I have replaced the link with an other one and hopes this will stick.
For educational purposes the way how this is dealt with is different.
Thanks for pointing out Hubird
Electronic music pioneers
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Roland Kuit
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Re: Electronic music pioneers
Sometimes that can happen. It is not always clear if people have the rights of the music/video or not.
I have replaced the link with an other one and hopes this will stick.
For educational purposes the way how this is dealt with is different.
Thanks for pointing out Hubird
I have replaced the link with an other one and hopes this will stick.
For educational purposes the way how this is dealt with is different.
Thanks for pointing out Hubird
Avant-electronic composer | synthesis research | lecturer
http://www.rolandkuit.com/
http://www.rolandkuit.com/
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Roland Kuit
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Re: Electronic music pioneers
Belgian composer Leo Küpper (b.1935) started to experiment with electronic music in 1959 as a student at Liège University, Belgium, using two Brüel & Kjaer oscillators and a tape recorder. From 1961, while studying musicology in Brussels, he worked at Brussels Apelac electronic music studio, founded by Henri Pousseur in 1959. Küpper founded his own ‘Studio de Recherches et de Structurations Electroniques Auditives’ in Brussels in 1967. He created interactive sound installations he called ‘Public Computer Music’ (Galleria Nazionale d’Arte Moderna, Roma, 1977) and various electronic instruments like the ‘Automates Sonores’, the Kinephone in 1987, or the ‘Ordinateur Musical’, a voice-activated computer with electronic sounds interacting with the audience. These interactive musical events sometimes took place in Sound Domes (1977-1987), architectural structures with up to 100 speakers, like in Linz, Austria, 1984. Küpper was always fascinated with the human voice and some of his best works use it as source material. He researched the world of phonemes and glossolalia, or speaking in tongues in Christian and Orthodox liturgy. He founded the Phonemic and Vocal group in 1982, with singers using the musical machines described above. One of his compositions of 1974 is based on Antonin Artaud’s poem ‘L’enclume des Forces’. He often worked with actors and students, more rarely with professional singers (like mezzo-soprano A.M. Kieffer), in which case his music is comparable to Luciano Berio’s compositions for Cathy Berberian. In 1973, Küpper traveled to Iran to study santur with Hossein Malek. Since then, he has been a noted santur player, performing abroad during festivals and composing for santur and electronics.(Continuo)
Leo Küpper - Innominé , 1974
http://youtu.be/7AVPIJvz904
Leo Küpper - Innominé , 1974
http://youtu.be/7AVPIJvz904
Avant-electronic composer | synthesis research | lecturer
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Roland Kuit
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Re: Electronic music pioneers
Today Japan, 70 years Hiroshima.
Jean Claude Risset
In France, Jean Claude Risset (1938-) read the Science paper. At the time, he was doing graduate work in physics in Paris. Enthused by Mathews' article, Risset obtained a grant from a French research agency to do his thesis research at Bell Labs. In 1964 Risset succeeded Tenney as research composer in residence. He was impressed with the interdisciplinary environment at Bell, which he found far less territorial than in European research centers. There was also no pressure for an immediate application, as they were involved in long-term, speculative research.
Risset became one of the first to research timbre with the new digital tools. He began with the trumpet, making digital recordings, and then spectral analyses. He found that describing the timbre was not a simple matter, and in fact there was no one timbre for the instrument at all. For one thing, the relative amplitudes of the harmonics was not fixed, but dynamic. Thus, to synthesize the trumpet effectively, the spectrum had to change in the right frequencies and at the right rates. The higher harmonics entered later than the lower harmonics. Also, the spectrum varied with loudness of the instrument -- when it was played louder, there were more higher harmonics. Risset's work is a fascinating study of acoustics applied to music, and his compositions remain early classics in the field of computer music.
SOURCES:
Liner notes, James Tenney: Selected Works, 1961-1969, Artifact Recordings, 1992.
Max Mathews, keynote address at International Computer Music Conference, New Orleans, 2006.
