Podcasts about microsound

Técnica de producción de sonidos basada en la premisa de que un sonido puede dividirse en partículas, granoso cuantos, entidades sonoras de una duración de 10 a 100 milisegundos. El sonido lo producen pequeñas explosiones de energía encapsuladas en una envolvente y agrupadas en conjuntos mayores._____Has escuchadoHalf​-​Life, Part I: Sonal Atoms (1999) / Curtis Roads. presto!? (2019)PianoHertz (2012) / Horacio Vaggione. empreintes DIGITALes (2012)Riverrun (1986) / Barry Truax. Cambridge Street Records (1987)_____Selección bibliográficaASSAYAG, Gérard y Andrew Gerzso (eds.), New Computational Paradigms for Computer Music. Delatour; IRCAM, 2009*BESSELL, David, “Formant Synthesis, Granular Synthesis, and Waveshaping in ‘Halo, Bells and Voices', Bessell”. Perspectives of New Music, vol. 45, n.º 1 (2007), pp. 236-252*GRABÓCZ, Márta, Entre naturalisme sonore et synthèse en temps réel. Images et formes expressives dans la musique contemporaine. Éditions des Archives Contemporaines, 2013MCGUIRE, Sam y Nathan van der Rest, The Musical Art of Synthesis. Focal Press, 2016*MIRANDA, Eduardo Reck, “Granular Synthesis of Sounds by Means of a Cellular Automaton”. Leonardo, vol. 28, n.º 4 (1995), pp. 297-300*PHILLIPS, Thomas, “Composed Silence: Microsound and the Quiet Shock of Listening”. Perspectives of New Music, vol. 44, n.º 2 (2006), pp. 232-248*POLI, Giovanni de, “A Tutorial on Digital Sound Synthesis Techniques”. Computer Music Journal, vol. 7, n.º 4 (1983), pp. 8-26*ROADS, Curtis, Microsound. The MIT Press, 2001—, The Computer Music Tutorial. The MIT Press, 2023*ROCHA ITURBIDE, Manuel, Les techniques granulaires dans la synthèse sonore. Tesis Doctoral, Universidad de París VIII, 1999SU, Isabelle et al., “Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis”. Computer Music Journal, vol. 44 (2020), pp. 43-59*TRUAX, Barry, “Composing with Real-Time Granular Sound”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 120-134*—, “Composing with Time-Shifted Environmental Sound”. Leonardo Music Journal, vol. 2, n.º 1 (1992), pp. 37-40*WAKEFIELD, Graham y Gregory Taylor, Generating Sound & Organizing Time: Thinking with Gen-: Book 1. Cycling 74, 2022* *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

Técnica de producción de sonidos basada en la premisa de que un sonido puede dividirse en partículas, granoso cuantos, entidades sonoras de una duración de 10 a 100 milisegundos. El sonido lo producen pequeñas explosiones de energía encapsuladas en una envolvente y agrupadas en conjuntos mayores._____Has escuchadoHalf​-​Life, Part I: Sonal Atoms (1999) / Curtis Roads. presto!? (2019)PianoHertz (2012) / Horacio Vaggione. empreintes DIGITALes (2012)Riverrun (1986) / Barry Truax. Cambridge Street Records (1987)_____Selección bibliográficaASSAYAG, Gérard y Andrew Gerzso (eds.), New Computational Paradigms for Computer Music. Delatour; IRCAM, 2009*BESSELL, David, “Formant Synthesis, Granular Synthesis, and Waveshaping in ‘Halo, Bells and Voices', Bessell”. Perspectives of New Music, vol. 45, n.º 1 (2007), pp. 236-252*GRABÓCZ, Márta, Entre naturalisme sonore et synthèse en temps réel. Images et formes expressives dans la musique contemporaine. Éditions des Archives Contemporaines, 2013MCGUIRE, Sam y Nathan van der Rest, The Musical Art of Synthesis. Focal Press, 2016*MIRANDA, Eduardo Reck, “Granular Synthesis of Sounds by Means of a Cellular Automaton”. Leonardo, vol. 28, n.º 4 (1995), pp. 297-300*PHILLIPS, Thomas, “Composed Silence: Microsound and the Quiet Shock of Listening”. Perspectives of New Music, vol. 44, n.º 2 (2006), pp. 232-248*POLI, Giovanni de, “A Tutorial on Digital Sound Synthesis Techniques”. Computer Music Journal, vol. 7, n.º 4 (1983), pp. 8-26*ROADS, Curtis, Microsound. The MIT Press, 2001—, The Computer Music Tutorial. The MIT Press, 2023*ROCHA ITURBIDE, Manuel, Les techniques granulaires dans la synthèse sonore. Tesis Doctoral, Universidad de París VIII, 1999SU, Isabelle et al., “Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis”. Computer Music Journal, vol. 44 (2020), pp. 43-59*TRUAX, Barry, “Composing with Real-Time Granular Sound”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 120-134*—, “Composing with Time-Shifted Environmental Sound”. Leonardo Music Journal, vol. 2, n.º 1 (1992), pp. 37-40*WAKEFIELD, Graham y Gregory Taylor, Generating Sound & Organizing Time: Thinking with Gen-: Book 1. Cycling 74, 2022* *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

