Podcasts about Maryanne Amacher

Compositora, artista e investigadora estadounidense, trabaja su música desde un punto de vista científico. Estudiosa del sonido, caracteriza sus obras con el uso de recursos psicoacústicos, ahonda en el concepto de otoacústica. Creadora de “música de larga distancia”, está considerada pionera del streaming.  Has escuchadoLiving Sound, Patent Pending Music for Sound-Joined Rooms (1980). [A partir de una instalación sonora]. Ellipsis Arts (2000)Petra: For Two Pianos (1991). Marianne Schroeder, Stefan Tcherepnin, pianos. Blank Forms Editions (2019)“Synaptic Island” excerpt “VM3 from ‘The Levi-Montalcini Variations'” (1999). [A partir de una instalación sonora]. Tzadik (1999)_____ Selección bibliográficaAMACHER, Maryanne, Selected Writings and Interviews. Editado por Bill Dietz y Amy Cimini. Blank Forms, 2020*CIMINI, Amy, Wild Sound: Maryanne Amacher and the Tenses of Audible Life. Oxford University Press, 2021*KAISER, Paul, “The Encircling Self: In Memory of Maryanne Amacher”. PAJ: A Journal of Performance and Art, vol. 36, n.º 1 (2014), pp. 10-34* *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

Meg and Jessica chat with Russell Sharon and Ruby Sutton about making art in the 80s and the Newest Bohemia.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Perceptual geographies, Dylan's near misses, Coltrane's unresolved places. The LA-based artist and composer discusses three important albums.Byron's picks: Maryanne Amacher – Sound Characters (Making The Third Ear)Bob Dylan – Planet WavesJohn Coltrane – Sun ShipByron's fabulous new record, Mirror Views, is out now via Ash International. His website is here, and he's on Twitter as @byronwestbrook.Donate to Crucial Listening on ko-fi: https://ko-fi.com/cruciallistening

Chapters00:34 - Introduction02:06 - Summary Of The Film02:52 - Why Make The Documentary?04:15 - Not Seeking Popularity 06:08 - Gathering Archive Footage07:22 - Narration by Laurie Anderson08:34 - The Women Tell Their Own Stories 09:32 - Sound Design Instead Of A Score12:21 - Marta Salogni On Her Influences 20:53 - Defining A New Genre Of Music 23:32 - Creating New Sounds And Composing With Tape 28:26 - Sound Design For The Film31:38 - The Challenges Of Composing For Film34:41 - The Importance Of Female Role Models36:29 - EndingThe film features Clara Rockmore, Daphne Oram, Bebe Barron, Delia Derbyshire, Maryanne Amacher, Pauline Oliveros, Wendy Carlos, Eliane Radigue, Suzanne Ciani and Laurie Spiegel with commentary by Laurie Anderson.https://sisterswithtransistors.com/https://www.modernfilms.com/sisterswithtransistors (UK) https://metrograph.com/live-screenings/sisters-with-transistors/ (USA)Lisa Rovner BiogA French American artist and filmmaker, Lisa Rovner is now based in London with her work presented in art venues and theatres internationally. Her films delve into the archives and work to transform politics and philosophy into cinematic spectacle. Rovner has collaborated with some of the most internationally respected artists and brands including Pierre Huyghe, Liam Gillick, Sebastien Tellier, Maison Martin Margiela and Acne. Sisters With Transistors is her first feature documentary.www.messageisthemedium.comMarta Salogni BiogA record producer, mixer, recording engineer and tape composer, Marta Salogni launched her career in her native Italy, where she spent her early years collaborating with artists and bands across a range of musical styles. As a producer and mixer, Marta Salogni has worked with Björk, M.I.A., Factory Floor, Kelela, Liars, Alex Cameron, Daniel Blumberg, Little Boots, Temples, Insecure Men, The Orielles, HMLTD, and Django Django. Marta is the sound designer for Sisters With Transistors.www.solarmanagement.co.uk/marta-salogniCaro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album "Electric Mountain" is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This "sonic enchantress" (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/Delia Derbyshire Day Charity: https://deliaderbyshireday.com

Episode 41 Sounds for Museums Sound Art to Accompany Exhibits Playlist François Baschet, Bernard Baschet, and Jacques Lasry, “Sonatine (3 Mouvements)” from Structures for Sound (1965 BAM). The exhibition 'Structures For Sound-Musical Instruments' by François and Bernard Baschet was shown at The Museum of Modern Art, New York, from October 4 to December 5, 1965. Although not heard in the exhibit, this set of compositions was co-marketed by the museum and BAM and clearly intended as a takeaway souvenir. The recordings were made in France, and released there as Les Structures Sonores Lasry-Baschet, then repackaged for the US market and exhibit. The piece was written by Jacques Lasry. Various Artists, Art By Telephone (1969 Museum Of Contemporary Art Chicago). Artists were asked to phone-in instructions for a work of art to be exhibited at Art by Telephone, held at the Museum of Contemporary Art Chicago. The museum released a recording of the phone calls and sold it at the exhibit. Here are four excerpts by John Giorno, Dick Higgins, Sol Lewitt, Richard Serra, and Jack Burnham. In total, 38 artists provided instructions that were included on the album. Audio Arts: Volume 3 No 4 Side A (1977 Audio Arts). Excerpts from a radio work by John Carson broadcast by Downtown Radio, Belfast in 1977. The program was a compilation of recordings made in June 1977 at Documenta VI, an international exhibition of contemporary art in Kassel, West Germany. We hear two excerpts, the first from artist Wolf Vostell which opens with the sound of bubbling water and the second a sound work by Achim Freyer. These audio works played in the exhibit. Other portions of the complete cassette recordings alternated between statements/interviews and sound environments/installations. Audio Arts was a magazine in continuous publication for 33 years and ran to 24 volumes, each of four issues. Various artists, from Sound (1979 Los Angeles Institute of Contemporary Art). Four of the tracks from this collection are included: Terry Fox, “Labyrinth Scored For II Cats” (1979); Jim Gordon, “Piece For Synthesizers, Computers And Other Instruments” (1979); Doug Hollis, “Aeolian Harp” (1975-76), composed 1975-76 at the San Francisco Exploratorium; Bill Fontana, “Kirribilli Wharf” (1979). Album produced for SOUND. An exhibition of sound sculpture, instrument building and acoustically tuned spaces. Los Angeles Institute of Contemporary Art July 14-August 31, 1979. P.S.I. New York, September 30-November 18, 1979. Jeff Gordon, “Everyone's An Artist” (1984). Vocal Jeff Gordon and Mug Maruyama; Programming, Graham Hawthorne; Emulators/Keyboards, Jeff Gordon. Gordon produced Revolutions Per Minute (The Art Record), a collection of audio tracks by artists released as a double LP. This track by Gordon was not included in that release but I think was used for a traveling exhibition featuring sound, The RPM Touring Exhibitions, designed by Gordon and his wife Juanita, that toured the US and Europe for over four years, including The Tate Museum in London. Laurie Anderson, “The telephone,” “The polaroid,” “The sheet,” “The wedding dress,” “The bathrobe” from La Visite Guidée (1994). Music: Laurie Anderson; Voice: Sophie Calle. Exhibition catalogue consisting of artist's book and Audio CD published in conjunction with