j.baars
vintage eigenheimer
- Lid sinds
- 22 februari 2005
- Berichten
- 12.349
The Art of Electronics
- Thread starter roland kuit
- Start date
Dank je wel J.Baars.
Pierre Henry
Pierre Henry was born in Paris, France, and began experimenting at the age of 15 with sounds produced by various objects. He became fascinated with the integration of noise into music. He studied with Nadia Boulanger, Olivier Messiaen, and Félix Passerone at the Paris Conservatoire from 1938 to 1948 (Dhomont 2001).
Between 1949 and 1958, Henry worked at the Club d'Essai studio at RTF, which had been founded by Pierre Schaeffer in 1943 (Dhomont 2001). During this period, he wrote the 1950 piece Symphonie pour un homme seul, in cooperation with Schaeffer; he also composed the first musique concrète to appear in a commercial film, the 1952 short film Astrologie ou le miroir de la vie. Henry has scored numerous additional films and ballets.
Two years after leaving the RTF, he founded with Jean Baronnet the first private electronic studio in France, the Apsone-Cabasse Studio (Dhomont 2001).
Among Henry's works is the 1967 ballet Messe pour le temps présent (Dhomont 2001), a collaboration with choreographer Maurice Béjart that debuted in Avignon (Rubin 2001,[page needed]). In 1970 Henry collaborated with British rock band Spooky Tooth on the album Ceremony (Rubin 2001, 30
. wiki
The sound of the door of the Parisian church Jean le Povere in all of its facets:
http://youtu.be/dud4D6PeHqQ
Pierre Henry
Pierre Henry was born in Paris, France, and began experimenting at the age of 15 with sounds produced by various objects. He became fascinated with the integration of noise into music. He studied with Nadia Boulanger, Olivier Messiaen, and Félix Passerone at the Paris Conservatoire from 1938 to 1948 (Dhomont 2001).
Between 1949 and 1958, Henry worked at the Club d'Essai studio at RTF, which had been founded by Pierre Schaeffer in 1943 (Dhomont 2001). During this period, he wrote the 1950 piece Symphonie pour un homme seul, in cooperation with Schaeffer; he also composed the first musique concrète to appear in a commercial film, the 1952 short film Astrologie ou le miroir de la vie. Henry has scored numerous additional films and ballets.
Two years after leaving the RTF, he founded with Jean Baronnet the first private electronic studio in France, the Apsone-Cabasse Studio (Dhomont 2001).
Among Henry's works is the 1967 ballet Messe pour le temps présent (Dhomont 2001), a collaboration with choreographer Maurice Béjart that debuted in Avignon (Rubin 2001,[page needed]). In 1970 Henry collaborated with British rock band Spooky Tooth on the album Ceremony (Rubin 2001, 30
. wikiThe sound of the door of the Parisian church Jean le Povere in all of its facets:
http://youtu.be/dud4D6PeHqQ
audiocollage
Ouwe rot
- Lid sinds
- 30 april 2009
- Berichten
- 3.107
Deze n.m.i. een beter bekende Pierre Henry.
Hier een mooi interview Pierre Henry-Wire:
http://soundmorphology.blogspot.nl/2014/01/pierre-henry-2009revisiting-wire.html
An uncomfortable faultline in their relationship, which eventually led to a schism, was that Schaeffer was more effective as an ideas man and theoretician, and needed Henry’s composerly sensibility to realize his concepts.
“I was much more idealistic before than I am today,” Henry comments, as I ask him if he’s still driven by a pioneer spirit. “What I wanted to explore was the phenomenon of recording – I wanted to record voices, sounds and music and put them together. I thought this way of working was going to be more important than any instrumental music.
http://soundmorphology.blogspot.nl/2014/01/pierre-henry-2009revisiting-wire.html
An uncomfortable faultline in their relationship, which eventually led to a schism, was that Schaeffer was more effective as an ideas man and theoretician, and needed Henry’s composerly sensibility to realize his concepts.
“I was much more idealistic before than I am today,” Henry comments, as I ask him if he’s still driven by a pioneer spirit. “What I wanted to explore was the phenomenon of recording – I wanted to record voices, sounds and music and put them together. I thought this way of working was going to be more important than any instrumental music.