Music for Little Boy (1968), a play written by Pierre Halet. The play dramatizes a nightmare suffered by the pilot who flew the plane over Hiroshima when the atom bomb was dropped, who by some accounts was plagued by the guilt and mental disorder afterwards. In one section, the pilot identifies himself with the falling bomb, analogous to his ever-descending mental collapse. Risset dramatized this section of the nightmare with an endless descending glissando.
Jean-Claude Risset - Computer Suite From Little Boy - 1968
http://www.youtube.com/watch?v=RcX0ubvoZUA
Jean Claude Risset
In France, Jean Claude Risset (1938-) read the Science paper. At the time, he was doing graduate work in physics in Paris. Enthused by Mathews' article, Risset obtained a grant from a French research agency to do his thesis research at Bell Labs. In 1964 Risset succeeded Tenney as research composer in residence. He was impressed with the interdisciplinary environment at Bell, which he found far less territorial than in European research centers. There was also no pressure for an immediate application, as they were involved in long-term, speculative research.
Risset became one of the first to research timbre with the new digital tools. He began with the trumpet, making digital recordings, and then spectral analyses. He found that describing the timbre was not a simple matter, and in fact there was no one timbre for the instrument at all. For one thing, the relative amplitudes of the harmonics was not fixed, but dynamic. Thus, to synthesize the trumpet effectively, the spectrum had to change in the right frequencies and at the right rates. The higher harmonics entered later than the lower harmonics. Also, the spectrum varied with loudness of the instrument -- when it was played louder, there were more higher harmonics. Risset's work is a fascinating study of acoustics applied to music, and his compositions remain early classics in the field of computer music.
SOURCES:
Liner notes, James Tenney: Selected Works, 1961-1969, Artifact Recordings, 1992.
Max Mathews, keynote address at International Computer Music Conference, New Orleans, 2006.
Music for Little Boy (1968), a play written by Pierre Halet. The play dramatizes a nightmare suffered by the pilot who flew the plane over Hiroshima when the atom bomb was dropped, who by some accounts was plagued by the guilt and mental disorder afterwards. In one section, the pilot identifies himself with the falling bomb, analogous to his ever-descending mental collapse. Risset dramatized this section of the nightmare with an endless descending glissando.
Jean-Claude Risset - Computer Suite From Little Boy - 1968
http://www.youtube.com/watch?v=RcX0ubvoZUA
Avant-electronic composer | synthesis research | lecturer
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SilverScoper
Re: Electronic music pioneers
Not nearly the nightmare as those at ground zero. No composition will ever capture that.
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Roland Kuit
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Re: Electronic music pioneers
Andrew Rudin
Charles Andrew Rudin was born in Newgulf, Texas, on April 10, 1939. He became interested in music early in his childhood, and began to take piano lesson when he was 7-year-old, with Lila Crow, the only piano teacher in Newgulf. She also took the young student to attend operas in Houston, Texas. Some time later Andrew Rudin also studied trombone and cello, and began to compose his own pieces at age 15.
In 1957, Rudin entered the University of Texas, in Austin. Also at that time, he became aware of the works by european experimental composers, including Pierre Schaeffer's musique concrète, Karlheinz Stockhausen's elektonische musik, and Vladimir Ussachevsky and Otto Luening's tape music. In early '60s, he left the University of Texas and moved to Philadelphia to attend the University of Pennsylvania, where he studied with composers George Rochberg, Karlheinx Stockhausen, Ralph Shapey, and Hugo Weisgall. After his graduation, Andrew joined the faculty of The Philadelphia Musical Academy. A friend of Andrew's from high school had just joined the dance company of the famous choreographer Alwin Nikolais, who was one of the very first customers of Robert Moog - Nikolais had bought one of the first Moog Synthesizers in 1964. The choreographer was also responsible for Andrew Rudin's very first contact with the Moog Synthesizer. When Rudin became aware that the University of Pennsylvania's music department was beginning to set their studio for experimental music, he contacted Robert Moog and U Penn soon had the first large-scale electronic music studio designed by Bob Moog. In 1966, Rudin composed and realized his first composition with the Moog Synthesizer, "Il Giuoco," a piece for film and synthesized sounds.
