encendida, 1 de abril de 2019: [Vídeo]Demeures aquatiques (1967). Ina GRM (2015)Echos: In Memoriam of Mercedes Cornu (1978). Room40 (2020)Souffle d'un petit Dieu distrait (1988). Innova Recordings (1997)_____Selección bibliográficaDALLET, Sylvie y Anne Veitl, Du sonore au musical: cinquante années de recherches concrètes (1948-1998). L'Harmattan, 2001FARRA, Ricardo Dal, “Some Comments about Electroacoustic Music and Life in Latin America”. Leonardo Music Journal, vol. 4 (1994), pp. 93-94*MARCEL-BERLIOZ, Laure, et al., Compositrices: l'égalité en acte. Centre de documentation de la musique contemporaine; Éditions MF, 2019RIESTRA, Agustín, “‘Me piden muchísimos conciertos ahora desde que tengo 80 años'. Entrevista a Beatriz Ferreyra”. Centro de Arte Sonoro (2020), consultada el 6 de junio de 2023: [Web]*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. This Friday night's broadcast features new Mount Shrine, Philip Jeck / Chris Watson, Phomopsis, Henrik Meierkord, zake + Tyresta, God Body Disconnect, plus more from Unexplained Sound Group's ‘Anthology of Electroacoustic Music From Finland‘.

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. This Friday afternoon's broadcast features God Body Disconnect, Mount Shrine, Unexplained Sound Group's ‘Anthology of Electroacoustic Music From Finland‘, Crónica's ‘Essays on Radio – Can I have 2 minutes of your time?‘ collection, plus personal accounts of alien abductions and more audio weirdness from Portugal's Kieh! Kieh! label.

Screamin Mee-Mees - "Vacation" - Home Movies Godflesh - "Dead Head" - Streetcleaner Morbid Angel - "Chapel of Ghouls" - Grind Crusher V/A Georges Gabriele - "Kairos" - Persephone Michael Nyvang - "Music For Virtual Orchestra (Collage 2)" - Electroacoustic Music from DIEM II (Planetarium Music) Hirsche Nicht Aufs Sofa (HNAS) - "Hirse (H.N.A.S.)" - Willkür Nach Noten Heratius - "Gwendo Blues" - Gwendolyne Violent Onsen Geisha 暴力温泉芸者 - "Fuck Off RRRecords, Bye Bye Noise Music" - Come Again II V/A https://www.wfmu.org/playlists/shows/124196

"You inspire us to work hard to improve the service we do for the music community." In this episode of MFM Speaks Out, Dawoud Kringle offers a retrospective of the progress of the MFM Speaks Out podcast in 2022. The guests mentioned, and / or whose music was included, include Ken Butler, Ariel Hyatt, Neel Murgai, Banning Eyre, Baba Don Eaton Babatunde, William Parker, Bruce Lee Gallanter, Jeff Slatnick, Hubert Howe, and April Centrone.The progress and accomplishments of MFM as a whole during the year 2022 were also briefly discussed. Topics discussed:Our guest for episode 35 in January was musician, experimental musical instrument builder, and visual artist Ken Butler. He builds hybrid musical instruments and other artworks that explore the interaction and transformation of common and uncommon objects, altered images, sounds and silence.He is internationally recognized as an innovator of experimental musical instruments created from diverse materials including tools, sports equipment, and household objects.February's episode 36 featured Ariel Hyatt. Ariel is a digital marketer, writer, and teacher who assists independent musicians in career development. She is the author of Music Success in 9 Weeks, Cyber PR For Musicians, Crowdstart, and other books. Hyatt worked at New York City's WNEW-FM, and the What Are Records? record label. She moved to Boulder CO, where she managed and handled publicity for the funk band, Lord of Word. She is also the founder and owner of the New York-based public relations firm Cyber PR. Her clients included the Toasters and George Clinton.Neel Murgai was our 37th guest in March. Neel is a sitarist, overtone singer, percussionist, composer, teacher, and Co-Artistic Director of the Brooklyn Raga Massive, a raga inspired musician's collective.Banning Eyre is a writer, guitarist and producer, and the senior editor and producer of the public radio program Afropop Worldwide.  He has traveled and done music research in over 20 African countries, as well as in the Caribbean, South America and Europe. His latest initiative is the launch of Lion Songs Records, an independent label dedicated to uplifting overlooked, mostly acoustic music from the African universe. He is the author of several books, and the co-author of AFROPOP! An Illustrated Guide to Contemporary African Music. Eyre is a contributor to National Public Radio's All Things Considered, and his writing has been published in Billboard, Guitar Player, Salon, the Boston Phoenix, College Music Journal, Option, The Beat, Folk Roots, Global Rhythm, and other publications. He also has a background in technology, and worked for 10 years as a software technical writer. Eyre is also on the Advisory Committee of Musicians for Musicians.  Baba Don Eaton Babatunde. He is a percussionist and master of African Drumming and the rhythms of the African Diaspora in the Americas. Baba Don has performed and recorded with Abidun Oyewole and The Last Poets, Pattie Labelle, Joe Henderson, Donald Brown, Jason Linder, Tyrone Jefferson, Tevin Thomas, James Spaulding, Ron Carter, George Clinton, Pharaoh Sanders, the Metropolitan Orchestra, Bill Laswell, and Philycia Rashadto name a few. His work with dance companies and choreographers includes The Dance Theatre of Harlem, Alvin Ailey Dance Theatre, Maurice Hines, Gregory Hines, Andy Williams, Chuck Davis Dance theatre, Frank Hatchet, Geoffrey Holder, Louis Johnson, and Pyramid Dance Company.Episode 40 featured free jazz bass master William Parker. He has also performed and recorded with Cecil Taylor, Peter Brotzmann, Derek Bailey, John Zorn, Hamid Drake, Anthony Braxton, Milford Graves, Oliver Lake, Daniel Carter, Billy Bang, Andrew Cyrille, Matthew Shipp, Roy Campbell, Warren Smith, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Joe Morris, Steve Swell, David S. Ware, Leena Conquest, and many others. He was the leader of the Little Huey Creative Music Orchestra and In Order to Survive, a member of the Other Dimensions in Music cooperative, and co-founder of the musician's non-profit organization Arts For Art. Our guest for episode 41 was Bruce Lee Gallanter, the owner and proprietor of Downtown Music Gallery (DMG), a Manhattan based music store that specializes in new, used, hard to find, and out of print CDs, Vinyl, DVDs, and books. DMG was started in 1991 by David Yamner & Steve Popkin, with Gallanter working for the store. They remained in their first location on east 4th street in Manhattan for 12 years until 2003, and started having weekly free concerts, an idea that Gallanter had started with Manny Maris when they worked at Lunch For Your Ears. Gallanter became the owner in 1997. Around the time. he and Emperor Mike started the DMG newsletter, In 2003, they moved into a new store on the Bowery, not far from St. Marks Place, Tower Records, and Other Music.Jeff Slatnick was our 42nd guest. Jeff has been an employee and later the owner of Music Inn for over 54 years. Music Inn is one of the oldest music stores in New York City (second in longevity only to Sam Ash). It is a landmark music store in the West Village of NYC specializing in imported world and western instruments, rare and exotic music items, and records. Music Inn has been described as “a museum, rich with music history from around the world.” Music Inn is also the headquarters of Limulus, a company that designs and manufactures unique solid body string instruments. Hubert Howe graced the annals of our podcast as our 43rd guest. Hubert was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College in New York, where he was also Director of the Aaron Copland School of Music from 1989 to 1998, 2001 to 2002, and Autumn 2007. He taught at the Juilliard School from 1974 through 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama. He has been a member of the Society of Composers, Inc. , President of the US section of the League of Composers / International Society of Contemporary Music, a member of the International Computer Music Association, and directed the International Computer Music Conference at Queens College, a member of Society for Electro-Acoustic Music, a member of BMI, and the American Composers Alliance since 1974 and served as their President from 2002 to 2011. He is a member of the New York Composer's Circle and has served as Executive Director since 2013. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director.Our final guest for for 2022 was April Centrone. April Centrone is a multi-instrumentalist (specialising in the riqq, darbuka, frame drum, trap drum, and oud), co-founder of the New York Arabic Orchestra, teacher, composer, film producer and director, and music therapist. She is a Carnegie Hall World Explorer musician and educator, business owner and founder of 10PRL, arts/film/event space on the Jersey Shore. Shehas performed in venues such as the United Nations, NYC Opera House, Carnegie Hall and Lincoln Center, and has toured throughout Europe, the Americas, Middle East and Far East.Music on this episode:"Aurora" by Adam Reifsteck / Sonic Fear"Building a Desert Blizzard" by Ken Butler"Bagheshri Unbound" by Neel Murgai"Today is a New Day" by Voyagers"25 Years" by Abiodun Oyewole, featurning Baba Don Eaton"Give Me Back My Drum" by William Parker"Warm Arms to Hold You" by Dawoud the Renegade Sufi (a.k.a. Dawoud Kringle)"Inharmonic Fantasy No. 7" by Hubert Howe"New Moon" by April Centrone"Welcome New Iran" by SoSaLa (a.k.a. Sohrab Saadat Ladjevardi)(All music used by permission)