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Erkki Kurenniemi
(born July 10, 1941 in Hämeenlinna, Finland) is a Finnish designer, philosopher and artist, best known for his electronic music compositions and the electronic instruments he has designed. He is considered one of the leading early pioneers of electronic music in Finland. Kurenniemi is also a science populariser, a futurologist, a pioneer of media culture, and an experimental film-maker.
Kurenniemi completed the majority of his instruments, electronic compositions and experimental films in the 1960s and 1970s. Between 1962 and 1974, he designed and constructed ten electronic instruments and studio devices when he was working as a volunteer assistant at the Department of Musicology at the University of Helsinki, and as designer at Digelius Electronics Finland Oy, founded in 1970. In addition to the Musicology Department, Kurenniemi also worked as assistant and senior designer at the Department of Theoretical Physics from 1962 to 1973. Kurenniemi earned a Bachelor of Sciences degree in 1968.
He subsequently worked as a designer of control systems for industrial robots at Oy W. Rosenlew Ab (1976–1978 ), and as a designer of industrial automation and robotic systems at Nokia’s cable machinery division (1980–1986 ). He also worked as a specialist consultant and Head of Planning at the Science Centre Heureka in Vantaa, Finland (1987–1998 ).
Kurenniemi received the Finland Prize of the Ministry of Education and Culture in 2003. In 2004, he was elected honorary fellow of the University of Art and Design Helsinki. 2011 Kurenniemi received Order of the Lion of Finland medal from The President of Finland Mrs. Tarja Halonen.
Erkki Kurenniemi - Antropoidien tanssi. 1968:
http://youtu.be/ktPopMt6Zh0
(born July 10, 1941 in Hämeenlinna, Finland) is a Finnish designer, philosopher and artist, best known for his electronic music compositions and the electronic instruments he has designed. He is considered one of the leading early pioneers of electronic music in Finland. Kurenniemi is also a science populariser, a futurologist, a pioneer of media culture, and an experimental film-maker.
Kurenniemi completed the majority of his instruments, electronic compositions and experimental films in the 1960s and 1970s. Between 1962 and 1974, he designed and constructed ten electronic instruments and studio devices when he was working as a volunteer assistant at the Department of Musicology at the University of Helsinki, and as designer at Digelius Electronics Finland Oy, founded in 1970. In addition to the Musicology Department, Kurenniemi also worked as assistant and senior designer at the Department of Theoretical Physics from 1962 to 1973. Kurenniemi earned a Bachelor of Sciences degree in 1968.
He subsequently worked as a designer of control systems for industrial robots at Oy W. Rosenlew Ab (1976–1978 ), and as a designer of industrial automation and robotic systems at Nokia’s cable machinery division (1980–1986 ). He also worked as a specialist consultant and Head of Planning at the Science Centre Heureka in Vantaa, Finland (1987–1998 ).
Kurenniemi received the Finland Prize of the Ministry of Education and Culture in 2003. In 2004, he was elected honorary fellow of the University of Art and Design Helsinki. 2011 Kurenniemi received Order of the Lion of Finland medal from The President of Finland Mrs. Tarja Halonen.
Erkki Kurenniemi - Antropoidien tanssi. 1968:
http://youtu.be/ktPopMt6Zh0
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Sorry voor de smileys. Kan ze niet veranderen. Deze moeten het cijfer 8 en daarna aanhalingsteken sluiten zijn.
En nog 1: Erkki Kurenniemi - Saharan uni II
http://youtu.be/q-VSSzv1bfs
En nog 1: Erkki Kurenniemi - Saharan uni II
http://youtu.be/q-VSSzv1bfs
Roland Kuit @ EMS Stockholm
Roland Kuit @ EMS Stockholm
Hi forum,
Roland Kuit @ EMS Stockholm 15 Dec - 7 Jan:
I will be there as composer in the residence.