the show held March 27- 29, 1994. The work consisted of a total of 21 short compositions. We hear five consecutive tracks from the collection. This audio was provided on a cassette for the exhibit, which visitor's played on a Sony Walkman while taking a guided tour of the Sophie Calle's exhibition Absent. Steven Vitiello. World Trade Center Recordings: Open House Bounce (1999). A recording from the 91st floor of the World Trade Center, Tower One made with contact microphones placed on the inside of the windows. This recording was only published as part of a CDR sold at an Open House Exhibition in the fall of 1999. Various recordings were made during a 6-month residency. This one in particular picked up a number of passing planes and helicopters. Various artists, Whitney Biennial 2002 (2002 Whitney Museum Of American Art). A CD was included with the 292-page hardcover catalogue "Whitney Biennial 2002" published for the same-titled exhibition at the Whitney Museum Of American Art, March 7-May 26, 2002. Four tracks are heard: Maryanne Amacher, “A Step Into It, Imagining 1001 Years Entering Ancient Rooms” (excerpt); Meredith Monk, “Eclipse,” with performers Ching Gonzalez, Katie Geissinger, Meredith Monk, Theo Bleckmann; Marina Rosenfeld, “Delusional Dub;” Tracie Morris, “Slave Sho' To Video A.k.a. Black But Beautiful.” 33 RPM: Ten Hours of Sound From France (2003 235). Exhibition companion compilation to San Francisco Museum of Modern Art, Sept. 6-14, 2003, listening room program. 33 RPM consisted of ten one-hour segments that were played on a rotating schedule at the museum during the exhibition. This was the fourth installment of an ongoing series at the museum that presented sound art scene in a variety of countries. We include the following tracks from this compilation: Kasper T. Toeplitz, “PURR#2” (2003); Jean-Claude Risset, “Resonant Sound Spaces/Filters” (2002); Mimetic, “evolution” (2003); and Lionel Marchetti, “À rebours” (1989). Jane Philbrick, "Voix/e" (2003-04 SW Harbor Songline). Installation two lightboxes, with color Duratrans (large-format backlit color transparency film), 48 x 24 x 6; two inset Alpine speakers, synthesized voice track, 9 1/2 mins. looped.; two companion LCD-screen DVDs. On view at Real Art Ways, Hartford, CT, and Consolidated Works, Seattle (2004). Audio work created by Jan Philbrick at the Center for Spoken Language Understanding, Oregon Graduate Institute. The piece consists of Philbrick's reading of the "Song of Solomon," modified and edited using voice-gendered speech synthesis to speak bride, groom, and companion parts. Marko Timlin, “Audible Light” (2017), Created by Marko Timlin, a Finnish sound artist whose work has frequently been integrated into museum installations. This installation, Audible Light, created sound directly out of light, “work inspired by Evgeny Sholpo's Variophone instrument developed in 1930.” Solo exhibition, Oksasenkatu 11 in Helsinki. Not to be confused with the 2000 museum exhibition called Audible Light at the Museum Of Modern Art, Oxford, to be featured in a future podcast. Opening montage: sounds from the recordings of Art By Telephone (1969 Museum Of Contemporary Art Chicago) and Audio Arts: Volume 3 No 4 Side A, cassette (1977 Audio Arts). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