"You have to take yourself seriously and find your own voice."Our guest for this episode of MFM Speaks Out is Hubert Howe. Hubert Howe grew up in Los Angeles, California, where he began his musical studies as an oboist. He was educated at Princeton University, studied with J.K. Randall, Godfrey Winham, and Milton Babbitt, and received the A.B., M.F.A. and Ph.D.. He was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College in New York, where he was also Director of the Aaron Copland School of Music from 1989 to 1998, 2001 to 2002, and Autumn 2007. He taught at the Juilliard School from 1974 through 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama.He has been a member of the Society of Composers, Inc. since its founding in 1965 and served on the Executive Committee from 1967 to 1971. He served as President of the US section of the League of Composers / International Society of Contemporary Music from 1970 until 1979. In 1980, he received a commission from the CSC at the University of Padua, Italy, for his composition Astrazioni (Abstractions), which was presented at the Biennale of Venice.He is a member of the International Computer Music Association, and directed the International Computer Music Conference at Queens College in 1980. In 1994, he was the composer-in-residence at the Third Annual Florida Electroacoustic Music Festival at the University of Florida in Gainesville. He is also a member of Society for Electro-Acoustic Music, a member of BMI, and the American Composers Alliance since 1974 and served as their President from 2002 to 2011. He is a member of the New York Composer's Circle and has served as Executive Director since 2013. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director. He is also a member of the Association for the Promotion of New Music (APNM).Recordings of his computer music have been released by Capstone Records, Ravello Records, and ABLAZE Records.Topics discussed:The topics discussed include studying composition at Princeton under people like Milton Babbitt and J.K. Randall, his opinions of Karlheinz Stockhausen, becoming a Professor of Music and Director of the Electronic Music studios at Queens College in New York and Julliard, his involvement with the New York Composer's Circle, how electronic music was and is accepted in the classical music world, his thoughts about the influence of electronics on American popular music, such as Progressive Rock, Hip Hop, EDM, and composers and improvisers like Frank Zappa, Brian Eno, or Miles Davis, how he approaches and draws inspiration composing for electronics as opposed to acoustic instruments, his thoughts on the unprecedented factor of Artificial Intelligence and its application as a compositional tool, how the domination of streaming the economics of a career as a professional music composer changed over the years, how recent changes in the sales and marketing structure of recorded music, coupled with the domination of streaming services affected composers of orchestral, chamber, and electronic music, thoughts of Modern Classical Music's relevance, and music in general, in contemporary American life, and in the near future, and his advice to aspiring composers. Music featured in this episode:Nocturne, Dance and Dream (a live performance featuring Craig Ketter on piano)Inharmonic Fantasy No. 7Harmonic Fantasy No. 5(All compositions by Hubert Howe. Used with permission)

For more than two decades, Michael Allen Z Prime has pioneered the art of making music in collaboration with plants and fungi. His albums: L-Fields, One Hour As Peyote, Borneo, and The Ascent Of Sap were the first to be made in collaboration with the bioelectrical fields of plants and fungi. In his work, the fluctuations in pitch and rhythm that you hear directly follow the fluctuations of the bioelectrical fields of the organisms he is working with. Michael has presented his plant and fungal sound installations at venues around the world, including The Mendel Museum (Brno), the NTT InterCommunication Center (Tokyo), the Halles de Schaarbeek (Brussels), the Arnolfini Gallery (Bristol), the Centre for Experimental and Improvised Music (Madrid), and the old Franciscan Abbey on Sherkin Island (Ireland). His recordings of fungi have also been featured on the BBC. Michael is also a qualified ecologist, and his work in that field led him to establish the Comillane Gardens botanical gardens and nature reserve on Cape Clear Island, 10 miles south of the Irish mainland.    TOPICS COVERED:   Early Explorations of  Electroacoustic Music & Mycology  Translating the Bio-Electrical Activity of Organisms into Sound  Different Approaches to Translate Biodata from Organisms  Audio Translation of Electrical Resistance vs Bioelectrical Action PotentialsWhat Does Sound Coming from Mushrooms Tell Us?  Acoustic Differences Between Day and Nights Cycles of Fungi  Does Translating Bioelectrical Activity Also Us to Communicate with Other Organisms?  Bioactivity Translation Equipment  Michael's Mushroom Sound Exhibitions  Different Sounds of Mushrooms Indoors vs Outdoors  Differences in Sounds Between Mushroom Species  Understanding Bioactivity as Future of Understanding Fungal Networks  Demonstration Transcribing Bioelectrical Action Potentials of Mushrooms into Sound   Upcoming Projects and Collaborations  EPISODE RESOURCES:      Michael Prime Bandcamp: https://michaelallenzprime.bandcamp.com/music  Michael Prime Youtube: https://www.youtube.com/channel/UCSX2bfcI0BR-phhw1DGH7JA  Tony Bassett (only reference we could find): http://www.fsr.org.uk/spi/spibass1.htm  Merlin Sheldrake: https://www.merlinsheldrake.com/  Peziza repanda (fungus): https://www.mushroomexpert.com/peziza_repanda.html  Laricifomes officinalis (AKA Agarikon mushroom): https://en.wikipedia.org/wiki/Laricifomes_officinalis  Macrolepiota procera (AKA Parasol mushroom): https://en.wikipedia.org/wiki/Macrolepiota_procera  

Saxophonist Idit Shner joins us to chat about moving between the classical and jazz worlds, her early love for baroque music as a young recorder player, and her thoughts on providing space for students to experience music-making across genres. Idit talks about the differences in the physical technique and the mental preparation for jazz vs. classical performance, and how this influences her approach to performing and recording. She shares her interest in exploring traditional Jewish and Zimbabwean musics, the internal grammar inherent in each piece, the role that her local musical community plays in inspiring her work, and how she hates the word fusion when blending the musics of multiple cultures. An active performer of both jazz and classical music, Idit has played in various distinguished venues in the United States and abroad, such as The Kennedy Center in Washington, D.C. and Lincoln Center in New York. Currently, Shner plays with her jazz quartet in Eugene and Portland, Oregon. Her latest release of jazz originals, 9 Short Stories, garnered a 4 star review in Downbeat Magazine. Her jazz debut, Tuesday's Blues, features nursery rhymes and ancient melodies from the Jewish liturgy performed in a jazz setting. Tuesday's Blues got great reviews from JazzTimes, All Music Guide, and Jazz Review. Jazz festival performances include the Diet Coke Woman in Jazz Festival (NY), Bellayre Festival (NY), and New-Trier Jazz Festival (IL). Idit appears on Music from SEAMUS Vol. 16, a compilation CD of music for instruments and electronic sounds by members of the Society for Electroacoustic Music in the United States. As a classical saxophonist Idit has commissioned and recorded new music and performed solo recitals in the US and Israel. MINERVA is her latest classical release. Her third CD, Le Merle Noir, featuring music by Messiaen, Bozza, Partos, and Glass, was released on Origin Classics in August 2013. Her previous classical recording, FISSURES: 20th Century Music for saxophone and Harp with renowned harpist Yumiko Schlaffer, received great acclaim and was played on NPR's All Things Considered. Idit has collaborated with Fireworks, Beta Collide and Third Angle (new music ensembles), and performed with the Oregon Symphony and the Eugene Symphony. Other appearances include the Northwest Percussion Festival, Electronic Music Midwest, the Oregon Bach Festival, and many North American Saxophone Alliance Conventions. During March 2006 she played in Israel as a featured soloist with a symphonic orchestra, and performed contemporary music at the national convention of the Society for Electro Acoustic Music in the US. Her last solo recital in Israel was broadcasted live on Voice of Music, a national public radio station. During 2005-2006 Idit played lead alto with Sherrie Maricle and the DIVA Jazz Orchestra. Performing her own compositions in a jazz combo setting, she was selected to participate in Betty Carter's Jazz Ahead. Idit holds a Bachelor of Music degree from Oklahoma City University, a Masters degree in Music Education from University of Central Oklahoma, and a Doctor of Musical Arts degree from University of North Texas. Idit now teaches at the University of Oregon, as professor of saxophone and jazz studies. She was awarded two prestigious teaching awards: The 2015 Thomas F. Herman Award for Excellent in Pedagogy in areas of saxophone technique and chamber music coaching; and the 2016 University of Oregon Faculty Excellence Award. The transcript for this episode can be found here. For more information about Chamber Music America, please visit her website and Instagram.

