Alvarius
Stamgast
- Lid sinds
- 14 april 2014
- Berichten
- 284
Conrad Schnitzler
https://www.youtube.com/watch?v=QBXy9mWRHVs
https://www.youtube.com/watch?v=QBXy9mWRHVs
The Art of Electronics
- Thread starter roland kuit
- Start date
Deze meneer zat bij het begin van Tangerine Dream totdat ze een sequencer-deuntjes groep werden. En leuk dat hij beeldende kunst, waar hij mee bezig was, verweefde met zijn muziek.
Beter 
Electronic Frequencies || Rune Lindblad
Op woensdag 21 oktober start programmamaker Roland Kuit met een nieuwe serie uitzendingen.
Ditmaal krijgen de Lindblad Studios in Gothenborg de volle aandacht.
Met in aflevering 1 de radio-première van Contrasts uit 1986 van Rune Lindblad.
http://www.concertzender.nl/electronic-frequencies-rune-lindblad/?Voorpagina=true
Op woensdag 21 oktober start programmamaker Roland Kuit met een nieuwe serie uitzendingen.
Ditmaal krijgen de Lindblad Studios in Gothenborg de volle aandacht.
Met in aflevering 1 de radio-première van Contrasts uit 1986 van Rune Lindblad.
http://www.concertzender.nl/electronic-frequencies-rune-lindblad/?Voorpagina=true
Hier is een oud lijstje van Lindblad.
Deze man heeft zo ongelofelijk veel gedaan.
Dit is maar een kleine greep.
Deze man heeft zo ongelofelijk veel gedaan.
Dit is maar een kleine greep.
Vanavond:
23:00 - 00:00 Electronic Frequencies
A new series of programs by Roland Kuit about the Lindblad Studios in Gothenborg. First special about Rune Lindblad with a World Radio Premiere of “Contrasts”, 1986.
Situated in Academy of Music and Drama of the University of Gothenborg, composition, research and artistic development can be studied.
While lecturing at the Lindblad Studios and meeting Palle Dahstedt and Per Anders Nilsson, Roland got acquainted with the electronic music of this institute.
This Lindblad Studios is of particularly interest in that it connects to Nordic visionary Knut Wiggen’s ideals from the early 1970s by utilizing the equipment for artistic as well for scholarly purposes.
What to expect in this series:
The music of Rune Lindblad, one of Sweden’s electronic music pioneers.
The music of Palle Dahlstedt and Per Anders Nilsson and their students.
Roland Kuit’s lecture “Modular strategies in shaping reflections and space”.
And again Rune Lindblad with new found music out of the archive.
At Wednesday October 21th, Roland will start the series with the first special about Rune Lindblad with a World Radio Premiere of “Contrasts”, 1986.
Music in this first hour of Rune Lindblad:
1/ Essay III, 1957 **
2/ Contrasts, 1986. Radio Premiere *
Dedicated to the composer Max Käck
First performance at Kalvfestivalen 2015.
3/ Frage, 1960 ***
4/ Plasibenpius, 1970 ***
5/ Opus 131, 1976 ****
6/ Samtai, 1960. Fragment ****
* Radio Premiere.
** EP Paravan.
*** Objekt 2: Electronic and Concrete Music, 1962-1988
**** Die Stille Liebe.
With thanks to Max Käck and Palle Dahstedt.
http://www.concertzender.nl/programmagids/?date=2015-10-21&month=0&detail=81122
23:00 - 00:00 Electronic Frequencies
A new series of programs by Roland Kuit about the Lindblad Studios in Gothenborg. First special about Rune Lindblad with a World Radio Premiere of “Contrasts”, 1986.
Situated in Academy of Music and Drama of the University of Gothenborg, composition, research and artistic development can be studied.
While lecturing at the Lindblad Studios and meeting Palle Dahstedt and Per Anders Nilsson, Roland got acquainted with the electronic music of this institute.