Welcome back everyone!!! This week we're going pretty hard, but also super chill, and then also the exact opposite of all that. I think you'll be into this one, and we got tons of new stuff to play! So let's get into it. This is BL_K NOISE RADIO!   TRACKLIST: 00:00 DJ Skymall 01:20 Pan Sonic – 4'35" https://kvitnu.bandcamp.com/album/oksastus 04:43 Pareidroolia - Nihilist Pajama Debate https://apophenicaudio.bandcamp.com/album/my-sweet-arrhythmia 09:38 Rian Treanor - Obstacle 2 https://riantreanor.bandcamp.com/album/obstacle-scattering 13:24 Beatrice Dillon - Workaround Seven https://beatricedillon.bandcamp.com/album/workaround 16:38 DJ Skymall 18:23 Marshall Applewhite - Green Bean Dinner https://marshallapplewhite.bandcamp.com/album/out-through-the-mouth 20:31 Chromedealer - Cubed³ https://chromedealer.bandcamp.com/album/sketches-of-silver 25:18 Ogive - Weathercore https://room40.bandcamp.com/album/opalescentia 28:40 Innode - Air Liquide https://innode.bandcamp.com/album/grain 33:06 Andrew Tasselmyer - All That Surrounds You https://andrewtasselmyer.bandcamp.com/album/where-substance-meets-emptiness 37:08 DJ Skymall 41:20 Hydroplane - Razorback https://schematicmusiccompany.bandcamp.com/album/blox 43:27 Latchwork - Radix Heap https://schematicmusiccompany.bandcamp.com/album/the-heap 46:06 Lord Spikeheart (ft. Koenraad Ecker & James Ginzburg) - REM Fodder https://lordspikeheart.bandcamp.com/album/the-adept 48:10 AJA - Small Arms (remix) https://gumtakestooth.bandcamp.com/ 52:14 Piper Spray & Lena Tsibizova - Arp Test https://theorytherapy.bandcamp.com/album/debtor-of-presence 55:01 Neuro... No Neuro - Picking At It https://neurononeuro.bandcamp.com/album/minute 56:08 DJ Skymall 57:08 Flore & Only Now - Morphers https://polaarsounds.bandcamp.com/album/morphers 61:17 End.   https://blknoise.bandcamp.com   https://www.instagram.com/blknoise   https://twitter.com/blknoisemusic   https://www.instagram.com/ed_skymall

Hello again friends! We are back this week with a nice mix of glitched out beatery and pure IDM madness... Other than that, we'll discuss one of my recent acquisitions and how awesome creation can be sometimes :) So let's go! This is BL_K NOISE RADIO!!!   TRACKLIST: 00:00 DJ Skymall 01:20 HHNOI – Antidots https://hhnoi.bandcamp.com/album/scrambled-anthems 05:19 Sunnk - Abyssal Full EP (remix) https://geometriccorruption.bandcamp.com/album/abyssal-remixed 09:55 Stray - Delight https://straysound.bandcamp.com/album/elevation 13:48 Vertical67 - Change Of Heart https://analogicalforce.bandcamp.com/album/af054lp-changes 16:52 DJ Skymall 20:14 Squarepusher - Wendorlan https://squarepusher.bandcamp.com/album/dostrotime-1 23:06 Carl Brown - Riddle Me This https://carlbrown.bandcamp.com/album/mozyk023-time-slip 28:34 Adrien d'Elzius - A Few Embers Are Enough https://adriendelziusmusic.bandcamp.com/album/straight-from-the-void-pt-2 32:59 One Spell - Digital Reverence https://110100100.bandcamp.com/album/ore 35:20 DJ Skymall 37:57 Rites Of Fall - Maladapted https://ritesoffall.bandcamp.com/album/venoms 43:09 Tineidae - Descent https://artificers.bandcamp.com/album/descent 47:46 Exan - Amst Fil https://exanmusic.bandcamp.com/album/offset-one-ep 52:18 Romeo Poirier - Kyra Panagia https://romeopoirier.bandcamp.com/album/plage-arri-re 54:48 DJ Skymall 55:57 Dorine Muraille - Quand Quelgu'un Meurt... (feat. Prefuse 73) https://www.discogs.com/release/267203-Various-Gooom-Tracks-Vol-2 59:01 End.