Dark Ambient Atmospheres Ep50 - Ethereal Electro-acoustic Music Mixhttps://www.youtube.com/c/DarkAmbientRadioTracklist:Equidon - AbsorptionArmand Amar - EuthanasiaAtrium Carceri - EntranceAlphaxone - EquilibriumEdward Shearmur - Early HarvestAbandoned Toys - Where Red Shadows SlumberCarles Cases - El Sanatorio de la playaNumina - Elements of TimeTemps Perdu - Eclipse

Alex Shapiro is a composer that, these days, writes primarily electroacoustic music for band but that has composed in many styles and genres, from film music to TV music to chamber music to symphonic band music. We talk about her carreer and about combining musicians performing live with a prepared track. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sergio-barer/support

Sonic Experiments: Telematics | Lecture [14.12.2019] The focus of the »Sonic Experiments« festival is the artistic use of telematic and networking technologies for sound-artistic and musical projects. Telematics refers to communication technologies, which allow for effortless sending and receiving of information, linking distant places or stations. Lectures, panel discussions, workshops, installations and concerts on the topic of artistic telematic projects. With contributions by Artemi–Maria Gioti & Kosmas Giannoutakis, John Richards, Tobias Schmitt & Lasse-Marc Riek, Container Doxa & Luka Frelih u.a. /// Klangkünstlerisch-telematische Projekte stehen im Mittelpunkt des Festivals »Sonic Experiments: Telematics«. Telematik setzt sich aus Telekommunikation und Informatik zusammen und bezeichnet Kommunikationstechnologien, die einen mühelosen Informationsaustausch ermöglichen und entfernte Orte oder Stationen miteinander verbinden. Das Festival umfasst künstlerisch-wissenschaftliche Vorträge, Podiumsdiskussion, Workshops, Installationen und Konzerte. Mit Beiträgen von Artemi–Maria Gioti & Kosmas Giannoutakis, John Richards, Tobias Schmitt & Lasse-Marc Riek, Container Doxa & Luka Frelih u.a.

Michal creates electro-acoustic music combining electronically prepared sounds with acoustic instruments and is a member of the Polish Society for Electroacoustic Music. His narrative feature film scores include Suicide Room, Memories Of Summer, and the acclaimed November, for which he won best score at the Minsk International Film Festival. Michal has also scored several documentaries, including Walking Under Water, The Bad Kids, The Whale from Lorino, and He Dreams of Giants, about director Terry Gilliam. Michal's more recent work includes his album, Music For Film, with selections from his film work over the years, and the sequel to Suicide Room by Jan Komasa called The Hater.

Ah what a lovely chat. We begin with a love letter to new music and Manchester, work through why everyone should be improvising and the parallels between graphic scores and electroacoustic soundscapes, before ending with the role of music in activism, and electro finding a mainstream home in horror music and Amazon’s Alex Rider adaptation. Sarah Keirle - http://sarahekeirle.wixsite.com/ Links and Show Notes The Illy Quane Episode James Keirle International Anthony Burgess Foundation The Vonnegut Collective episode I found it! Turns out we liked the piece enough to commission him… Theme & Transformations by Mark Bowler reflecting deforestation (not temperature change) Sonification & The Problem with Making Music from Data - Tantacrul https://harryovingtonmusic.com/sonic-rewild Harrison Birtwistle: Silbury Air (with score) – See also this excellent primer by London Sinfonietta which includes an explanation of what metric modulation is if you’re wondering. Can you hear Sarah Keirle’s burp in Okypete and Aello? I can’t. Send me a timestamp! Danny Saul Music played in this episode (in order) Gethsemane intro bed Okypete and Aello extracts throughout Blue Lungs outro bed Okypete and Aello final piece played in full Support the podcast Review us on iTunes Subscribe to the mailing list to catch every new episode

Michal creates electroacoustic music combining electronically prepared sounds with acoustic instruments and is a member of the Polish Society for Electroacoustic Music. His narrative feature film scores include Suicide Room, Memories Of Summer, and more recently November, for which he won best score at the Minsk International Film Festival. Michal has also scored several documentaries, including Walking Under Water, The Bad Kids, The Whale from Lorino, and He Dreams of Giants, about director Terry Gilliam. Michal's upcoming work includes his album, Music For Film, with selections from his film work over the years, and a sequel to Suicide Room called Suicide Room: Hater (AKA The Hater).

Ich habe Trompeter, Komponist und Forscher David Aguila während seiner Europareise gesprochen. Gerade sind die Stockhause-Tage & die Blechbläser-Akademie des Ensemble Musikfabrik zu Ende gegangen und er verbringt einige Tage in Kürten bei der Stockhausen-Stiftung, um für seine Dissertation zu forschen. Im Podcast sprechen wir über seinen Weg zur Musik, Kalender aus Papier und einen besonderen Auftritt in der Jay Leno 'Tonight Show' in der David Trompete spielend mit einer Hand den Rubik's Cube löste. Buch-Tipps: Luigi Russolo, Futurist: Noise, Visual Arts, and the Occult: https://amzn.to/2PsiVqq Point and Line to Plane (Dover Fine Art, History of Art): https://amzn.to/2NHRDtg Davids Website: https://www.davidaguila.com ___________________________ Die Playlist zum Podcast findet ihr hier: https://open.spotify.com/user/c92fbemzutxl9fezydyrgvfra/playlist/4S82PES9ya7R1QMy4XYEoI?si=TRNBwWadQmqAM3ryT3W0jQ

Serge Lemouton is an expert in the preservation of the electroacoustic music produced at IRCAM, the renowned art and research center in Paris where he works as senior computer music designer. During this interview, he talks about the music repertoire at IRCAM since 1977 and how it is being documented in their Sidney system. He also shares no less than four excerpts from historical compositions produced at IRCAM. Get your peek behind the scenes at the legendary IRCAM!

Serge Lemouton is an expert in the preservation of the electroacoustic music produced at IRCAM, the renowned art and research center in Paris where he works as senior computer music designer. During this interview, he talks about the music repertoire at IRCAM since 1977 and how it is being documented in their Sidney system. He also shares no less than four excerpts from historical compositions produced at IRCAM. Get your peek behind the scenes at the legendary IRCAM! More episodes at: www.technoculture-podcast.com

Episode 103 of ADJ•ective New Music's podcast, Lexical Tones. March 21–23 the Boston Conservatory at Berklee hosted the 2019 Society for Electro-Acoustic Music in the United States (SEAMUS) Festival [www.seamusonline.org/]. While in attendance, Robert McClure was able to catch up with other composers for interviews in between eleven concerts over three days, to discuss their pieces being performed on the festival. This week's episode of Lexical Tones concludes a three-parts series of micro interviews from SEAMUS 2019, featuring pieces written for electronic media with live performer, performed by the composers on this episode!

Episode 102 of ADJ•ective New Music's podcast, Lexical Tones. March 21–23 the Boston Conservatory at Berklee hosted the 2019 Society for Electro-Acoustic Music in the United States (SEAMUS) Festival [www.seamusonline.org/]. While in attendance, Robert McClure was able to catch up with other composers for interviews in between eleven concerts over three days, to discuss their pieces being performed on the festival. This week's episode of Lexical Tones continues a three-parts series of micro interviews from SEAMUS 2019, featuring pieces written for fixed media or acousmatic music composed by Carter John Rice [https://www.carterricecomposer.com/], Leah Reid [http://www.leahreidmusic.com/], and Jon Fielder [http://jonfielder.weebly.com/].

Download Episode! Today's conversation is with Pete Guenther from Owatonna High School in Owatonna, MN. Pete and I talk about the program at Owatonna high school and how he navigates leading a large program with a small staff. In addition we talk about his interesting connection with Alex Shapiro and electro-acoustic music and talking about band director health, balance, and the importance of not letting life in the classroom consume your life outside of the classroom. You are not going to want to miss this one!! Before we get started, I need to mention that today's episode is brought to you by Eargasam Ear Plugs. As a sax player in a big band in undergrad, sitting in front of the trombones and trumpets on tiered seats combined with the drumset player being upstage to my right meant that I was hearing the full force of every marcato, accent, and rim shot. For the first few jazz rehearsals I remember walking away with ringing ears and thinking - if I keep this up, I am going to lose my hearing before I graduate from this place. My solution? I made an appointment with an audiologist to get custom-made musicians ear-plugs. These have been fantastic and have protected my ears from acoustical bombardment for the last 10 years. However due to human ears constantly changing throughout our lifetime, those ear plugs have only about a 10 year shelf life as they will eventually no longer fit quite right. Audiologist ear plugs also set me back about $150 and at the time were not covered by my insurance. What was I to do? Enter Eargasam earplugs - the cost effective alternative to expensive custom fit  audiologist earplugs. Their discreet design allows them to be worn without drawing attention to your ears. Each set comes with two different sizes for large and small ear canals. They are easy to remove from your ears and come with an aluminum carrying case that can be clipped to your keychains making them easy to carry with to pep band events or concerts. These earplugs make all frequencies softer - so they do not hinder your ability to interact with what you are hearing from your band, but they do help ensure that you will be able to continue hearing long after rehearsal is over. Use this link in our show notes to purchase your set of Eargasam Earplugs and your purchase will help support The Band Director's Lounge. Check out the company's website to see all of the styles available today. Alright, onto my conversation with Pete. Episode Overview Background (02:30) Owatonna High School (06:39) Marching Band (15:37) Electro-Acoustic Music (23:24) Large Program - Small Staff (37:37) Navigating inside and outside of the classroom - director health (46:46) What makes a great band program? (60:36) And that wraps up this episode. Remember that you can head out to thebanddirectorslounge.com for the links along with books and other resources mentioned in each episode. If you know someone who would make a great guest on the show, please consider nominating them through this google form. This method will help me connect with directors outside of MN more as I will have an “in” with how to approach them about their programs. By the way, if you know of a great program but don't know the director very well, you can simply nominate the program too! Many of the fields in the form are optional but just remember that the more information that you share with me, the better I can be about contacting them for the show. The nomination form is also on the facebook page and thebanddirectorslounge.com. Thanks for tuning in! And we will see you back here next time in The Band Director's Lounge. Other Resources Pete Guenther(Guest) Logan Burnside (Show Host) http://thebanddirectorslounge.com (Podcast Website) https://www.facebook.com/TheBandDirectorsLounge/ (FB Website) Nominate someone to be interviewed Support The Band Director's Lounge Eargasm Earplugs Audible - 30 days free + 2 free books Donate to support the podcast Books from episodes