This Lindblad Studios is of particularly interest in that it connects to Nordic visionary Knut Wiggen’s ideals from the early 1970s by utilizing the equipment for artistic as well for scholarly purposes.
What to expect in this series:
The music of Rune Lindblad, one of Sweden’s electronic music pioneers.
The music of Palle Dahlstedt and Per Anders Nilsson and their students.
Roland Kuit’s lecture “Modular strategies in shaping reflections and space”.
And again Rune Lindblad with new found music out of the archive.
At Wednesday October 21th, Roland will start the series with the first special about Rune Lindblad with a World Radio Premiere of “Contrasts”, 1986.
Music in this first hour of Rune Lindblad:
1/ Essay III, 1957 **
2/ Contrasts, 1986. Radio Premiere *
Dedicated to the composer Max Käck
First performance at Kalvfestivalen 2015.
3/ Frage, 1960 ***
4/ Plasibenpius, 1970 ***
5/ Opus 131, 1976 ****
6/ Samtai, 1960. Fragment ****
* Radio Premiere.
** EP Paravan.
*** Objekt 2: Electronic and Concrete Music, 1962-1988
**** Die Stille Liebe.
With thanks to Max Käck and Palle Dahstedt.
http://www.concertzender.nl/programmagids/?date=2015-10-21&month=0&detail=81122
Voor degeen die het gemist heeft, de archief link: http://www.concertzender.nl/player/...program=rod&date=20151021&hourcz=23&pid=81122
Even terug naar een ver, ver verleden. Daphno Oram was hier al gepasseerd. Maar:
De Russische componistr Arseny Avraamov:
Sometime in the early 1920s the Bauhaus artist László Moholy-Nagy suggested that a new form of “music writing” could be created from the grooves in phonographic records. He believed experimenting with the groves would enable composers, musicians and artists to produce music without recording any instruments. Long before scratching, Moholy-Nagy also believed the phonograph could become “an overall instrument… which supersedes all instruments used so far.”
The Jazz Singer in 1927, Moholy-Nagy refined his idea believing a whole new world of abstract sound could be created from experimentation with the optical film sound track. He hoped such experimentation would “enrich the sphere of our aural experience,” by producing sounds that were “entirely unknown.”
In 1929, the Russians produced their first talkie, the snappily titled The Five Year Plan for Great Works. The possibility of synchronized sound inspired a trio of pioneers, composer Arseny Avraamov, animator Mikhail Tsihanovsky and engineer Evgeny Sholpo who were fascinated by the curved loops, arcs and waveforms on the optical soundtrack. The patterns made them wonder if synthetic music could be created by drawing directly onto the sound track. Of course, this they did, at first testing out vase-shapes and ellipses then Egyptian hieroglyphs—all with startling results.
In 1930, Avraamov produced (possibly) the first short film with a hand-drawn synthetic soundtrack.
Meanwhile back at the lab, Evgeny Sholpo was collaborating with composer Rimsky-Korsakov on building what was basically an “optical synthesiser” or Variophone that used an oscilloscope to cut waveforms on small paper discs to produce synthetic music (“ornamental sound”) that was synced to 35mm film, before being photographed onto the same film to create a continuous soundtrack. Kinda laborious, but neat, the end product sounding that sounded like the music to a 8-bit game cartridge.
Diagram of a Variophone
Source: Dangerous Minds:
http://dangerousminds.net/comments/...izer_music_hand_drawn_on_film_and_made_from_c
De Russische componistr Arseny Avraamov:
Sometime in the early 1920s the Bauhaus artist László Moholy-Nagy suggested that a new form of “music writing” could be created from the grooves in phonographic records. He believed experimenting with the groves would enable composers, musicians and artists to produce music without recording any instruments. Long before scratching, Moholy-Nagy also believed the phonograph could become “an overall instrument… which supersedes all instruments used so far.”