New series of mixtapes specially created for CLOT Magazine. The first instalment comes from Phantom Limb and Dylan Henner: Alternating Microsound with Film Score a mixtape. Both of these categories of music acknowledge environment. In film score, a soundtrack is part of worldbuilding; it is a key part of the film universe, part of its reality. Microsound music does something similar. It follows different rules to pop music, operating only within its own tiny world. Like film score, it is not made to be a filler of empty space, but to be details within it, like the literal case of NASA's audio recording of the sounds made by Comet 67P/Churyumov-Gerasimenko as it flies through the outer universe. A Secretive newcomer, Dylan Henner describes his work as “bliss-out ambient” and released his debut EP A Reason for Living through Phantom Limb in February 2019. Tracklist: 1. Akira Rabelais - 1440 Promp. Parv. 518_2 Wawyn, Or Waueryn, Yn A Myry Totyr, Oscillo. 2. Nick Zammuto - Stealing [from We The Animals] 3. Jim Wilson - God's Chorus [edit] 4. Anugama & Sebastiano - African Journey [from Baraka] 5. Mike Shiflett - Sufferers 6. Benedetto Ghiglia - El Suplicio [from El Suplico] 7. 2015 NASA recording of Comet 67P/Churyumov-Gerasimenko 8. Apichatpong Weerasethakul - Dawn of Boonmee [from Uncle Boonmee Who Can Recall His Past Lives] 9. Aylu - IV 10. Michael Danna - Elena Shoplifts [from Ice Storm] 11. Sugai Ken - Wakihi 12. Edward Williams - Japanese Macaques [from Life on Earth] 13. Masaki Batoh - Kumano Codex 2 14. Genioh Yamashirogumi - Dolls Prophecy [from Akira] 15. Rully Shabara - Lahuwahlahu 16. Hayasaka Fumio - Seven Samurai Suite [from Seven Samurai] 17. Orton Socket - TLT 18. Joe Hisaishi - Hana Bi [from Hana-Bi] 19. Es - Sädekellot 20. Boris - Yesterday Morning [from Mabuta no Ura]

If you are into electronic/computer music, you already know the name of this week's guest. From the Computer Music Tutorial, through Microsound and his latest book (Composing Electronic Music: A New Aesthetic), he has been pushing the envelope for all of us, bringing spacialization, granular synthesis and complex timing systems from the realm of the theoretical into everyday studio use. But he is far more than a technological cool-hunter; he's an active composer, and is just about to release a new DVD in collaboration with Brian O'Reilly. In this chat, we get to hear how Curtis went from band-kid to music researcher, and we also talk about how he goes about making the music that he produces. Since he works with such intricate sound elements, you can imagine that it is painstaking work.  Well, his description doesn't disappoint, but his use of tools - and perspectives on what makes a great composition - might surprise you. This was, as hoped, an eye-opening experience for me, and a great way to learn more about both Curtis and his work. You can find out a lot more about him from his updated website at https://www.curtisroads.net, and by checking out his books and recordings. Thanks to Splice for their support of this podcast. You can help out the podcast by checking out our special link to their system, and or by using our code (MUSICARTTECH) to get a free month trial of their sample library offering. Help us out, and check out the cool collaboration tools that Splice provides!