Alec and Nick present a “Theory of the Byoing Sound,” exploring the primacy of the dynamic, paradigmatic “byoing,” “boing,” and “bya-yoing” sound in experimental music. What exactly is it about this sound that makes it so prevalent? This episode accounts for a narrative of sound originating in primordial phonetic language formation, to scientific studies in physics and sound spatialization, to contemporary and post-industrial music. The conversation loosely situates the byoing as challenge to consistency as its seen in the world through the work of Karlheinz Stockhausen, Harry Partch, John Cage, Iannis Xenakis, Arnold Schoenberg, SOPHIE, Maryanne Amacher, and more.  Opening theme music by Xander Seren. Closing music by Max Eilbacher & Duncan Moore live at Green House, Cleveland 12/07/19

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′0″ Nobody Wants A Lonely Heart by Arthur Russell on Love Is Overtaking Me (Audika) 3′5″ Crystal Motions by Roland P. Young on Isophonic Boogie Woogie (Flow Chart ) 17′53″ Outdoor Spell by Rhys Chatham on Outdoor Spell (Northern Spy Records) 25′24″ Valley of Gods by Florian Fricke on Kailash: Pilgrimage to the Throne of the Gods (Soul Jazz) 30′30″ Excerpt from Stain - The Music Rooms (Live) by Maryanne Amacher on Imaginary Landscapes: New Electronic Music (Nonesuch) 34′33″ Arrival in New York by Joe Zawinul on Zawinul (Atlantic) 36′23″ Fog On The Hudson by Moondog on On The Streets of New York (Sinetone AMR) 39′4″ Dream Lover by The Paris Sisters on Growin' Up Too Fast (Mercury) 44′27″ Akasa by PFN on Akasa/Für Cleo (Quiet Artworks) The next World of Echo is on Monday, September 7th at 7:00 am. Check out the full archives on the website.

The last episode of Art Music Perspectives delved into performers’ experience of pain and discomfort in playing the music of Galina Ustvolskaya. In this episode, we’ll explore how listeners can experience pain, often at the hands of composers who purposefully create sonically-uncomfortable listening experiences through sound. My guest this episode is:Maria Cizmic, author of Performing … Continue reading "Experiencing Pain Through Sound: Ustvolskaya (Pt. 2) and Maryanne Amacher"

Maryland experimental musician and multi-instrumentalist Corey Thuro discusses Henry Flynt, music from Maryanne Amacher and the importance of nature. Catch the show on WERA 96.7 Radio Arlington or click here for the full episode.

Jon Leidecker aka Wobbly meets with Marc Kate for the 42nd episode of Why We Listen to listen to and discuss: Maryanne Amacher – ‘Living Sound, Patent Pending’ Marissa Marchant – ‘Emu’ Roland Kayn – ‘Electronic Symphony – Part 1’ Jon Leidecker is an electronic musician from San Francisco. Listen to the podcast on the […]

Hablamos del viaje de Pedro, Corea del Norte, síndrome de París, tatemae, comidas raras, sesgo de confirmación, “ear rumbling”, habilidades excepcionales, crear sonidos con el tímpano, Maryanne Amacher, efecto Mandela, ser turista, cosplay, feliz cumpleaños en coreano, aprender a pronunciar idiomas, “Qué dificil es hablar el español”, Les Luthiers, Chatroulette, Ben Folds, Omegle bot, sexting, ajedrez por votación y sudokus difíciles.

Programme de VICTORIA KEDDIE pour webSYNradio : A SIMPLE MODEL OF QUANTUM TRAJECTORIES. Avec les sons de Laurie Spiegel, Maryanne Amacher, Kathleen Baird, Leyna Marika Papach, Maia Hardinge, Maria Chavez, Daphne Oram, Victoria Keddie, Rose Kallal, Eliane Radigue, Hiro Kone, Zaimph.

>>>>>>>>>>>>>>>>>>>>>>Let's listen to some rad female composers who do crazy things with sheet metal, accordion, and their voices. This is going to be fun, I promise. >>>> FEMINIST SOUND ART Yoko Ono, Laurie Anderson, Pauline Oliveros, Hildegard Westerkamp, Louise Lawler, Kristin Oppenheim, Gertrude Stein, Meredith Monk, Maryanne Amacher, Jana Winderen.  

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium Thu May 31, - Jun 02, 2012 In keeping with Maryanne Amacher's post-Cagean conception of musical composition as articulation of "ways of hearing," between 1968 and 1991 the composer created no significant works involving acoustic instruments. Responding however to acommision from the Kronos Quartet, in the early 1990s, Amacher came to an "endotonal" solution for integrating acoustic instruments onto her "interactive scenarios" whereby instruments and electronics alike would function together to "einforce" listeners' "interaural processing." By examining GLIA (2006), a composition conceived after the model of and including material from the unfinished string quartet, I approach Amacher's fundamentally refunctioned conception of "electro-acoustic" composition.