The Jazz Singer in 1927, Moholy-Nagy refined his idea believing a whole new world of abstract sound could be created from experimentation with the optical film sound track. He hoped such experimentation would “enrich the sphere of our aural experience,” by producing sounds that were “entirely unknown.”
In 1929, the Russians produced their first talkie, the snappily titled The Five Year Plan for Great Works. The possibility of synchronized sound inspired a trio of pioneers, composer Arseny Avraamov, animator Mikhail Tsihanovsky and engineer Evgeny Sholpo who were fascinated by the curved loops, arcs and waveforms on the optical soundtrack. The patterns made them wonder if synthetic music could be created by drawing directly onto the sound track. Of course, this they did, at first testing out vase-shapes and ellipses then Egyptian hieroglyphs—all with startling results.
In 1930, Avraamov produced (possibly) the first short film with a hand-drawn synthetic soundtrack.
Meanwhile back at the lab, Evgeny Sholpo was collaborating with composer Rimsky-Korsakov on building what was basically an “optical synthesiser” or Variophone that used an oscilloscope to cut waveforms on small paper discs to produce synthetic music (“ornamental sound”) that was synced to 35mm film, before being photographed onto the same film to create a continuous soundtrack. Kinda laborious, but neat, the end product sounding that sounded like the music to a 8-bit game cartridge.
Diagram of a Variophone
Source: Dangerous Minds:
http://dangerousminds.net/comments/...izer_music_hand_drawn_on_film_and_made_from_c
marcmarc
Ouwe rot
Prachtig!
Ouderwetse rotzooi gezien in het licht van vandaag natuurlijk maar, geschiedenis! En dat is van belang.
Ouderwetse rotzooi gezien in het licht van vandaag natuurlijk maar, geschiedenis! En dat is van belang.
25-11-2015
Electronic Frequencies in the Lindblad Studio's
Special on Palle Dahlstedt, artistiek directeur Lindbladstudion Göteborg.
Palle Dahlstedt (b. 1971) is a composer, improviser and researcher from Sweden, working in the borderland of advanced technology and art. He grew up in Stockholm, where he studied classical piano, baroque harpsichord and composition. Later, he studied instrumental and electronic composition at the music academies of Malmö and Gothenburg, and did a PhD on evolutionary algorithms for contemporary composers at Chalmers University of Technology, Gothenburg. His music, ranging from chamber music and orchestral works to interactive computer installations, has been performed on six continents, and awarded several international prizes (e.g., Gaudeamus Prize 2001). As an improviser, he performs on piano and/or custom electronics, and has toured and performed all over the world with, e.g., AMM, Gino Robair, Stephen Nachmanovitch, John Tilbury and his own duo pantoMorf. He has also composed music for over thirty dance and theater productions, and has spent a lot of time in Kyoto, Japan, to study traditional performing arts and collaborate with local traditional and contemporary artists and performers. In his research he develops new technologies and interaction models for electronic improvisation and composition, and studies computer models of artistic creativity. Dahlstedt is currently Obel Professor in Art & Technology at Aalborg university, and Associate Professor (Docent) in Computer-Aided Creativity at the Department of Applied IT, University of Gothenburg/Chalmers University of Technology, and lecturer in electronic music composition at the Academy of Music and Drama, Gothenburg.
Meer info komt beschikbaar op de Concertpagina.
Electronic Frequencies in the Lindblad Studio's
Special on Palle Dahlstedt, artistiek directeur Lindbladstudion Göteborg.