ZKM Kunstpreise: Giga-Hertz-Preis 2016 | Preisverleihung 27.11.2016 ZKM_Medientheater Der Giga-Hertz-Preis für Elektronische Musik wurde in diesem Jahr an Curtis Roads verliehen. Curtis Roads gilt als einer der einflussreichsten Komponisten im elektroakustischen Genre und hat in seinen Kompositionen die Granularsynthese ästhetisch und theoretisch weiterentwickelt. Ebenso wie seine Kompositionen beeindruckt sein publizistisches Œuvre: Curtis Roads hat nicht nur »The Computer Music Tutorial« (1996) herausgegeben, sondern auch das Buch »Microsound« (2001). Seine letzte Veröffentlichung »Composing Electronic Music« (2015) ist mit »A New Aesthetic« untertitelt, womit er den aktuellen Anspruch dieses Mediums verdeutlicht. Sein Schaffen führte ihn an fast alle wichtigen Studios, u. a. an das MIT, IRCAM, Les Ateliers UPIC und das CREATE in Santa Barbara, an dem er gegenwärtig arbeitet. /// Lecture/Talk 27.11.2016 ZKM_Media Theater The Giga-Hertz Award for Electronic Music was being awarded to Curtis Roads this year. Curtis Roads is considered one of the most influential composers in the electro-acoustic genre and has aesthetically and theoretically developed granular synthesis in his compositions. Just as impressive as his compositions are his published oeuvre: Curtis Roads has published both »The Computer Music Tutorial« (1996) and the book »Microsound« (2001). His last publication »Composing Electronic Music« (2015) is subtitled as »A New Aesthetic«, with which he highlights the current demand of this medium. His creativity has led him to almost every important studio, including the MIT, IRCAM, Les Ateliers UPIC and the CREATE in Santa Barbara, at which he currently works.

ZKM Kunstpreise: Giga-Hertz-Preis 2016 | Preisverleihung 27.11.2016 ZKM_Medientheater Der Giga-Hertz-Preis für Elektronische Musik wurde in diesem Jahr an Curtis Roads verliehen. Curtis Roads gilt als einer der einflussreichsten Komponisten im elektroakustischen Genre und hat in seinen Kompositionen die Granularsynthese ästhetisch und theoretisch weiterentwickelt. Ebenso wie seine Kompositionen beeindruckt sein publizistisches Œuvre: Curtis Roads hat nicht nur »The Computer Music Tutorial« (1996) herausgegeben, sondern auch das Buch »Microsound« (2001). Seine letzte Veröffentlichung »Composing Electronic Music« (2015) ist mit »A New Aesthetic« untertitelt, womit er den aktuellen Anspruch dieses Mediums verdeutlicht. Sein Schaffen führte ihn an fast alle wichtigen Studios, u. a. an das MIT, IRCAM, Les Ateliers UPIC und das CREATE in Santa Barbara, an dem er gegenwärtig arbeitet. /// 27.11.2016 ZKM_Media Theater The Giga-Hertz Award for Electronic Music was being awarded to Curtis Roads this year. Curtis Roads is considered one of the most influential composers in the electro-acoustic genre and has aesthetically and theoretically developed granular synthesis in his compositions. Just as impressive as his compositions are his published oeuvre: Curtis Roads has published both »The Computer Music Tutorial« (1996) and the book »Microsound« (2001). His last publication »Composing Electronic Music« (2015) is subtitled as »A New Aesthetic«, with which he highlights the current demand of this medium. His creativity has led him to almost every important studio, including the MIT, IRCAM, Les Ateliers UPIC and the CREATE in Santa Barbara, at which he currently works.

陆正(Zen Lu)，电子音乐家、声音艺术家、We Play! Records及Neo Sound(离骚)新艺术团体和艺术活动创办人，中国和波兰跨国音乐交流项目"ChoP"发起人之一，N2新媒体艺术小组成员，生活、工作于深圳。 2007年初主持创立深圳独立音乐厂牌We Play! Records， 组织策划演出，与来自世界各地的艺术家演出和交流。陆正也为戏剧及电影创作配乐，他的数字声音和音乐倾向于绵密、细致和简约的风格。曾参加香港SAND Festival(2006)、香港新视野艺术节(2006)、瑞典Clandestino Festival(2007)、波兰Moving Closer International New Media Festival(2007)以及Chinese Sound Art in Poland(2007)、大声展(2007) 、深圳-香港城市/建筑双城双年展(2005、2007)、多伦多SoundReach(2009)、香港建筑是艺术节(2009)、华沙电子音乐节(2010)、ChoP on tour in Poland(2010)、上海世博会德国馆"都市未来之声"(2010)、第八届上海双年展(2010)、ChoP Tour in Europe(2011)、ChoP中国巡演(2011)、北京国际设计周(2012)、德-中爵士即兴音乐节(2012, 2013)、ChoP音乐节(2012, 2013)、CO-SOUND 艺术节 (2013)、ChoP+Moss 欧洲联合巡演(2013)、声闻系列(2014)、re:source音乐节(20144)、Polyphonia音乐节(2014)、BOK戏剧艺术节(2015)。www.zenlu.com唱片评论： 《The Future》的音乐风格，仍然是陆正一贯擅长的氛围性实验文体，但表现却肯定是最精炼的一次演绎。电子气团所营造出的意像，带出鲜明的视觉尽图。细致不动声色的演进，有如云海山岚般变化莫测，也像渗透了电子音频的水墨山景。看著听著，叫人迷惑出神，游走或然与未然之间的太虚幻境。〈When You Grow Up〉一曲的变化演进就正是这样的一种境界。他又巧妙的运用上少量的电子节拍及取材自Microsound的坏音残响，在静态中突显出恰到好处的动感变化。静中带动之间，隐约的律韵及田野录音，在冥想式的意境中，彷彿飞越九宵云外，灵视意识界的奇峰异岭。(Text/Sin:Ned)