During the seventies, Andrew Rudin taught electronic music, composition, and music theory at The Philadelphia Musical Academy. In 1972 "The Innocent", an opera that blended orchestral music, electronic sounds, and voices was premiered. Andrew Rudin not only composed the score, but also was the responsible for the scenery, projections, and costumes. In 1975, Alwin Nikolais hired Andrew Rudin as his music assistant, and he collaborated with Nikolais in several performances, including "Styx," "Arporisms," "Guignol," and "Triad." Andrew also composed for the choreographer Murray Louis the electronic pieces "Porcelain Dialogues" and "Ceremony."
Andrew Rudin - Tragoedia:
http://www.youtube.com/watch?v=exIoYnhoEHk
Charles Andrew Rudin was born in Newgulf, Texas, on April 10, 1939. He became interested in music early in his childhood, and began to take piano lesson when he was 7-year-old, with Lila Crow, the only piano teacher in Newgulf. She also took the young student to attend operas in Houston, Texas. Some time later Andrew Rudin also studied trombone and cello, and began to compose his own pieces at age 15.
In 1957, Rudin entered the University of Texas, in Austin. Also at that time, he became aware of the works by european experimental composers, including Pierre Schaeffer's musique concrète, Karlheinz Stockhausen's elektonische musik, and Vladimir Ussachevsky and Otto Luening's tape music. In early '60s, he left the University of Texas and moved to Philadelphia to attend the University of Pennsylvania, where he studied with composers George Rochberg, Karlheinx Stockhausen, Ralph Shapey, and Hugo Weisgall. After his graduation, Andrew joined the faculty of The Philadelphia Musical Academy. A friend of Andrew's from high school had just joined the dance company of the famous choreographer Alwin Nikolais, who was one of the very first customers of Robert Moog - Nikolais had bought one of the first Moog Synthesizers in 1964. The choreographer was also responsible for Andrew Rudin's very first contact with the Moog Synthesizer. When Rudin became aware that the University of Pennsylvania's music department was beginning to set their studio for experimental music, he contacted Robert Moog and U Penn soon had the first large-scale electronic music studio designed by Bob Moog. In 1966, Rudin composed and realized his first composition with the Moog Synthesizer, "Il Giuoco," a piece for film and synthesized sounds.
During the seventies, Andrew Rudin taught electronic music, composition, and music theory at The Philadelphia Musical Academy. In 1972 "The Innocent", an opera that blended orchestral music, electronic sounds, and voices was premiered. Andrew Rudin not only composed the score, but also was the responsible for the scenery, projections, and costumes. In 1975, Alwin Nikolais hired Andrew Rudin as his music assistant, and he collaborated with Nikolais in several performances, including "Styx," "Arporisms," "Guignol," and "Triad." Andrew also composed for the choreographer Murray Louis the electronic pieces "Porcelain Dialogues" and "Ceremony."
Andrew Rudin - Tragoedia:
http://www.youtube.com/watch?v=exIoYnhoEHk
Avant-electronic composer | synthesis research | lecturer
http://www.rolandkuit.com/
http://www.rolandkuit.com/
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Roland Kuit
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Re: Electronic music pioneers
Robert Ashley
(March 28, 1930 – March 3, 2014) was an American composer, who was best known for his operas and other theatrical works, many of which incorporate electronics and extended techniques.
Ashley was born in Ann Arbor, Michigan. He studied at the University of Michigan with Ross Lee Finney, at the Manhattan School of Music, and was later a musician in the US Army. After moving back to Michigan, Ashley worked at the University of Michigan's Speech Research Laboratories. Although he was not officially a student in the acoustic research program there, he was offered the chance to obtain a doctorate, but turned it down to pursue his music. From 1961 to 1969, he organised the ONCE Festival in Ann Arbor with Roger Reynolds, Gordon Mumma, and other local composers and artists. He was a co-founder of the ONCE Group, as well as a member of the Sonic Arts Union, which also included David Behrman, Alvin Lucier, and Gordon Mumma. In 1969 he became director of the San Francisco Tape Music Center. In the 1970s he directed the Mills College Center for Contemporary Music.
"Automatic Writing" is a piece that took five years to complete and was released by Lovely Music Ltd. in 1979. Ashley used his own involuntary speech that results from his mild form of Tourette's Syndrome as one of the voices in the music. This was obviously considered a very different way of composing and producing music. Ashley stated that he wondered since Tourette's Syndrome had to do with "sound-making and because the manifestation of the syndrome seemed so much like a primitive form of composing whether the syndrome was connected in some way to his obvious tendencies as a composer".
Ashley was intrigued by his involuntary speech, and the idea of composing music that was unconscious. Seeing that the speech that resulted from having Tourette's could not be controlled, it was a different aspect from producing music that is deliberate and conscious, and music that is performed is considered "doubly deliberate" according to Ashley. Although there seemed to be a connection between the involuntary speech, and music, the connection was different due to it being unconscious versus conscious.
Ashley's first attempts at recording his involuntary speech were not successful, because he found that he ended up performing the speech instead of it being natural and unconscious. "The performances were largely imitations of involuntary speech with only a few moments here and there of loss control". However, he was later able to set up a recording studio at Mills College one summer when the campus was mostly deserted, and record 48 minutes of involuntary speech. This was the first of four "characters" that Ashley had envisioned of telling a story in what he viewed as an opera. The other three characters were a French voice translation of the speech, Moog synthesizer articulations, and background organ harmonies. "The piece was Ashley's first extended attempt to find a new form of musical storytelling using the English language. It was opera in the Robert Ashley way".
In the dialogue for Automatic Writing, the words themselves were not necessarily the primary source of meaning—especially not after the kind of audio manipulation Ashley used to modify them. Some of the dialogue became totally incomprehensible.[1] Ashley appreciated the use of voice and words for more than their explicit denotation, believing their rhythm and inflection could convey meaning without being able to understand the actual phonemes.
Ashley engineered the first version of the piece using live electronics and reactive computer circuitry. He recorded his vocal part himself, with the mic barely an inch from his mouth and the recording level just shy of feedback. He then added "subtle and eerie modulations" to the recording, modifying his voice to the point that much of what he read could not be understood.
The piece included four vocal parts that changed over the life of the piece, but in the final recording, the pieces included Ashley's monologue, a synthesized version, a French translation of the monologue, and a part produced by a Polymoog synthesizer.(Wiki)
Robert Ashley: Automatic writing (1979)
http://www.youtube.com/watch?v=Rh_TC8j_JkE
(March 28, 1930 – March 3, 2014) was an American composer, who was best known for his operas and other theatrical works, many of which incorporate electronics and extended techniques.
Ashley was born in Ann Arbor, Michigan. He studied at the University of Michigan with Ross Lee Finney, at the Manhattan School of Music, and was later a musician in the US Army. After moving back to Michigan, Ashley worked at the University of Michigan's Speech Research Laboratories. Although he was not officially a student in the acoustic research program there, he was offered the chance to obtain a doctorate, but turned it down to pursue his music. From 1961 to 1969, he organised the ONCE Festival in Ann Arbor with Roger Reynolds, Gordon Mumma, and other local composers and artists. He was a co-founder of the ONCE Group, as well as a member of the Sonic Arts Union, which also included David Behrman, Alvin Lucier, and Gordon Mumma. In 1969 he became director of the San Francisco Tape Music Center. In the 1970s he directed the Mills College Center for Contemporary Music.
"Automatic Writing" is a piece that took five years to complete and was released by Lovely Music Ltd. in 1979. Ashley used his own involuntary speech that results from his mild form of Tourette's Syndrome as one of the voices in the music. This was obviously considered a very different way of composing and producing music. Ashley stated that he wondered since Tourette's Syndrome had to do with "sound-making and because the manifestation of the syndrome seemed so much like a primitive form of composing whether the syndrome was connected in some way to his obvious tendencies as a composer".