Palle Dahlstedt (b. 1971) is a composer, improviser and researcher from Sweden, working in the borderland of advanced technology and art. He grew up in Stockholm, where he studied classical piano, baroque harpsichord and composition. Later, he studied instrumental and electronic composition at the music academies of Malmö and Gothenburg, and did a PhD on evolutionary algorithms for contemporary composers at Chalmers University of Technology, Gothenburg. His music, ranging from chamber music and orchestral works to interactive computer installations, has been performed on six continents, and awarded several international prizes (e.g., Gaudeamus Prize 2001). As an improviser, he performs on piano and/or custom electronics, and has toured and performed all over the world with, e.g., AMM, Gino Robair, Stephen Nachmanovitch, John Tilbury and his own duo pantoMorf. He has also composed music for over thirty dance and theater productions, and has spent a lot of time in Kyoto, Japan, to study traditional performing arts and collaborate with local traditional and contemporary artists and performers. In his research he develops new technologies and interaction models for electronic improvisation and composition, and studies computer models of artistic creativity. Dahlstedt is currently Obel Professor in Art & Technology at Aalborg university, and Associate Professor (Docent) in Computer-Aided Creativity at the Department of Applied IT, University of Gothenburg/Chalmers University of Technology, and lecturer in electronic music composition at the Academy of Music and Drama, Gothenburg.
Meer info komt beschikbaar op de Concertpagina.
Archief link uitzending:
http://www.concertzender.nl/player/...program=rod&date=20151125&hourcz=23&pid=81755
http://www.concertzender.nl/player/...program=rod&date=20151125&hourcz=23&pid=81755
Alice Shields
Alice Shields is known for her cross-cultural operas and vocal electronic music. In her new chamber opera, Zhaojun - A Woman of Peace (2013), Shields takes the next step in her cross-cultural explorations, into the position of women in ancient China. Her previous operas include Criseyde (2010), a 2-hour-long chamber opera for 5 singers, ensemble of 3 singers and 14 solo instruments performed in concert by the New York City Opera VOX Festival (May, 200
, the American Virtuosi Opera Company at CUNY's Elebash Hall (April, 2008, with support from the Alice M. Ditson Fund), and by the University of North Carolina-Greensboro (June, 2009). Criseyde is a new Middle English feminist retelling of Chaucer's "Troilus and Criseyde."
Komachi at Sekidera (2000/2011), a chamber opera with music and libretto by Shields written for mezzo-soprano, alto flute and Japanese koto, is recorded on Koch International Classics. A new setting of this opera for contralto, flute and cello was premiered at Tenri Institute NYC in 2011. Apocalypse (New World Records, 1994), one of the first electronic operas, with music and libretto by Shields for 3 singers, electric guitar and fixed audio media, uses musical and theatrical techniques from Bharata Natyam dance-drama. The opera Mass for the Dead (American Chamber Opera Co., 1992) with music and libretto by Shields for 4 singers, live or recorded chorus, 3 instruments and fixed audio media, uses theatrical techniques and text from Bharata Natyam dance-drama and Greek drama. Others of Shields' operas include Shaman (American Chamber Opera, 1987), Shivatanz (Akademie der Künste, Berlin, 1993), and Wraecca (Golden Fleece Composers Chamber Theater, 1987).
Education, Funding, Recordings:
Shields earned three degrees from Columbia University: Doctor of Musical Arts in music composition (1975), Master of Arts in music composition (1967), and Bachelor of Science in music (1965), studying with Jack Beeson, Vladimir Ussachevsky, Otto Luening and Chou Wen-Chung. At Columbia she served as Associate Director of the Columbia-Princeton Electronic Music Center (1978-1982) and Associate Director for Development of the Columbia University Computer Music Center (1994-1996). She has taught the psychology of music at NYU and Rutgers, and lectures on the psychology of music at institutions such as the Santa Fe Opera. Funding for Shields' work has come from the Alice M. Ditson Fund of Columbia University (200, New York City Dept of Cultural Affairs (200, PatsyLu Fund for Women's Music Projects (2008, 2005), Mary Flagler Cary Charitable Trust for Music (2008, 1989, 1976), Meet the Composer Soloist Champions Commission (200, American Music Center Copying Assistance Program (2009, 2008, 2003), New York Foundation for the Arts (1990, 1982), National Endowment for the Arts (1979, 1977), National Opera Institute (1975) and Martha Baird Rockefeller Fund for Music (1974). Recordings of Shields' work are on Koch International Classics, New World, CRI, Opus One and Albany Records.