Research and composition with the EMS Buchla 200 and my Kyma X / Pacarana.
http://www.elektronmusikstudion.se/news/composers/475-roland-kuit
On 19 Dec I will present the lecture: To be ON / to be OFF
The 'On and Off' lecture explains the basics of binary synthesis in use with modular synthesis in an unconventional way, i.e. by explaining the limitless possibilities that even the 'on' and 'off' switch offers. From a 2-switch instrument to state of the art complex pattern shapers. Shaping audio by creating 4 and 8 bits pipelines and creating switch matrices of choice will offer numerous possibilities in sound design.
For more information, please go to: http://rolandkuit.com/To_be_ON-OFF.html
Please R.S.V.P to: ylva.skog@elektronmusikstudion.se
http://www.elektronmusikstudion.se/...er-class-to-be-on-to-be-off-that-s-the-switch
Roland Kuit @ EMS Stockholm
Hi forum,
Roland Kuit @ EMS Stockholm 15 Dec - 7 Jan:
I will be there as composer in the residence.
Research and composition with the EMS Buchla 200 and my Kyma X / Pacarana.
http://www.elektronmusikstudion.se/news/composers/475-roland-kuit
On 19 Dec I will present the lecture: To be ON / to be OFF
The 'On and Off' lecture explains the basics of binary synthesis in use with modular synthesis in an unconventional way, i.e. by explaining the limitless possibilities that even the 'on' and 'off' switch offers. From a 2-switch instrument to state of the art complex pattern shapers. Shaping audio by creating 4 and 8 bits pipelines and creating switch matrices of choice will offer numerous possibilities in sound design.
For more information, please go to: http://rolandkuit.com/To_be_ON-OFF.html
Please R.S.V.P to: ylva.skog@elektronmusikstudion.se
http://www.elektronmusikstudion.se/...er-class-to-be-on-to-be-off-that-s-the-switch
Aan het werk bij EMS Stockholm:
Binnenkort heel veel nieuws over fantastische Nordic componisten elektronische muziek.
Binnenkort heel veel nieuws over fantastische Nordic componisten elektronische muziek.
Ákos Rózmann
was born in Budapest, Hungary, on the 16th of July, 1939. He studied composition with Rezső Sugár at the Bartók Béla Secondary School of Music between 1957 and 1961. From 1961 on, he attended the Franz Liszt Academy of Music, studying composition with Endre Szervánszky and organ with Sebestyén Pécsi. He graduated in both subjects in 1966. After gaining his diplomas, he worked as a teacher of score reading at the Teacher’s College of the Liszt Academy in Szeged. At the end of the sixties, he composed film music for Mafilm (Hungarian Film Studios). His Improvisazione for flute and piano was published in 1971 by Editio Musica Budapest.
In 1971, he went to Sweden for postgraduate studies of composition. His teacher was Ingvar Lidholm at the Royal College of Music in Stockholm. In the College studio, he discovered the tools of electroacoustic music making. He also started to work in EMS (the Stockholm Electroacoustic Music Studio). The first result of his experiments was Impulsioni, a cycle of short electronic pieces from 1974, which won third prize at the Bourges Concours International de Musique Électroacoustique in 1976.
After finishing his studies at the Royal College of Music in 1974, Rózmann settled in Stockholm, spending the rest of his life in and near the Swedish capital. From the seventies on, he thought of recorded electroacoustic music as the only suitable medium for his creative ideas. His first conspicuous public appearance as a composer was the premiere of Bilder inför drömmen och döden (Images of Dream and Death) on the 9th of March, 1978. The concert was held in Cirkus, a large event hall in Stockholm. His first large-scale work had an astonishing impact on the audience – not only on critics and connoisseurs, but even on those who previously were not interested in artistic music at all.
Akos Rozmann - 12 Stationer VI pt. I
http://youtu.be/sOUmKb4H_3o
was born in Budapest, Hungary, on the 16th of July, 1939. He studied composition with Rezső Sugár at the Bartók Béla Secondary School of Music between 1957 and 1961. From 1961 on, he attended the Franz Liszt Academy of Music, studying composition with Endre Szervánszky and organ with Sebestyén Pécsi. He graduated in both subjects in 1966. After gaining his diplomas, he worked as a teacher of score reading at the Teacher’s College of the Liszt Academy in Szeged. At the end of the sixties, he composed film music for Mafilm (Hungarian Film Studios). His Improvisazione for flute and piano was published in 1971 by Editio Musica Budapest.