Episode 101 of ADJ•ective New Music's podcast, Lexical Tones. March 21–23 the Boston Conservatory at Berklee hosted the 2019 Society for Electro-Acoustic Music in the United States (SEAMUS) Festival [www.seamusonline.org/]. While in attendance, Robert McClure was able to catch up with other composers for interviews in between eleven concerts over three days, to discuss their pieces being performed on the festival. This week's episode of Lexical Tones begins a three-parts series of micro interviews from SEAMUS 2019, featuring pieces written for live performers and electronics composed by Elainie Lillios [http://elillios.com/], Per Bloland [http://www.perbloland.com/], and Jacob David Sudol [http://www.jacobsudol.com/].

Natasha Anderson's new immersive work for electronics and baroque violinist Lizzy Welsh premieres at the festival.

Natasha Anderson's new immersive work for electronics and baroque violinist Lizzy Welsh premieres at the festival.

Steampunk Music Podcast Ep11 - Ethereal Electroacoustic Music MixTracklist:A winged victory for the sullen - Requiem for the static king part 2Wojciech Kilar - Mina's photoThe Synthetic Dream Foundation - What wonder held for ransomPoppy Ackroyd - SaltSamantha Bouquin - Contemplation #1Symfony - Lulling lullabySophie Hutchings - Sabers BeadsPriscilla Hernandez - NightmareAshram - Nevermore sorrowTrobar de morte - no returnRajna - NomineumTrobar de Morte - Nimuehttp://www.steampunkradio.com/

Steampunk Music Podcast Ep11 - Ethereal Electroacoustic Music MixTracklist:A winged victory for the sullen - Requiem for the static king part 2Wojciech Kilar - Mina's photoThe Synthetic Dream Foundation - What wonder held for ransomPoppy Ackroyd - SaltSamantha Bouquin - Contemplation #1Symfony - Lulling lullabySophie Hutchings - Sabers BeadsPriscilla Hernandez - NightmareAshram - Nevermore sorrowTrobar de morte - no returnRajna - NomineumTrobar de Morte - Nimuehttp://www.steampunkradio.com/

Episode 74 of ADJ•ective New Music's podcast, Lexical Tones. March 29–31 the University of Oregon hosted the 2018 Society for Electro-Acoustic Music in the United States (SEAMUS) Festival [www.seamusonline.org/]. While in attendance, Robert McClure was able to catch up with other composers for interviews in between eleven concerts over three days, to discuss their pieces being performed on the festival. This week's episode of Lexical Tones is the third in a three-parts series of micro interviews from SEAMUS 2018, featuring pieces written by composers "engaging with the present": José Martínez [https://josemartinezcomposer.com/], Lucas Marshall Smith [http://lmsmth10.wix.com/lucasmarshallsmithcomposer], and Mark Phillips [http://coolvillemusic.com/].

Episode 73 of ADJ•ective New Music's podcast, Lexical Tones. March 29–31 the University of Oregon hosted the 2018 Society for Electro-Acoustic Music in the United States (SEAMUS) Festival [www.seamusonline.org/]. While in attendance, Robert McClure was able to catch up with other composers for interviews in between eleven concerts over three days, to discuss their pieces being performed on the festival. This week's episode of Lexical Tones is the second in a three-parts series of micro interviews from SEAMUS 2018, featuring pieces written by previous guest of the podcast: Timothy Roy [https://timothyroy.wordpress.com/], Heather Stebbins [http://heatherstebbins.com/], Carter John Rice [https://www.carterricecomposer.com/], and Ben Fuhrman [http://benfuhrman.com/].

Episode 72 of ADJ•ective New Music's podcast, Lexical Tones. March 29–31 the University of Oregon hosted the 2018 Society for Electro-Acoustic Music in the United States (SEAMUS) Festival [https://www.seamusonline.org/]. While in attendance, Robert McClure was able to catch up with other composers for interviews in between eleven concerts over three days, to discuss their pieces being performed on the festival. This week's episode of Lexical Tones begins a three-parts series of micro interviews from SEAMUS 2018, featuring pieces written for live performers and electronics composed by Annie Hui-Hsin Hsieh [http://www.anniehuihsinhsieh.com/], Nathaniel James Haering [http://nathanielhaering.com/], Becky Brown [http://becky-brown.org/], and Jacob Sudol [http://www.jacobsudol.com/].

New electro-acoustic music by influential experimental composer Warren Burt and five of his recent students.

New electro-acoustic music by influential experimental composer Warren Burt and five of his recent students.

Minimalist Classical Music Ep04 - Ethereal Electro-acoustic Music Mix Tracklist: Trio Zephyr - L'euphrate Abandoned Toys - The witch's garden (prelude) Dargaard - The march of shadows Samantha Bouquin - Tale for a sunken moon Julianna Barwick - The magic place David Reyes - The magic woods Library Tapes - The rivers turned to cobblestone Danny Norbury - The morning star The mountaineering club - the voyage Narsilion - The voice of sin Clint Mansell featuring the kronos quartet - the last man The frozen vaults - the great thaw Nox Arcana - The grande hall Caprice - the snow queen Lisa Gerard with Peter Bourke - The unfolding http://postclassicalmusic.tumblr.com/

Steampunk Music Podcast Ep09 - Electro-acoustic MusicTracklist:Marsen Jules Trio - EclipseOlan Mill - Echo of TomorrowThe Synthetic Dream Foundation - Destiny's DanceQntal - Entre Moi Et Mon AminNatasha Nightingale - Red Upon The FrostRasplyn - Temple MoonInsa Donja Kai - End SilenceRising Shadows - Embraced by the shadowsRafael Anton Irisarri - EmbracedHauschka - Elizabeth Bayhttp://www.steamunkradio.com/

Steampunk Music Podcast Ep09 - Electro-acoustic MusicTracklist:Marsen Jules Trio - EclipseOlan Mill - Echo of TomorrowThe Synthetic Dream Foundation - Destiny's DanceQntal - Entre Moi Et Mon AminNatasha Nightingale - Red Upon The FrostRasplyn - Temple MoonInsa Donja Kai - End SilenceRising Shadows - Embraced by the shadowsRafael Anton Irisarri - EmbracedHauschka - Elizabeth Bayhttp://www.steamunkradio.com/