For more information please see www.aliceshields.com
ALICE SHIELDS -"STUDY FOR VOICE AND TAPE" ,1968
Alice Shields is known for her cross-cultural operas and vocal electronic music. In her new chamber opera, Zhaojun - A Woman of Peace (2013), Shields takes the next step in her cross-cultural explorations, into the position of women in ancient China. Her previous operas include Criseyde (2010), a 2-hour-long chamber opera for 5 singers, ensemble of 3 singers and 14 solo instruments performed in concert by the New York City Opera VOX Festival (May, 200
, the American Virtuosi Opera Company at CUNY's Elebash Hall (April, 2008, with support from the Alice M. Ditson Fund), and by the University of North Carolina-Greensboro (June, 2009). Criseyde is a new Middle English feminist retelling of Chaucer's "Troilus and Criseyde."Komachi at Sekidera (2000/2011), a chamber opera with music and libretto by Shields written for mezzo-soprano, alto flute and Japanese koto, is recorded on Koch International Classics. A new setting of this opera for contralto, flute and cello was premiered at Tenri Institute NYC in 2011. Apocalypse (New World Records, 1994), one of the first electronic operas, with music and libretto by Shields for 3 singers, electric guitar and fixed audio media, uses musical and theatrical techniques from Bharata Natyam dance-drama. The opera Mass for the Dead (American Chamber Opera Co., 1992) with music and libretto by Shields for 4 singers, live or recorded chorus, 3 instruments and fixed audio media, uses theatrical techniques and text from Bharata Natyam dance-drama and Greek drama. Others of Shields' operas include Shaman (American Chamber Opera, 1987), Shivatanz (Akademie der Künste, Berlin, 1993), and Wraecca (Golden Fleece Composers Chamber Theater, 1987).
Education, Funding, Recordings:
Shields earned three degrees from Columbia University: Doctor of Musical Arts in music composition (1975), Master of Arts in music composition (1967), and Bachelor of Science in music (1965), studying with Jack Beeson, Vladimir Ussachevsky, Otto Luening and Chou Wen-Chung. At Columbia she served as Associate Director of the Columbia-Princeton Electronic Music Center (1978-1982) and Associate Director for Development of the Columbia University Computer Music Center (1994-1996). She has taught the psychology of music at NYU and Rutgers, and lectures on the psychology of music at institutions such as the Santa Fe Opera. Funding for Shields' work has come from the Alice M. Ditson Fund of Columbia University (200
, New York City Dept of Cultural Affairs (200, PatsyLu Fund for Women's Music Projects (2008, 2005), Mary Flagler Cary Charitable Trust for Music (2008, 1989, 1976), Meet the Composer Soloist Champions Commission (200, American Music Center Copying Assistance Program (2009, 2008, 2003), New York Foundation for the Arts (1990, 1982), National Endowment for the Arts (1979, 1977), National Opera Institute (1975) and Martha Baird Rockefeller Fund for Music (1974). Recordings of Shields' work are on Koch International Classics, New World, CRI, Opus One and Albany Records.For more information please see www.aliceshields.com
ALICE SHIELDS -"STUDY FOR VOICE AND TAPE" ,1968
Meer voer voor gedachten.....
23-12-2015
Special on students of the Lindbladstudion Göteborg Sweden Part I
A series of programs by Roland Kuit about the Lindblad Studios in Gothenborg.
Lecturing at Lindbladstudion, the department for electronic music at the Academy of Music and Drama, I met the students on several occasions and was great to experience their eagerness and talents.