Ashley was intrigued by his involuntary speech, and the idea of composing music that was unconscious. Seeing that the speech that resulted from having Tourette's could not be controlled, it was a different aspect from producing music that is deliberate and conscious, and music that is performed is considered "doubly deliberate" according to Ashley. Although there seemed to be a connection between the involuntary speech, and music, the connection was different due to it being unconscious versus conscious.
Ashley's first attempts at recording his involuntary speech were not successful, because he found that he ended up performing the speech instead of it being natural and unconscious. "The performances were largely imitations of involuntary speech with only a few moments here and there of loss control". However, he was later able to set up a recording studio at Mills College one summer when the campus was mostly deserted, and record 48 minutes of involuntary speech. This was the first of four "characters" that Ashley had envisioned of telling a story in what he viewed as an opera. The other three characters were a French voice translation of the speech, Moog synthesizer articulations, and background organ harmonies. "The piece was Ashley's first extended attempt to find a new form of musical storytelling using the English language. It was opera in the Robert Ashley way".
In the dialogue for Automatic Writing, the words themselves were not necessarily the primary source of meaning—especially not after the kind of audio manipulation Ashley used to modify them. Some of the dialogue became totally incomprehensible.[1] Ashley appreciated the use of voice and words for more than their explicit denotation, believing their rhythm and inflection could convey meaning without being able to understand the actual phonemes.
Ashley engineered the first version of the piece using live electronics and reactive computer circuitry. He recorded his vocal part himself, with the mic barely an inch from his mouth and the recording level just shy of feedback. He then added "subtle and eerie modulations" to the recording, modifying his voice to the point that much of what he read could not be understood.
The piece included four vocal parts that changed over the life of the piece, but in the final recording, the pieces included Ashley's monologue, a synthesized version, a French translation of the monologue, and a part produced by a Polymoog synthesizer.(Wiki)
Robert Ashley: Automatic writing (1979)
http://www.youtube.com/watch?v=Rh_TC8j_JkE
Avant-electronic composer | synthesis research | lecturer
http://www.rolandkuit.com/
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Re: Electronic music pioneers
Pretty cool stuff.
More Pioneers I never heard of, great reading and the ideas are motivating as well.
Thanks RK
More Pioneers I never heard of, great reading and the ideas are motivating as well.
Thanks RK
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Roland Kuit
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Re: Electronic music pioneers
Edgard Victor Achille Charles Varèse
(French: also spelled Edgar Varèse; December 22, 1883 – November 6, 1965) was a French-born composer who spent the greater part of his career in the United States.
Varèse's music emphasizes timbre and rhythm and he coined the term "organized sound" in reference to his own musical aesthetic. Varèse's conception of music reflected his vision of "sound as living matter" and of "musical space as open rather than bounded". He conceived the elements of his music in terms of "sound-masses", likening their organization to the natural phenomenon of crystalization. Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organized noises?"
Although his complete surviving works only last about three hours, he has been recognised as an influence by several major composers of the late 20th century. Varèse saw potential in using electronic mediums for sound production, and his use of new instruments and electronic resources led to his being known as the "Father of Electronic Music" while Henry Miller described him as "The stratospheric Colossus of Sound".
On several occasions, Varèse speculated on the specific ways in which technology would change music in the future. In 1936, he predicted musical machines that would be able to perform music as soon as a composer inputs his score. These machines would be able to play "any number of frequencies," and therefore the score of the future would need to be "seismographic" in order to illustrate their full potential. In 1939, he expanded on this concept, declaring that with this machine "anyone will be able to press a button to release music exactly as the composer wrote it—exactly like opening up a book." Varèse would not realize these predictions until his tape experiments in the 1950s and 60s.(excerpt Wiki)
Varese - Deserts, 1954
http://www.youtube.com/watch?v=Q__g0tgC2wE
(French: also spelled Edgar Varèse; December 22, 1883 – November 6, 1965) was a French-born composer who spent the greater part of his career in the United States.
Varèse's music emphasizes timbre and rhythm and he coined the term "organized sound" in reference to his own musical aesthetic. Varèse's conception of music reflected his vision of "sound as living matter" and of "musical space as open rather than bounded". He conceived the elements of his music in terms of "sound-masses", likening their organization to the natural phenomenon of crystalization. Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organized noises?"
Although his complete surviving works only last about three hours, he has been recognised as an influence by several major composers of the late 20th century. Varèse saw potential in using electronic mediums for sound production, and his use of new instruments and electronic resources led to his being known as the "Father of Electronic Music" while Henry Miller described him as "The stratospheric Colossus of Sound".
On several occasions, Varèse speculated on the specific ways in which technology would change music in the future. In 1936, he predicted musical machines that would be able to perform music as soon as a composer inputs his score. These machines would be able to play "any number of frequencies," and therefore the score of the future would need to be "seismographic" in order to illustrate their full potential. In 1939, he expanded on this concept, declaring that with this machine "anyone will be able to press a button to release music exactly as the composer wrote it—exactly like opening up a book." Varèse would not realize these predictions until his tape experiments in the 1950s and 60s.(excerpt Wiki)
Varese - Deserts, 1954
http://www.youtube.com/watch?v=Q__g0tgC2wE
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Roland Kuit
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Re: Electronic music pioneers
We had Daphne Oram here with her Oramics.
The Russian composer Arseny Avraamov was earlier in this:
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.
http://www.youtube.com/watch?v=8EGFPZdiVqI
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/list ... ade_from_c
The Russian composer Arseny Avraamov was earlier in this:
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.
http://www.youtube.com/watch?v=8EGFPZdiVqI
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/list ... ade_from_c
Avant-electronic composer | synthesis research | lecturer
http://www.rolandkuit.com/
http://www.rolandkuit.com/
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Roland Kuit
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Re: Electronic music pioneers
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, 2008), 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 (2008), New York City Dept of Cultural Affairs (2008), 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 (2008), 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
http://www.youtube.com/watch?v=4vTRZPLyKX0
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, 2008), 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 (2008), New York City Dept of Cultural Affairs (2008), 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 (2008), 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
http://www.youtube.com/watch?v=4vTRZPLyKX0
Avant-electronic composer | synthesis research | lecturer
http://www.rolandkuit.com/
http://www.rolandkuit.com/
Re: Electronic music pioneers
R.I.P, Pierre Boulez.
Boulez was mostly known for his work as composer and director in the style of Zappa or Cage. In the 70ies, he co-pioneered electronical experimental music.
Boulez also founded, after talks with Pompidou, IRCAM, "Institut de Recherche et Coordination Acoustique/Musique" The famous institude sits right next to Centre Pompidou in Paris.
A couple milestones:
* John Chowning pioneered FM synthesis at IRCAM.
* Miller Puckette wrote Max at IRCAM. Ableton users now know Max4Live M4L.
* Fast Fourrier Transform, FFT, was developed there.
https://www.youtube.com/watch?v=UwA1RaoYsi4
Boulez was mostly known for his work as composer and director in the style of Zappa or Cage. In the 70ies, he co-pioneered electronical experimental music.
Boulez also founded, after talks with Pompidou, IRCAM, "Institut de Recherche et Coordination Acoustique/Musique" The famous institude sits right next to Centre Pompidou in Paris.
A couple milestones:
* John Chowning pioneered FM synthesis at IRCAM.
* Miller Puckette wrote Max at IRCAM. Ableton users now know Max4Live M4L.
* Fast Fourrier Transform, FFT, was developed there.
https://www.youtube.com/watch?v=UwA1RaoYsi4
more has been done with less
https://soundcloud.com/at0m-studio
https://soundcloud.com/at0m-studio
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hubird
Re: Electronic music pioneers
I saw the news indeed.
R.I.P.
Those guys missed the train, tho they get my sympathy for the early years.
R.I.P.
Those guys missed the train, tho they get my sympathy for the early years.
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Mr Arkadin
- Posts: 3280
- Joined: Thu May 24, 2001 4:00 pm