Discover the Iron Curtain's unlikeliest music haven and the people who made it happen. In 1957, the Polish Radio Experimental Studio (PRES) first opened its doors in Warsaw, and would very soon become an important European centre for the creation of exciting and original electro-acoustic music. But how did such a place even come to be built in Poland, just a few years after the death of Stalin and the severe artistic restrictions of Social Realism? In this episode, you will find out what exactly went on inside the strange electronic depths of the PRES, and how through the efforts of its first director, Józef Patkowski, the studio became a 'window to the world', hosting the best composers from both the Eastern Bloc and the West. You'll also hear the remarkable story of Eugeniusz Rudnik, a technician from a small Polish village, who after spending countless hours helping out others with tape machines and signal generators found unexpected success and recognition. Like our show? Sign up for our newsletter! Further listening Psalmus by Krzysztof Penderecki, 1961 Etude aux Chemins de Fer by Pierre Henri Marie Schaeffer, 1948 Studie 1 by Karlheinz Stockhausen, 1953 Study for One Cymbal Stroke by Włodzimierz Kotoński, 1959 Symphony - Electronic Music by Boguslaw Schaeffer, 1966 Ode to Light (Sculpture) by Arne Nordheim, 1968 Mobile for Magnetic Tape by Eugeniusz Rudnik, 1965 Further reading The Story Behind the Experimental Music Haven that Escaped Communist Censorship / from Culture.pl The Musical Milestones of the Polish Radio Experimental Studio / on Culture.pl PRES Cheatsheet: Four Giants from Poland's Legendary Music Studio / on Culture.pl A Foreigner's Guide to Polish Electronic Music / on Culture.pl Eugeniusz Rudnik / biography on Culture.pl Full archive of PRES articles on Culture.pl A History of Electroacoustic Music in Poland from the Perspective of the Polish Radio Experimental Studio 1957-1990 / on Sound Exchange Spatial Music: Design and the Polish Radio Experimental Studio / on post at MoMA How Much Rudnik is in Penderecki, and How Much Rudnik is in Nordheim? Interview with Eugeniusz Rudnik / on post at MoMA   Further watching 15 Corners of the World / on Ninateka.pl (Click 'English version' to the right of the player for subtitles) Eugeniusz Rudnik Q&A / from the Polish Cultural Institute in London's Youtube channel Uncovering the Soul of the Polish Radio Experimental Studio link opens page / on Culture.pl's Youtube channel Thanks Antoni Beksiak / for kindly initiating us into the technological and musical history of the studio. Antoni is a music critic, musician and festival curator (Turning Sounds et al.). He leads the bands Niewte and Gęba.  Łukasz Strusiński / for inviting us to the International PRES Conference in Łódź (October 2017) and helping us navigate this topic. Łukasz is a classical music expert and part of the Master Project team at the Adam Mickiewicz Institute. Agnieszka Pindera / for sharing her knowledge about the studio and those closely involved with it, including Józef Patkowski, Eugeniusz Rudnik and Władysław Sokorski. Agnieszka is a curator at Muzeum Sztuki in Łodź and organiser of the International PRES Conference held at the museum in 2017. Paweł Nowożycki / for talking to us about the iconic Black Room at PRES and its planned re-construction at the new Museum of Modern Art (MSN) building in Warsaw. Paweł is a curator at MSN and head of the PRES reconstruction project. David Crowley / for shedding light on the historical and artistic background of the studio as a place of creative openness behind the Iron Curtain and its important links with Western studios and composers. David Crowley is the Head of the School of Visual Culture at the National College of Art and Design in Dublin.   SFTEW Team: Wojciech Oleksiak, Adam Zulawski, John Beauchamp, Nitzan Reisner & Piotr Wołodźko

Middle school band director Aaron Given joins me for a conversation about his background, his career, and his belief that his passion for music influences everything that he does as a teacher. Topics:  Aaron’s background and his current position as a middle school band director near Columbus, Ohio. Lessons learned from Ken Singleton at the University of Northern Colorado. Why it is so important to care about your students and the value of bringing that to the classroom. The use of electronics in band music. What Aaron’s program looks like and the value of doing a November concert rather than one in December. The problems with the push towards vocational training and why we must resist that and re-embrace the liberal arts model. Links: Aaron Given Julie Giroux - The Bonsai Tree Scott McAllister - Images (Performed by Aaron's band) Phillip Sparke - Dance Movement Antonin Dvořák: Serenade for Winds, op. 44 A Survey of Performance Practice of Electroacoustic Music for Wind Bad Grades 2-3  Biography: Aaron Given is a band director with the Olentangy Local School District, near Columbus, Ohio. He also serves as Associate Director and Director of Educational Outreach for the Horns of Ohio. Previously, Aaron was a founding member of the Capital City Chamber Players, where he served as Associate Conductor. A passionate advocate for new music in the classroom, Aaron works with professional composers to create high quality repertoire for young players and engage students in the compositional process. Notable collaborators include Scott McAllister, Michael Rene Torres and the Columbus Ohio Discovery Ensemble. As a hornist, Aaron has performed with the Wyoming Symphony Orchestra, the Westerville Symphony and the Dublin (Ireland) International Symphonic Festival, and the Interlochen Arts Camp Faculty Brass Ensemble. His teachers include Grammy-winning hornist Marian Hesse and Bruce Henniss. As a clinician, Aaron has presented sessions for the Ohio Music Educators Association, the National Association for Music Education, and the Capital University Complete Band Director Workshop. Aaron earned his bachelor’s degree in Music Education at the University of Northern Colorado and his master’s degree in Wind Conducting at The Ohio State University.

Körverk tillägnat Pussy Riot. Äggen är slut, ett klimakterie-projekt för damkör. Nytt Damkapell letar fram kvinnliga tonsättare, som varken fått vår kärlek eller blivit spelade eller lyssnade till. Kvinnors musik på väg! vill undersöka hur det står till med kvinnor och konstmusik tio år efter det att P2 2006 sände den legendariska programserien Konsten att humla. Idag möter vi tre musikkvinnor som, istället för att sitta i sitt elfenbenstorn och komponera verk för evigheten, valt att samarbeta med andra konstnärer och att vara omgivna av fler personer i den kreativa processen. Multikonstnären Paula af Malmborg Ward - tonsättare, arrangör, dirigent, sångerska, pianist, sitter visserligen i ett torn och komponerar, men det är ett renoverat kokstorn vid inloppet till Göteborgs hamn där fiskmåsar, trutar och Stena Lines hornstötar delar på det akustiska utrymmet utanför fönstret. Paula af Malmborg Ward har skrivit operor, radiohörspel, orkesterverk och har tidigare fått ta emot gliringar och goda råd som manliga tonsättare slipper. - Man behöver lyfta blicken och se vad vi får för pengarna. Vad representerar de, de här extremt pengaslukande, resursslukande institutionerna som de statsunderstödda orkestrarna och operahusen är? Och det är ju faktiskt så att många av dem har anledning att skämmas av flera anledningar. Rapporter visar nämligen att döda utländska män fortsätter att dominera repertoaren på de statsunderstödda svenska musikinstitutionerna. Andelen kvinnliga tonsättare är fortfarande försvinnande liten. Paula af Malmborg Ward arbetar nu med två operor. Kärlekskriget, utifrån Ebba Witt-Brattströms punktroman Århundradets kärlekskrig, har bl a alten Anna Larsson i rollistan. Kärlekskriget får urpremiär i Vattnäs Konsertlada den 6 juli 2017 och produceras i samarbete med Västmanlands Länsteater. Dansa min Docka har som tema kvinnlig aneroxi och visar skrämmande fakta från två whistleblowers från psykvården. Librettot är skrivet av Paula af Malmborg Ward och Pernilla Holmgren Larsson. För kören YMNA, dirigerade av Johanna Thür, komponerar Paula af Malmborg Ward Äggen är slut om klimakteriet. Sångtexterna är skrivna av Lina Ekdahl. Föreställningen har premiär den 21 januari 2017 i Röda Stens konsthall i Göteborg. Till föreställningen Från Iran till Djursholm via Småland och Linköping kallas de fyras gäng PAMP utifrån sina förnamn: Pernilla Holmgren Larsson - journalist, Arghavan Agida - sångerska, författare, ambassadör för UN Women, Mirre Sennehed - DJ, projektledare, klubbarrangör, festivaldirektör och Paula af Malmborg Ward, tonsättare.   Altviolinisten Mika Persdotter Svensson pluggar sista året på masternivån på det kungliga musikkonservatoriet i Köpenhamn. Hennes examensarbete är att starta ett Damkapell i Köpenhamn och för de musikerna leta fram kvinnliga tonsättare ur både historisk tid och nutid. Damkapellet kommer att premiärspela i Konsertkyrkan i Köpenhamn den 8 mars 2017, Internationella Kvinnodagen. Damkapellet består då av en stråkorkester på 15 musiker, en cembalist och en pianist. De spelar fem kompositioner från 1100-talet fram till idag: av Hildergard av Bingen, Wilhelmina av Preussen, Elfrida Andrée, Frangis Ali Zade och Ellen Lindquist. - Det är så sorgligt att tänka på hur litet kärlek kvinnliga tonsättare har fått genom historien. De har inte alls fått samma uppmärksamhet, de har inte blivit spelade och lyssnade till. Det är ju först när musik får gå igenom andra som den kan växa och utvecklas och bli nåt större än tonsättaren själv och de noter hen skrivit på papperet. Musiken blir då en del av universum, säger Mika i programmet. Mika är frustrerad över hur få timmar som ägnades åt kvinnliga tonsättare under alla hennes utbildningar i Göteborg, Prag och Köpenhamn. Hon har spelat viola i orkestrar sedan hon var tio år. - Det finns tydliga och plågsamma maktsystem och hierarkier inom symfoniorkesterkulturen. Det handlar om vem som skall bestämma över repertoaren. Oftast väljs musik av män. Den som dirigerar musiken och bestämmer hur den skall spelas är nästan alltid en man. Det finns även hierakiska system i stämmorna. Vem bestämmer hur stämman skall spelas? Ja, det finns tydliga maktroller i hela orkestern, berättar Mika Persdotter Svensson i programmet.   Norska tonsättaren Cecilie Ore studerade piano vid Norges Musikhögskola  och i Paris och därefter komposition i Utrecht och hos Ton de Leeuw Amsterdam. Hon vann International Rostrum for Electro-Acoustic Music och är intresserad av tidsaspekter i musik. På 2000-talet har hon mer och mer arbetat med textbaserad och samhällskritisk musik. När tonsättaren Xenakis avled 2001 stod den norske poeten Paal-Helge Haugen utan tonsättare till sin skuggopera A. Cecile Ore fick ta över uppgiften efter Xenakis. Hennes verk har framförts av BBC Symphony Orchestra, Ensemble Modern, BBC Singers samt en rad norska och nordiska ensembler. Så här sa Cecilie Ore i Konsten att humla 2006:  -Det är mycket svårare att vara medelmåttig kvinnlig tonsättare än  att vara medelmåttig manlig komponist. Och det går inte alls an att vara en dålig kvinnlig tonsättare. De kvinnliga tonsättare som godkänns har en mycket hög konstnärlig nivå. Cecilie Ores opera Adam & Eve A Divine Comedy handlar om religioners våld mot kvinnor, med citat ur Bibeln och Koranen, utdrag ur Förklaringen om de mänskliga rättigheterna och poesi ur Dantes Divina Commedia. I operan, med libretto av dramaturgen Bibbi Moslet, beskrivs de sju dödssynderna: Lust, förintelse av kvinnors lust genom omskärelse. Vrede, våld mot och mord på kvinnor. Girighet - män äger 99% av världens rikedomar. Kvinnor endast 1 %. Frosseri - män frossar i sexuella övergrepp och våldtäkter. Avund - män är svartsjuka och täcker kvinnor i burka, niqab och liknande. Lättja - prostitution och trafficking, där män låter kvinnor arbeta för sig och tar profiten. Högmod/Stolthet representeras av hedersmord på kvinnor Körverket Come to the Edge är tillägnat "de modiga medlemmarna i Pussy Riot". BBC Singers framför stycket som handlar om yttrandefrihet och innehåller citat från bl a George Washington, Abraham Lincoln, Katarina av Siena, Lenny Bruce, Che Guevara, William Shakespeare, Harry Belafonte och Pussy Riot. Who do you think you are är skrivet för kvinnoröster och BBC Singers famför denna ironiska standup anti-romans om hur kvinnor blir trakasserade, hotade och mobbade på internet. Manus, regi och produktion: Birgitta Tollan.   Musiklista: Forest food Corinne Von Dardel, Stensöta Karin Wiberg, Violin   The Flight of the Bumblebee (from The Tale of Tsar Saltan)[encore, arr JosephStirmer] Rimsky-Korsakov, Nikolai David Geringas (Cello),Yasha Nemtsov (Piano) At Klosterkirche, Traunstein As Part Of The 2013 Traunstein Summer Concerts   Selfie Mika Persdotter Svensson, Mika Persdotter Svensson   QUASI HOQUETUS(VERSION FOR VIOLA,KONTRABAS & PIANO) Sofia Gubajdulina, Ulrich Knörzer/ MartinHeinze/ Heike Gneiting NEOSPRODUCTIONS29354, NEOS   GILA ROME Sylvie Bodorova, Jitka Hosprova ARCO DIVA27907, UP 0043   RELEASE Carin Malmlöf-Forssling, Karl-Ove Mannberg/Dalecarlian Chamber Orchestra BLUEBELL006591, ABCD 069   MUGAM SAJAHI Frangiz Ali-Zade, The Xenia Ensemble FELMAY 23716, FY 7022   MUGAM SAJAHI Frangiz Ali-Zade, The Xenia Ensemble Felmay 23716, FY 7022   Vidder I. Hör Du Livets Ljud Paula Af Malmborg Ward, Erik Westbergs Vokalensemble, Daniel Saur, Slagverk STUDIO ACUSTICUM, SA12   Vidder II. Dagfågel Nattfågel Paula Af Malmborg Ward, Erik Westbergs Vokalensemble, Daniel Saur, Slagverk STUDIO ACUSTICUM, SA12   Vidder III. Dimma. Varm Paula Af Malmborg Ward, Erik Westbergs Vokalensemble, Daniel Saur, Slagverk STUDIO ACUSTICUM, SA12   Vidder III. Dimma. Varm Paula Af Malmborg Ward, Erik Westbergs Vokalensemble, Daniel Saur, Slagverk STUDIO ACUSTICUM, SA12   Interlude 1 Adam & Eve Cecilie Ore, Kathrine Winnes, Dirigent Tora Augestad, Sopran/Mezzosopran Eir Inderhaug, Sopran   Toil and Trouble Cecilie Ore, BBC Singers   Come to the Edge - for Pussy Riot Cecilie Ore, BBC Singers   Who do you think you are Cecilie Ore, Eir Inderhaug, Sopran   Adam & Eve A Divine Comedy Cecilie Ore, Bibbi Moslet Div.   Paradiso Adam & Eve A Divine Comedy Cecilie Ore, Bibbi Moslet Div.