1/ TRAM 05:38 by Tony Blomdahl 00:05:38
The piece was composed in 2003 for a special occasion in Gothenburg. It was remixed in 2006 in ELEMENT STUDIO. The source material is a field recording of a tram trip in Gothenburg between the stops Berzeliigatan and Önskevädersgatan in 2002, a trip that normally takes about 20 minutes. The recording was cut down to about 5-6 minutes.
The recording was processed through a gate effect and after that processed in the software Meta synth.
2/AH AHA by Loise Magnusson 00:05:18
Voice recordings in left and right channel put together in chance layering. And oscillator.
Created year 2012
3/LaSalle by Andreas Eklöf 00:6:00
Andreas was interested in reversing the hierarchical sound image where musical figures often appear more audible than pedal lines in the background. The phrases are generated by a recording he made of a fireplace at Brännö (small pops can be heard
when the firewood burns).
The piece can be heard at his debut album Nor. Compuncio, 2008.
4/Djuret by Klara Andersson 00:04:09
Concrete study, 2013
5/Tihi by Frederic Bergstöm 00:09:40
Granular, voice, 2014, EAM
Granular synthesis piece only derived from the very short frame “tihi” said by the Swedish princess Madeleine. The frame was a almost silent sound she made after she and her boyfriend had made public their upcoming wedding. Custom made patch made in MaxMsp.
6/Flower hive variations by Niklas Sjösvärd 00:08:00
Audiovisual piece for two projections, exhibited at BZZZ! International Sound Art Festival in 2014. Video: https://vimeo.com/105349199
7/ Preparations by Tommy Carlsson 00:12:01
A Drone created for a video about birds preparing for a journey. 2014
8/ More sides now by Siri Landgren 00:03:56
This piece was created in 2010
9/ 130807 I (141209B2) by Jakob Svartengren 00:03:32
“If we convalescents require an art at all, it is another art-a mocking, nimble, volatile, Divinely undisturbed, divinely artificial art, which blazes up like pure flame into a Cloudless sky!” Friedrich Nietzsche, Nietzsche contra Wagner.
Created 2013-2014.
Produced by Roland Kuit
programmagids | Concertzender.nl :: Radio
23-12-2015
Special on students of the Lindbladstudion Göteborg Sweden Part I
A series of programs by Roland Kuit about the Lindblad Studios in Gothenborg.
Lecturing at Lindbladstudion, the department for electronic music at the Academy of Music and Drama, I met the students on several occasions and was great to experience their eagerness and talents.
1/ TRAM 05:38 by Tony Blomdahl 00:05:38
The piece was composed in 2003 for a special occasion in Gothenburg. It was remixed in 2006 in ELEMENT STUDIO. The source material is a field recording of a tram trip in Gothenburg between the stops Berzeliigatan and Önskevädersgatan in 2002, a trip that normally takes about 20 minutes. The recording was cut down to about 5-6 minutes.
The recording was processed through a gate effect and after that processed in the software Meta synth.
2/AH AHA by Loise Magnusson 00:05:18
Voice recordings in left and right channel put together in chance layering. And oscillator.
Created year 2012
3/LaSalle by Andreas Eklöf 00:6:00
Andreas was interested in reversing the hierarchical sound image where musical figures often appear more audible than pedal lines in the background. The phrases are generated by a recording he made of a fireplace at Brännö (small pops can be heard
when the firewood burns).
The piece can be heard at his debut album Nor. Compuncio, 2008.
4/Djuret by Klara Andersson 00:04:09
Concrete study, 2013
5/Tihi by Frederic Bergstöm 00:09:40
Granular, voice, 2014, EAM
Granular synthesis piece only derived from the very short frame “tihi” said by the Swedish princess Madeleine. The frame was a almost silent sound she made after she and her boyfriend had made public their upcoming wedding. Custom made patch made in MaxMsp.