In 1971, he went to Sweden for postgraduate studies of composition. His teacher was Ingvar Lidholm at the Royal College of Music in Stockholm. In the College studio, he discovered the tools of electroacoustic music making. He also started to work in EMS (the Stockholm Electroacoustic Music Studio). The first result of his experiments was Impulsioni, a cycle of short electronic pieces from 1974, which won third prize at the Bourges Concours International de Musique Électroacoustique in 1976.
After finishing his studies at the Royal College of Music in 1974, Rózmann settled in Stockholm, spending the rest of his life in and near the Swedish capital. From the seventies on, he thought of recorded electroacoustic music as the only suitable medium for his creative ideas. His first conspicuous public appearance as a composer was the premiere of Bilder inför drömmen och döden (Images of Dream and Death) on the 9th of March, 1978. The concert was held in Cirkus, a large event hall in Stockholm. His first large-scale work had an astonishing impact on the audience – not only on critics and connoisseurs, but even on those who previously were not interested in artistic music at all.
Akos Rozmann - 12 Stationer VI pt. I
http://youtu.be/sOUmKb4H_3o
Jon Howard Appleton
(born January 4, 1939) is an American composer and teacher who was a pioneer in electro-acoustic music. His earliest compositions in the medium, e.g. Chef d'Oeuvre and Newark Airport Rock attracted attention because they established a new tradition some have called programmatic electronic music. In 1970 he won Guggenheim,[1] Fulbright and American-Scandinavian Foundation fellowships. When he was twenty-eight years old he joined the faculty of Dartmouth College where he established one of the first electronic music studios in the United States. He remained there intermittently for forty-two years. In the mid-1970s he left Dartmouth to briefly become the head of Elektronmusikstudion (EMS) in Stockholm, Sweden. In the late 1970s, together with Sydney Alonso and Cameron Jones he helped develop the first commercial digital synthesizer called the Synclavier.[2] For a decade he toured around the United States and Europe performing the compositions he composed for this instrument. In the early 1990s he helped found the Theremin Center for Electronic Music at the Moscow Conservatory of Music where he continues to teach once a year. He has also taught at Keio University (Mita) in Tokyo, Japan, CCRMA at Stanford University and the University of California Santa Cruz. In his later years he has devoted most of his time to the composition of instrumental and choral music in a quasi-Romantic vein which has largely been performed only in France, Russia and Japan.(Wiki)
Jon Appleton - Chef d'oeuvre (1967)
http://youtu.be/ve3-JJbSliI
(born January 4, 1939) is an American composer and teacher who was a pioneer in electro-acoustic music. His earliest compositions in the medium, e.g. Chef d'Oeuvre and Newark Airport Rock attracted attention because they established a new tradition some have called programmatic electronic music. In 1970 he won Guggenheim,[1] Fulbright and American-Scandinavian Foundation fellowships. When he was twenty-eight years old he joined the faculty of Dartmouth College where he established one of the first electronic music studios in the United States. He remained there intermittently for forty-two years. In the mid-1970s he left Dartmouth to briefly become the head of Elektronmusikstudion (EMS) in Stockholm, Sweden. In the late 1970s, together with Sydney Alonso and Cameron Jones he helped develop the first commercial digital synthesizer called the Synclavier.[2] For a decade he toured around the United States and Europe performing the compositions he composed for this instrument. In the early 1990s he helped found the Theremin Center for Electronic Music at the Moscow Conservatory of Music where he continues to teach once a year. He has also taught at Keio University (Mita) in Tokyo, Japan, CCRMA at Stanford University and the University of California Santa Cruz. In his later years he has devoted most of his time to the composition of instrumental and choral music in a quasi-Romantic vein which has largely been performed only in France, Russia and Japan.(Wiki)
Jon Appleton - Chef d'oeuvre (1967)
http://youtu.be/ve3-JJbSliI
Gottfried Michael Koenig
Some Wiki:
From 1954 to 1964 Koenig worked in the electronic studio of West German Radio (WDR) producing his electronic compositions Klangfiguren, Essay and Terminus 1 and wrote orchestral and chamber music. Furthermore he assisted other composers, including Mauricio Kagel, Franco Evangelisti, György Ligeti, Herbert Brün and Karlheinz Stockhausen (with the realization of Kontakte and Gesang der Jünglinge).
From 1961 to 1965 Koenig taught at the Gaudeamus Foundation in Bilthoven, and from 1962 to 1964 at the Hochschule für Musik Köln. In 1964 Koenig moved to the Netherlands, where he taught at the University of Utrecht and was, until 1986, director and later chairman of the electronic music studio, which became the Institute of Sonology (Frobenius 2001). Here he developed his computer composition programs Project 1 (1964) and Project 2 (1966), designed to formalise the composition of musical structure-variants. Both programs had a significant impact on the further development of algorithmic composition systems. Among his notable students are Mario Bertoncini, Konrad Boehmer, Karl Gottfried Brunotte, Johannes Fritsch, Annea Lockwood, Tomás Marco, Pierre Mariétan, Zoltán Pongrácz, Atli Heimir Sveinsson, Miguel Ángel Coria, and Jan Vriend.
His sound synthesis program SSP (started 1971) is based on the representation of sound as a sequence of amplitudes in time. It makes use of the methods of aleatoric and groupwise selection of elements employed in Project 1 and Project 2. He continued to produce electronic works (Terminus 2, the Funktionen series). These were followed by the application of his computer programs, resulting in chamber music (Übung for piano, the Segmente series, 3 ASKO Pieces, String Quartet 1987, String Trio) and works for orchestra (Beitrag, Concerti e Corali). 6 volumes of his theoretical writings were published between 1991 and 2008 under the title Ästhetische Praxis by Pfau Verlag; an Italian selection appeared under the title Genesi e forma (Semar, Rome 1995).
"Funktion Grau", 1969:
http://youtu.be/H1XBUbxddy4
Some Wiki:
From 1954 to 1964 Koenig worked in the electronic studio of West German Radio (WDR) producing his electronic compositions Klangfiguren, Essay and Terminus 1 and wrote orchestral and chamber music. Furthermore he assisted other composers, including Mauricio Kagel, Franco Evangelisti, György Ligeti, Herbert Brün and Karlheinz Stockhausen (with the realization of Kontakte and Gesang der Jünglinge).
From 1961 to 1965 Koenig taught at the Gaudeamus Foundation in Bilthoven, and from 1962 to 1964 at the Hochschule für Musik Köln. In 1964 Koenig moved to the Netherlands, where he taught at the University of Utrecht and was, until 1986, director and later chairman of the electronic music studio, which became the Institute of Sonology (Frobenius 2001). Here he developed his computer composition programs Project 1 (1964) and Project 2 (1966), designed to formalise the composition of musical structure-variants. Both programs had a significant impact on the further development of algorithmic composition systems. Among his notable students are Mario Bertoncini, Konrad Boehmer, Karl Gottfried Brunotte, Johannes Fritsch, Annea Lockwood, Tomás Marco, Pierre Mariétan, Zoltán Pongrácz, Atli Heimir Sveinsson, Miguel Ángel Coria, and Jan Vriend.
His sound synthesis program SSP (started 1971) is based on the representation of sound as a sequence of amplitudes in time. It makes use of the methods of aleatoric and groupwise selection of elements employed in Project 1 and Project 2. He continued to produce electronic works (Terminus 2, the Funktionen series). These were followed by the application of his computer programs, resulting in chamber music (Übung for piano, the Segmente series, 3 ASKO Pieces, String Quartet 1987, String Trio) and works for orchestra (Beitrag, Concerti e Corali). 6 volumes of his theoretical writings were published between 1991 and 2008 under the title Ästhetische Praxis by Pfau Verlag; an Italian selection appeared under the title Genesi e forma (Semar, Rome 1995).
"Funktion Grau", 1969:
http://youtu.be/H1XBUbxddy4
Hoor net dat mijn onderzoek en compositie op EMS Stockholm op de concertzender komt.
De laatste week van Februari, geef wel een link tegen die tijd.
De laatste week van Februari, geef wel een link tegen die tijd.
Mooi hoor Roland
Bedankt!
Electronic Frequencies
Komt eraan: 25-02 23.00 uur
http://www.concertzender.nl/programmagids/?date=2015-02-25&month=1&detail=76262
Komt eraan: 25-02 23.00 uur
http://www.concertzender.nl/programmagids/?date=2015-02-25&month=1&detail=76262
The CLAEM Electronic Music Laboratory, Buenos Aires
Founded by classical composer Alberto Ginastera, CLAEM (the Latin American Center for Advanced Musical Studies) was made part of the institute in 1962, yielding numerous productions of dodecaphonic, electronic, and acoustic music; CLAEM attracted prominent international guest lecturers such as Aaron Copland, Luigi Nono, and Iannis Xenakis. A visual arts center (CAV) was also inaugurated at the new address. Directed by Romero Brest, CAV became the leading Buenos Aires center for the display and promotion for avant-garde creations. CAV introduced art patrons to sculptors Juan Carlos Distéfano, Julio Le Parc, and Clorindo Testa, as well as painters Romulo Macció, Luis Felipe Noé, Jorge de la Vega, Ernesto Deira, Antonio Seguí, and conceptual artists such as Edgardo Giménez and Marta Minujín. (Wiki)
Founded by classical composer Alberto Ginastera, CLAEM (the Latin American Center for Advanced Musical Studies) was made part of the institute in 1962, yielding numerous productions of dodecaphonic, electronic, and acoustic music; CLAEM attracted prominent international guest lecturers such as Aaron Copland, Luigi Nono, and Iannis Xenakis. A visual arts center (CAV) was also inaugurated at the new address. Directed by Romero Brest, CAV became the leading Buenos Aires center for the display and promotion for avant-garde creations. CAV introduced art patrons to sculptors Juan Carlos Distéfano, Julio Le Parc, and Clorindo Testa, as well as painters Romulo Macció, Luis Felipe Noé, Jorge de la Vega, Ernesto Deira, Antonio Seguí, and conceptual artists such as Edgardo Giménez and Marta Minujín. (Wiki)
Jacqueline Nova Sondag (1935–1975)
was a Colombian musician, author and composer.
Jacqueline Nova Sondag was born 6 January 1935, in Ghent, Belgium. Her family later moved to Bucaramanga, Colombia, and then in 1955 to Bogotá. Nova began studying piano as a child and in 1958 was admitted to the National Conservatory of Music National University. She appeared in performances at the Conservatory as a soloist and accompanist and studied with Fabio González Zuleta and with Blas Emilio Atehortua for contemporary music. In 1967 she graduated with a Masters in composition and traveled to Buenos Aires on a scholarship from the Instituto Torcuato Di Tella for further studies in composition. There she studied with Luigi Nono, Alberto Ginastera, Gerardo Gandini, Kröpfl Francisco and others.(Wiki)
Jacqueline Nova: Oposición-Fusión (196
http://youtu.be/3y65f5igCnU
was a Colombian musician, author and composer.
Jacqueline Nova Sondag was born 6 January 1935, in Ghent, Belgium. Her family later moved to Bucaramanga, Colombia, and then in 1955 to Bogotá. Nova began studying piano as a child and in 1958 was admitted to the National Conservatory of Music National University. She appeared in performances at the Conservatory as a soloist and accompanist and studied with Fabio González Zuleta and with Blas Emilio Atehortua for contemporary music. In 1967 she graduated with a Masters in composition and traveled to Buenos Aires on a scholarship from the Instituto Torcuato Di Tella for further studies in composition. There she studied with Luigi Nono, Alberto Ginastera, Gerardo Gandini, Kröpfl Francisco and others.(Wiki)
Jacqueline Nova: Oposición-Fusión (196
http://youtu.be/3y65f5igCnU