Körverk tillägnat Pussy Riot. Äggen är slut, ett klimakterie-projekt för damkör. Nytt Damkapell letar fram kvinnliga tonsättare, som varken fått vår kärlek eller blivit spelade eller lyssnade till. Kvinnors musik på väg! vill undersöka hur det står till med kvinnor och konstmusik tio år efter det att P2 2006 sände den legendariska programserien Konsten att humla. Idag möter vi tre musikkvinnor som, istället för att sitta i sitt elfenbenstorn och komponera verk för evigheten, valt att samarbeta med andra konstnärer och att vara omgivna av fler personer i den kreativa processen. Multikonstnären Paula af Malmborg Ward - tonsättare, arrangör, dirigent, sångerska, pianist, sitter visserligen i ett torn och komponerar, men det är ett renoverat kokstorn vid inloppet till Göteborgs hamn där fiskmåsar, trutar och Stena Lines hornstötar delar på det akustiska utrymmet utanför fönstret. Paula af Malmborg Ward har skrivit operor, radiohörspel, orkesterverk och har tidigare fått ta emot gliringar och goda råd som manliga tonsättare slipper. - Man behöver lyfta blicken och se vad vi får för pengarna. Vad representerar de, de här extremt pengaslukande, resursslukande institutionerna som de statsunderstödda orkestrarna och operahusen är? Och det är ju faktiskt så att många av dem har anledning att skämmas av flera anledningar. Rapporter visar nämligen att döda utländska män fortsätter att dominera repertoaren på de statsunderstödda svenska musikinstitutionerna. Andelen kvinnliga tonsättare är fortfarande försvinnande liten. Paula af Malmborg Ward arbetar nu med två operor. Kärlekskriget, utifrån Ebba Witt-Brattströms punktroman Århundradets kärlekskrig, har bl a alten Anna Larsson i rollistan. Kärlekskriget får urpremiär i Vattnäs Konsertlada den 6 juli 2017 och produceras i samarbete med Västmanlands Länsteater. Dansa min Docka har som tema kvinnlig aneroxi och visar skrämmande fakta från två whistleblowers från psykvården. Librettot är skrivet av Paula af Malmborg Ward och Pernilla Holmgren Larsson. För kören YMNA, dirigerade av Johanna Thür, komponerar Paula af Malmborg Ward Äggen är slut om klimakteriet. Sångtexterna är skrivna av Lina Ekdahl. Föreställningen har premiär den 21 januari 2017 i Röda Stens konsthall i Göteborg. Till föreställningen Från Iran till Djursholm via Småland och Linköping kallas de fyras gäng PAMP utifrån sina förnamn: Pernilla Holmgren Larsson - journalist, Arghavan Agida - sångerska, författare, ambassadör för UN Women, Mirre Sennehed - DJ, projektledare, klubbarrangör, festivaldirektör och Paula af Malmborg Ward, tonsättare.   Altviolinisten Mika Persdotter Svensson pluggar sista året på masternivån på det kungliga musikkonservatoriet i Köpenhamn. Hennes examensarbete är att starta ett Damkapell i Köpenhamn och för de musikerna leta fram kvinnliga tonsättare ur både historisk tid och nutid. Damkapellet kommer att premiärspela i Konsertkyrkan i Köpenhamn den 8 mars 2017, Internationella Kvinnodagen. Damkapellet består då av en stråkorkester på 15 musiker, en cembalist och en pianist. De spelar fem kompositioner från 1100-talet fram till idag: av Hildergard av Bingen, Wilhelmina av Preussen, Elfrida Andrée, Frangis Ali Zade och Ellen Lindquist. - Det är så sorgligt att tänka på hur litet kärlek kvinnliga tonsättare har fått genom historien. De har inte alls fått samma uppmärksamhet, de har inte blivit spelade och lyssnade till. Det är ju först när musik får gå igenom andra som den kan växa och utvecklas och bli nåt större än tonsättaren själv och de noter hen skrivit på papperet. Musiken blir då en del av universum, säger Mika i programmet. Mika är frustrerad över hur få timmar som ägnades åt kvinnliga tonsättare under alla hennes utbildningar i Göteborg, Prag och Köpenhamn. Hon har spelat viola i orkestrar sedan hon var tio år. - Det finns tydliga och plågsamma maktsystem och hierarkier inom symfoniorkesterkulturen. Det handlar om vem som skall bestämma över repertoaren. Oftast väljs musik av män. Den som dirigerar musiken och bestämmer hur den skall spelas är nästan alltid en man. Det finns även hierakiska system i stämmorna. Vem bestämmer hur stämman skall spelas? Ja, det finns tydliga maktroller i hela orkestern, berättar Mika Persdotter Svensson i programmet.   Norska tonsättaren Cecilie Ore studerade piano vid Norges Musikhögskola  och i Paris och därefter komposition i Utrecht och hos Ton de Leeuw Amsterdam. Hon vann International Rostrum for Electro-Acoustic Music och är intresserad av tidsaspekter i musik. På 2000-talet har hon mer och mer arbetat med textbaserad och samhällskritisk musik. När tonsättaren Xenakis avled 2001 stod den norske poeten Paal-Helge Haugen utan tonsättare till sin skuggopera A. Cecile Ore fick ta över uppgiften efter Xenakis. Hennes verk har framförts av BBC Symphony Orchestra, Ensemble Modern, BBC Singers samt en rad norska och nordiska ensembler. Så här sa Cecilie Ore i Konsten att humla 2006:  -Det är mycket svårare att vara medelmåttig kvinnlig tonsättare än  att vara medelmåttig manlig komponist. Och det går inte alls an att vara en dålig kvinnlig tonsättare. De kvinnliga tonsättare som godkänns har en mycket hög konstnärlig nivå. Cecilie Ores opera Adam & Eve A Divine Comedy handlar om religioners våld mot kvinnor, med citat ur Bibeln och Koranen, utdrag ur Förklaringen om de mänskliga rättigheterna och poesi ur Dantes Divina Commedia. I operan, med libretto av dramaturgen Bibbi Moslet, beskrivs de sju dödssynderna: Lust, förintelse av kvinnors lust genom omskärelse. Vrede, våld mot och mord på kvinnor. Girighet - män äger 99% av världens rikedomar. Kvinnor endast 1 %. Frosseri - män frossar i sexuella övergrepp och våldtäkter. Avund - män är svartsjuka och täcker kvinnor i burka, niqab och liknande. Lättja - prostitution och trafficking, där män låter kvinnor arbeta för sig och tar profiten. Högmod/Stolthet representeras av hedersmord på kvinnor Körverket Come to the Edge är tillägnat "de modiga medlemmarna i Pussy Riot". BBC Singers framför stycket som handlar om yttrandefrihet och innehåller citat från bl a George Washington, Abraham Lincoln, Katarina av Siena, Lenny Bruce, Che Guevara, William Shakespeare, Harry Belafonte och Pussy Riot. Who do you think you are är skrivet för kvinnoröster och BBC Singers famför denna ironiska standup anti-romans om hur kvinnor blir trakasserade, hotade och mobbade på internet. Manus, regi och produktion: Birgitta Tollan.

Cecilie Ore: Det är svårare att vara medelmåttig kvinnlig tonsättare än att vara en manlig medelmåttig komponist. Maja S K Ratkjes gruppnamn efter Pippi Långstrumps ord "SPUNK är inte en dammsugare". Att humla - vad är det? Vi är i Oslo och möter tonsättaren Synne Skouen som sa de bevingade orden: -Det sägs om humlan att hon inte är konstruerad för att flyga. Men det vet hon inte och därför flyger hon ändå. Som kvinnlig tonsättare "humlar" jag!Synne Skouen utbildade sig bl a i Wien. Var tidigare ordförande i Norska Tonsättarföreningen och 1983 vann hon Prix Italia för radioproduktionen Måkespiserne.-I starka organisationer krävs kvotering. Om vi tror att förändringar sker via evolution så kommer vi att få vänta alltför länge. -Jag har inte skrivit en endaste not som inte på ett eller annat  sätt signalerar att jag är kvinna. Man sa att det skulle vara ett  hinder att få barn. Men när vattnet gick var det som att dra ur en  plopp! Båda gångerna! Jag fick energi, kreativitet och mod att komponera, berättar Synne Skouen. Tonsättaren Cecilie Ore studerade bl a hos Ton de Leeuw i Amsterdam. Vann International Rostrum for Electro-Acoustic Music. Hon är intresserad av tidsaspekter och har skrivit beställningsverk för flera europeiska beställare, bl a A. - en skuggopera, stråkkvartetten Cirrus och tetralogien Codex Temporis. -Det är mycket svårare att vara medelmåttig kvinnlig tonsättare än  att vara medelmåttig manlig komponist. Och det går inte alls an att  vara dålig kvinnlig tonsättare. De kvinnliga tonsättare som godkänns har en mycket hög konstnärlig nivå, säger Cecile Ore.Vi möter också tonsättaren, performern, sångerskan och laptop-artisten Maja Solveig Kjelstrup Ratkje. Hon kallas Big noice from Norway. Har erhållit både EBUs Rostrum-pris och norska Edvardpriset. Skapade gruppen SPUNK efter Pippi Långstrumps nonsens-ord: Det enda säkra är att SPUNK inte betyder dammsugare. Maj är en av noice-artisterna i duon Fe-mail, Syklubben från Helvetet, alias Blixter Toad. -Jag har fått frågan Varför skriver du en så våldsam musik du som  är en så liten och söt kvinna. Är det för att provocera?-Hallå! Det  här är mitt liv! Det är min musik som kommer från mitt hjärta, förklarar Maja Solveig Kjelstrup Ratkje. Musiklista: Rimsky-Korsakov, transcr. Sergej Rachmaninov The Flight of the Bumblebee Simon Trpceski, piano CD-titel: Racmaninov: Piano Sonata No.2 ; Preludes EMI Classics 7243 5 57943 2 1 gagaku variations Maja Solveig Kjelstrup Ratkje Frode Haltli & Vertavokvartetten Looking on Darkness ECM 028947218722 Pro Logos Cecilie Ore A - en skuggopera ACD 5034 Une Soirèe dètè... Synne Skouen Geir Inge Lotsberg, violin CD-titel: Works by Apollyon, Skouen and Åm Afontibus ATBCD-04 Rye Synne Skouen, musik. Cecilie Løveid, text. Guri Egge - sopran. Einar Henning Smebye -piano. CD-titel: SONGS FROM THE LAST CENTURY Pro Musica PPC9055 Futurum Exactum Cecilie Ore Cikada String Quartet Codex Temporis A u r o r a  A C D  4 9 8 9 Non Nunquam Cecilie Ore Cikada stråktrio CD-titel: Tempora Mutantur Frau Musica (nova). Porträtkonzert 4 november 2001 Deutschlandfunk Albumblatt Op.59/5 Agathe Backer-Gröndal Solveig Funseth, Piano CD-titel: Women Composers Swedish Society SCD 1043 Ritornell 3 Cecilie Ore Diverse medverkande. A - en skuggopera ACD 5034 Ictus Cecilie Ore Schlagquartett Köln CD-titel: Tempora Mutantur Frau Musica (nova). Porträtkonzert 4 november 2001 Deutschlandfunk acid Maja Solveig Kjelstrup Ratkje Maja Solveig Kjelstrup Ratkje CD-titel: voice rune grammofon RCD 2028 The Vertical Pit Of Machines Fe-Mail Fe-Mail CD-titel: Blixter Toad Asphodel Ltd ASP 2033 Norge i Rött SPUNK CD-titel: den øverste toppen på en blåmalt flaggstang rune grammofon RCD 2026 Interlude 1 Fe-Mail Blixter Toad Asphodel Ltd ASP 2033 Waves IIb Maja Solveig Kjelstrup Ratkje Oslo Sinfonietta. Christian Eggen, dirigent CD-titel: oslo sinfonietta ALBEDO ALBCD 017 octo Maja Solveig Kjelstrup Ratkje Maja Solveig Kjelstrup Ratkje CD-titel: voice rune grammofon RCD 2028  Tonsättaren Cecilie Ore: Det är mycket svårare att vara medelmåttig kvinnlig tonsättare än att vara en manlig medelmåttig komponist. Och det går inte alls an att vara dålig kvinnlig tonsättare. De kvinnliga tonsättare som godkänns har en mycket hög konstnärlig nivå. Tonsättare Maja Solveig Kjelstrup Ratkje: Min Voice-platta, som gjorde succé på noice-scenerna världen över, osynliggjordes i gubbkulturen i samtidsmiljön. Vi startade improvisationsgruppen SPUNK efter Pippi Långstrumps nonsens-ord: Det enda säkra är att SPUNK inte betyder dammsugare. Synne Skouen: -I starka organisationer krävs kvotering. Om vi tror att förändringar sker via evolution så kommer vi att få vänta alltför länge. Tonsättaren Cecilie Ore: Det är mycket svårare att vara medelmåttig kvinnlig tonsättare än att vara en manlig medelmåttig komponist. Maja Solveig Kjelstrup Ratkje om sin  grupp SPUNK, efter Pippi Långstrumps nonsens-ord: -Det enda säkra är att SPUNK inte betyder dammsugare.

Decibel ensemble present treasures from the archive - electro-acoustic chamber music from one of Perth's founding new musical voices.

Decibel ensemble present treasures from the archive - electro-acoustic chamber music from one of Perth's founding new musical voices.

More immense and immersive spatial electro-acoustic music from Perth-based composers, featuring Cat Hope, Stuart James, and program curator Steve Paraskos.

More immense and immersive spatial electro-acoustic music from Perth-based composers, featuring Cat Hope, Stuart James, and program curator Steve Paraskos.

Immense and immersive - new spatial electro-acoustic music by Perth-based composers Kynan Tan, Chris Cobilis, and Dobromila Jaskot.

Immense and immersive - new spatial electro-acoustic music by Perth-based composers Kynan Tan, Chris Cobilis, and Dobromila Jaskot.

New and recent Australian percussion music from electronically processed gamelan instruments to a virtual duet between composer and performer.

New and recent Australian percussion music from electronically processed gamelan instruments to a virtual duet between composer and performer.

MICHAL JACASZEK is a Polish composer and producer of electroacoustic music that combines electronically prepared sounds with acoustic instruments. He is also making music for movies and theatre, a co-curator of C3 Festival, Club Contemporary Classical and a member of the Polish Society for Electroacoustic Music.

Hear music by Australian-born, London-based electroacoustic musician & sound artist Leah Kardos along with music by Irish woodwind player and composer Seán Mac Erlaine, as well as other electroacoustic music on this New Sounds. Listen to several works by Kardos from a sampler released in 2014, including her work, “Butterfly Kite,”written for easy piano + delay/verb effects. Then hear improvised woodwind and electronic sounds from a series of live recordings by the Dublin musician, Seán Mac Erlaine. From his, “A Slender Song,” hear music for clarinets of all sorts and sizes, manipulated by electronics. Then, hear music from a dance score by London-based composer Jon Opstad, who also did the music for the provocative British episodic series, “Black Mirror.” Listen to music from cellist Julia Kent with loops and delays from the recent record, “Character.”  German theremin player Carolina Eyck improvises on the low end together with pianist Christopher Tarnow. Then,hear music from NY-based singer GABI, who layers and processes her voice a la Juliana Barwick. (Caution: her work, "Where," might remind you of “The Rains of Castamere.”) PROGRAM #3706–Various Forms of Electro-acoustic Music (First aired on 03/24/2015)              ARTIST(S) RECORDING CUT(S) SOURCE Carolina Eyck & Christopher Tarnow Improvisations for Theremin and Piano Haunted Ballerina, excerpt [1:00] Butterscotch Recordsbutterscotchrecords.net Leah Kardos Spring 2014 Sampler Butterfly Kite [3:15] bigoandtwigetti.bandcamp.com Jon Opstad Ignis Ignis, Part III [2:55] Ignis, part IV [5:51] jonopstad.bandcamp.com OR soundcloud OR Emusic.com Seán Mac Erlaine A Slender Song All sung a Slender Song [3:29] ergodos.ie Leah Kardos Spring 2014 Sampler Preen [3:19] See above. GABI Sympathy Where [3:43] gabi-ny.bandcamp.com Due out April 7, 2015 Carolina Eyck & Christopher Tarnow Improvisations for Theremin and Piano Haunted Ballerina [5:58] Butterscotch Recordsbutterscotchrecords.net Leah Kardos Spring 2014 Sampler Memory Machine [3:01] See above. Bing & Ruth Tomorrow was the Golden Age The Towns We Love Is Our Town [6:34] RVNGNL27 igetrvng.com Julia Kent Character Transportation [4:39] Leaf Music BAY 80 theleaflabel.com Seán Mac Erlaine A Slender Song Sheehy [3:52] See above.

The Swedish Scene – 50 Jahre EMS Stockholm | Symposium 14.06.2014 The spatial aspects of music are very important in Jens Hedman‘s composing. Many of his works explore space and movement utilizing multi-channel techniques. He will talk about various approaches he has used and play some examples from his works. He will also talk about the ideas behind, and techniques used in composing, the piece The Beast with Two Heads played in the festival. Jens Hedman is a long time established name in Swedish electroacoustic music. His music has been performed at festivals, concerts and on radio all over the world and has received several important prizes in international music competitions. Hedman composes both instrumental and electroacoustic music as well as sound art. He often combines his music with other artistic expressions, collaborating with writers, visual artists, choreographers, architects and other composers./// Hedman has been teaching at EMS in Stockholm for more than 20 years as well as at IDKA, Kapellsbergs music school. He was president of the Society for Electro Acoustic Music in Sweden 2001–08. Hedman studied EAM-composition at the Royal College of Music in Stockholm and sound art at Stockholm Academy of Dramatic Arts.

Dr. Mark Sullivan is Associate Professor and Director of the Computer Music Studios at the College of Music. Sullivan composes for acoustic instruments, with and without the computer, and for both instruments and computer-generated sounds. He specializes in the analysis and performance of contemporary music and in studies that relate music to the other arts and society. He is active in the International Computer Music Association, the Society for Composers, Inc., and the Society for Electro-Acoustic Music in the United States. Sullivan earned his doctorate in musical arts from the University of Illinois at Urbana-Champaign.

Composing with Sounds | Symposium Sat, 27.04.2013 Electronic music in the class room: Examples from Europe. Symposium with lectures and presentation from the everyday life of the project. Partners: Music, Technology and Innovation Research Centre, De Montfort Universität Leicester ; Institut National de L’Audiovisuel Paris ; Norsk Senter for Teknologi i Musikk og Kunst Oslo Sponsors: Europäische Kommission Leigh Landy holds a research chair at De Montfort University where he directs the Music, Technology and innovation research centre. his compositions include several for video, dance and theatre. he has worked extensively with the late playwright, heiner Müller, the new media artist, Michel Jaf- frennou and the composer-performer, Jos zwaanenburg and was com- poser in residence for the Dutch National Theatre during its first years of existence. currently he is artistic director of idée fixe – experimental sound and Movement Theatre. his publications focus on the studies of electroacoustic music, in particular issues related to making this music accessible. He is editor of “Organised Sound: an international journal of music technology” (Cambridge University Press) and author of six books including “What’s the Matter with Today’s Experimental Mu- sic?” (Harwood), “Understanding the Art of Sound Organization” (MIT Press) and “Making Music with Sounds” (Routledge). He directs the ElectroAcoustic Resource site (eArs) projects, is a founding member of the electroacoustic Music studies network (eMs Network) and is the initiator of this EU „Composing with Sound“ initiative. /// »Composing with Sounds« ist eine intuitive Musikbearbeitungssoftware, die im Rahmen eines EU-Projekts von vier europäischen Partnerinstitutionen von 2011 bis 2013 entwickelt wurde: Dem Music, Technology and Innovation Research Centre der De Montfort Universität Leicester (UK), Institut National de L’Audiovisuel Paris (F), Norsk Senter for Teknologi i Musikk og Kunst Oslo (NOR) und dem ZKM | Institut für Musik und Akustik Karlsruhe (D). Neben der Entwicklung der Software für den Schuleinsatz, wurden Workshops für LehrerInnen, VermittlerInnen und SchülerInnen angeboten, um sich mit dem Programm vertraut zu machen. Weiterhin wurden Kompositionsaufträge an KomponistInnen der jeweiligen Länder vergeben, die gemeinsam mit SchülerInnen mit Hilfe von »Composing with Sounds« elektroakustische Stücke erarbeiteten. Ziel des Projekts ist, junge Menschen an die elektronische Musik heranzuführen, den transeuropäischen Austausch zu stärken, eine unterrichtstaugliche Software im europäischen Verbund zu entwickeln und schließlich auch neue künstlerische Arbeiten zu erschaffen. Auf dem Symposium geben die ProjektleiterInnen der vier Partnerorganisationen einen Einblick in die verschiedenen Phasen der Projektarbeit und diskutieren über die Schwierigkeiten als auch Erfolge.

next_generation 5.0: AKUSMATIK | Symposium 27.06.2013 - 30.06.2013 next_generation 5.0 − das größte, biennale Treffen der Hochschulstudios für elektronische Musik − geht in die nächste Runde: Das Festival am ZKM | Institut für Musik und Akustik (IMA) bietet den NachwuchskomponistInnen im Feld elektronischer Musik eine Plattform, ihre kompositorischen Neuentwicklungen zu präsentieren. An fünf Tagen und Nächten bietet das ZKM | IMA ein interessantes und dichtes Programm, das über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik« informiert: 27 anwesende Studios, 17 Konzerte, 19 Vorträge, 3 Gesprächsrunden, 6 Installationen und 106 aufgeführte Werke, darunter 30 Uraufführungen umfassen das Programm. Damit garantiert das Festival eine repräsentative Übersicht über das kreative Schaffen im Kontext von Technologie und Kunst. Sicherlich werden es spannende Tage, an welchen die unterschiedlichen musikalischen Ansätze im Bereich der live Elektronik, der Audiovisuellen Komposition oder auch der Installationen im Kubus sowie im Studiobereich betrachtet und in den Gesprächsrunden diskutiert werden.

art::archive::architectures | Festival Dipl. Ing. Folkmar Hein. Technische Universität Berlin Vortrag gehalten am 24.06.11, ZKM_Kubus