6/Flower hive variations by Niklas Sjösvärd 00:08:00
Audiovisual piece for two projections, exhibited at BZZZ! International Sound Art Festival in 2014. Video: https://vimeo.com/105349199
7/ Preparations by Tommy Carlsson 00:12:01
A Drone created for a video about birds preparing for a journey. 2014
8/ More sides now by Siri Landgren 00:03:56
This piece was created in 2010
9/ 130807 I (141209B2) by Jakob Svartengren 00:03:32
“If we convalescents require an art at all, it is another art-a mocking, nimble, volatile, Divinely undisturbed, divinely artificial art, which blazes up like pure flame into a Cloudless sky!” Friedrich Nietzsche, Nietzsche contra Wagner.
Created 2013-2014.
Produced by Roland Kuit
programmagids | Concertzender.nl :: Radio
marcmarc
Ouwe rot
Kleurrijk setje.
Bij de video van dat stuk op BZZZ! staat voor 'one channel'.
Betekent dat dat de uitvoering over meerdere kanalen ging (niet over twee natuurlijk).
Dat vraag ik omdat ik het typisch een stuk vind dat zich leent om over een multiluidspreker system te choreograferen: Een stuk dat nergens naar klinkt mono of stereo doch, in een choreografie gezet in de ruimte heel spannend kan zijn.
Ik refereer hier ook aan mijn eigen 16 kanaals luidsprekerinstallatie met 32 VCA's waarmee een choreografiën zijn gemaakt voor opzich 'simpele' geluiden doch in de ruimte bewegend een heel andere dimensie krijgen.
Bij de video van dat stuk op BZZZ! staat voor 'one channel'.
Betekent dat dat de uitvoering over meerdere kanalen ging (niet over twee natuurlijk).
Dat vraag ik omdat ik het typisch een stuk vind dat zich leent om over een multiluidspreker system te choreograferen: Een stuk dat nergens naar klinkt mono of stereo doch, in een choreografie gezet in de ruimte heel spannend kan zijn.
Ik refereer hier ook aan mijn eigen 16 kanaals luidsprekerinstallatie met 32 VCA's waarmee een choreografiën zijn gemaakt voor opzich 'simpele' geluiden doch in de ruimte bewegend een heel andere dimensie krijgen.
Daar heb je een punt marcmarc.
In de uitzending is het geluid in stereo.
Dat choreograferen van klank door de ruimte blijft spannend.
Zie ook:
https://www.synthforum.nl/forums/showpost.php?p=1784682&postcount=1
In de uitzending is het geluid in stereo.
Dat choreograferen van klank door de ruimte blijft spannend.
Zie ook:
https://www.synthforum.nl/forums/showpost.php?p=1784682&postcount=1
Voor eenieder die het heeft gemist de Concertzender archief link:
Concertzender Lindblad 3
En bij deze wens ik een ieder fijne feestdagen en een fantastisch SONIC 2016!!!
Verder krijg ik het komend jaar nog drukker dus ik weet niet of ik hier allemaal nog tijd voor heb.
In ieder geval iedereen bedankt!
Concertzender Lindblad 3
En bij deze wens ik een ieder fijne feestdagen en een fantastisch SONIC 2016!!!
Verder krijg ik het komend jaar nog drukker dus ik weet niet of ik hier allemaal nog tijd voor heb.
In ieder geval iedereen bedankt!