陆正(Zen Lu)，电子音乐家、声音艺术家、We Play! Records及Neo Sound(离骚)新艺术团体和艺术活动创办人，中国和波兰跨国音乐交流项目"ChoP"发起人之一，N2新媒体艺术小组成员，生活、工作于深圳。 2007年初主持创立深圳独立音乐厂牌We Play! Records， 组织策划演出，与来自世界各地的艺术家演出和交流。陆正也为戏剧及电影创作配乐，他的数字声音和音乐倾向于绵密、细致和简约的风格。曾参加香港SAND Festival(2006)、香港新视野艺术节(2006)、瑞典Clandestino Festival(2007)、波兰Moving Closer International New Media Festival(2007)以及Chinese Sound Art in Poland(2007)、大声展(2007) 、深圳-香港城市/建筑双城双年展(2005、2007)、多伦多SoundReach(2009)、香港建筑是艺术节(2009)、华沙电子音乐节(2010)、ChoP on tour in Poland(2010)、上海世博会德国馆"都市未来之声"(2010)、第八届上海双年展(2010)、ChoP Tour in Europe(2011)、ChoP中国巡演(2011)、北京国际设计周(2012)、德-中爵士即兴音乐节(2012, 2013)、ChoP音乐节(2012, 2013)、CO-SOUND 艺术节 (2013)、ChoP+Moss 欧洲联合巡演(2013)、声闻系列(2014)、re:source音乐节(20144)、Polyphonia音乐节(2014)、BOK戏剧艺术节(2015)。www.zenlu.com唱片评论： 《The Future》的音乐风格，仍然是陆正一贯擅长的氛围性实验文体，但表现却肯定是最精炼的一次演绎。电子气团所营造出的意像，带出鲜明的视觉尽图。细致不动声色的演进，有如云海山岚般变化莫测，也像渗透了电子音频的水墨山景。看著听著，叫人迷惑出神，游走或然与未然之间的太虚幻境。〈When You Grow Up〉一曲的变化演进就正是这样的一种境界。他又巧妙的运用上少量的电子节拍及取材自Microsound的坏音残响，在静态中突显出恰到好处的动感变化。静中带动之间，隐约的律韵及田野录音，在冥想式的意境中，彷彿飞越九宵云外，灵视意识界的奇峰异岭。(Text/Sin:Ned)

After an amazing mix dedicated to Microsound, featuring recordings from 12k and LINE imprint, Floyd Kelley III returns to Headphone Commute Podcast with another label showcase. This time he selects his favorite recordings from Dynamophone Records, a San Francisco based purveyor of cinematic, euphoric, and ethereal sounds. This is a two hour journey that will take you through the melodic electronica, organic ambiance and soothing melancholy tones. Make sure you keep your eye out for a second installment in this two-part mix! For full track listing and more information about this mix, please visit headphonecommute.com

Today's Headphone Commute podcast comes from Floyd Kelley III. This mix is almost exclusively composed of tracks from Taylor Deupree's 12k label and Richard Chartier's LINE imprint, both at the forefront of experimental, minimal and microsound evolution. Microsound music isn’t for everyone. It takes a disciplined ear and a lot of patience. Many pass it off as non-musical. Some consider it too high brow. It took me years to really learn to appreciate it. Microsound artists can be included in the same rankings as 20th-century composers such as John Cage, Karlheinz Stockhausen, Iannis Xenakis, Pierre Boulaz, Pierre Henry, and Pierre Schaeffer. The terms: field recording, minimalism, tape music, musique concrète, electroacoustic, and avant-garde immediately come to mind... For full track listing and more information about this mix, please visit headphonecommute.com