Laatst gewijzigd:
27-01-2016
Lindblad Studio's Göteborg synopsis I
1/ Optica 10, Rune Lindblad. 1963 00:13:47
2/ Dynamic Triads Kyle. Palle Dahlstedt. 2013 00:02:59
Bruckman: oboe
Kjell Nordeson: perc
Palle Dahlstedt: Bugbrand modular
3/ Sprängaren , Tomas Hulenvik. B. 1981 00:06:26
4/ Satellit 60,Rune Lindblad. 1957 00:05:50
(Paravan EP)
5/ Tjuta, Palle Dahstedt. 1998 00:19:45
6/ Omringad (excerpt), Olle Petersson & 00:04:38
Olle Sundström. 2015
7/ Decree, Rune Lindblad. 1980 00:16:02
(Die Stille Liebe,Elektron EM 1006/7)
Produced by Roland Kuit
Details worden nog vermeld op de uitzending pagina:
http://www.concertzender.nl/programmagids/?date=2016-01-27&month=0&detail=82881
Lindblad Studio's Göteborg synopsis I
1/ Optica 10, Rune Lindblad. 1963 00:13:47
2/ Dynamic Triads Kyle. Palle Dahlstedt. 2013 00:02:59
Bruckman: oboe
Kjell Nordeson: perc
Palle Dahlstedt: Bugbrand modular
3/ Sprängaren , Tomas Hulenvik. B. 1981 00:06:26
4/ Satellit 60,Rune Lindblad. 1957 00:05:50
(Paravan EP)
5/ Tjuta, Palle Dahstedt. 1998 00:19:45
6/ Omringad (excerpt), Olle Petersson & 00:04:38
Olle Sundström. 2015
7/ Decree, Rune Lindblad. 1980 00:16:02
(Die Stille Liebe,Elektron EM 1006/7)
Produced by Roland Kuit
Details worden nog vermeld op de uitzending pagina:
http://www.concertzender.nl/programmagids/?date=2016-01-27&month=0&detail=82881
Modular strategies in shaping reflections and space
An excerpt of one of the lectures prepared for the Lindblad Studio, Göteborg, Sweden by Roland Kuit.
You can take a seat in the class room on February 24 during Electronic Frequencies: 23.00 CET.
This lecture is about the concept space in electronic music.
In our Daily life our ears are filled by the sound reflections of surfaces in
f.i. Churches, halls and streets. Our ears use a number of sonic clues to determine the direction of origin of a sound and the relative level difference between the two ears is only one of them. Not only where in the stereo left – right panorama but how far or nearby an object of sound will be placed too. It is about creating 3D illusions.
Ways to create a panorama, reverberation, delays and from a comb filter to imaginary instruments. It is all there. A whole world used by composers of electronic music.
If you are a composer or a listener of electronic music, you must attend this class.
This lecture is created by Roland Kuit for the Lindblad Studio University of Gotenborg, Sweden.
Electronic Frequencies, February 24; 23:00.
Take this class on 24-02-2016!
See the news page here:
http://www.concertzender.nl/modular-strategies-reflections-and-space/?Voorpagina=true
More here:
http://www.concertzender.nl/programmagids/?date=2016-02-24&month=0&detail=83576
Sorry voor de Engelse taal, maar deze les is ook in het Engels.
An excerpt of one of the lectures prepared for the Lindblad Studio, Göteborg, Sweden by Roland Kuit.
You can take a seat in the class room on February 24 during Electronic Frequencies: 23.00 CET.
This lecture is about the concept space in electronic music.
In our Daily life our ears are filled by the sound reflections of surfaces in
f.i. Churches, halls and streets. Our ears use a number of sonic clues to determine the direction of origin of a sound and the relative level difference between the two ears is only one of them. Not only where in the stereo left – right panorama but how far or nearby an object of sound will be placed too. It is about creating 3D illusions.
Ways to create a panorama, reverberation, delays and from a comb filter to imaginary instruments. It is all there. A whole world used by composers of electronic music.
If you are a composer or a listener of electronic music, you must attend this class.
This lecture is created by Roland Kuit for the Lindblad Studio University of Gotenborg, Sweden.
Electronic Frequencies, February 24; 23:00.
Take this class on 24-02-2016!
See the news page here:
http://www.concertzender.nl/modular-strategies-reflections-and-space/?Voorpagina=true
More here:
http://www.concertzender.nl/programmagids/?date=2016-02-24&month=0&detail=83576
Sorry voor de Engelse taal, maar deze les is ook in het Engels.
Last edited by a moderator:
