Learning Synths

How Generative Music Works

MASSIVE X synth arrives; here’s what makes it special – CDM Create Digital Music

Source : MASSIVE X synth arrives; here’s what makes it special – CDM Create Digital Music

On Spacial Sound

On Spatial Sound (2019)
A Documentary about the Spatial Sound Institute

‘On Spatial Sound’ is a 1.5-hour documentary about the Spatial Sound Institute in Budapest and the ongoing research with 4DSOUND technology.

The film connects the personal perspective of documentarist Ana Amorós López, re-discovering her relation to sound and listening, with 14 different projects that took place as part of the Institute’s Artists Residency Programme throughout 2018. The different protagonists in the film evoke an oscillating conversation about the meaning of sound in our world today – and how 4DSOUND technology can change our perception of sound, and relationship with listening.

A film by Ana Amorós López
June 2019

In collaboration with Paul Oomen

Sound Mastering, 4DSOUND Recordings & Technical Support
Vladimir Razhev

Realisation:
Tenger Films (vimeo.com/tengerfilms)
Spatial Sound Institute (spatialsoundinstitute.com/)

With: Paul Oomen, Alyssa Miserendino, Sól Ey, Vanessa Li, Tiernan Cross, Pierre Jolivet, Ákos Nagy, Camille Roth, Rebekka Bohse Meyer, Edo Van Breemen, Kate De Lorme, Lisa Greenaway, Csaba Hajnóczy, Lenke Szilágyi, Eric Raynaud, Filip Ruisl, Gábor Pribék, Lukas Rehm, Lisa Charlotte Friederich, Jim Igor Kallenberg, John Connell

Featured 4DSOUND pieces:

Ode to Heisenberg + De Maria (2018) Alyssa Miserendino
Sonic Storm (2018) Sól Ey
Superposition (2018) Vanessa Li
Schema (2018-2019) Tiernan Cross
Mémétique Élucubrations (2018) Pierre Jolivet
Par La Voie des Rythmes – La Déploration sur la Mort d’Henri Michaux (2018) Ákos Nagy
Myths of Electromagnetism (2018) Camille Roth & Rebekka Bohse Meyer
The Mind, Body & Inner Ear (2018) Edo Van Breemen
Sta/g-mos (2018) Kate De Lorme
Sonority I: magyar – Dancing on Blades (2018) Lisa Greenaway
From Sea to the River to the Sea (2018) Csaba Hajnóczy & Lenke Szilágyi
Bardo (2018-2019) Eric Raynaud
Tracer (2018) Filip Ruisl & Gábor Pribék
Castor&&Pollux (2018-2019) Lukas Rehm, Lisa Charlotte Friederich & Jim Igor Kallenberg

Drones, Textures and Fuzz

Kasper T. Toeplitz plays Niblock, Toeplitz & Feiler

 BKA-Theater, Mehringdamm 34, 10961 Berlin, statt.
Telefon: 030 – 20 22 007

Eintritt: 13,- / 9,- €

Phill Niblock

Yam Almost May (2002)
for electric bass played with E-bow and bowed, recorded samples
(commissioned by CCMIX)

«Typically we worked this way : we recorded samples of bass notes, played with a bow and with an e-bow. I edited the samples, and constructed the piece using 16 tracks of superimposed samples in Protools. After the mix was completed, we reorded again with Kasper adding two live tracks.»

Phill Niblock is an intermedia artist using music, film, photography, video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60’s he has been making music and intermedia performances which have been shown at numerous venues around the world among which: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Brussels; Institute of Contemporary Art, London; Akademie der Kunste, Berlin; ZKM; Carpenter Center for the Visual Arts at Harvard; World Music Institute at Merkin Hall NYC, the Centre Pompidou in Paris and Metz, the Maerzmusik Festival in Berlin. Since 1985, he has been the director of the Experimental Intermedia Foundation in New York (<http://www.experimentalintermedia.org/>) where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 (about 1000 performances) and the curator of EI’s XI Records label. In 1993 he was part of the formation of an Experimental Intermedia organization in Gent, Belgium – EI v.z.w. Gent – which supports an artist-in-residence house and installations there. Phill Niblock’s music is available on the XI, Moikai, Mode, VonArchive and Touch labels. A previous DVD of films and music is available on the Extreme label. In 2014, he is the recipient of the John Cage Award from the Foundation for Contemporary Arts. At a recent event at the Tate Modern in London, he presented films and photographs from 1970 and 71, with music from the past three years.
Kasper TToeplitz
Topographie des ruptures (2019)
pour basse et électronique
(commissioned by Centre Henri Pousseur)
 «As one discovers the roughness of a territory seemingly uniform , this « topography » tries to make perceptible the micro-cracklings, the ruptures, the chaos, of a sonic flow apparently continous : and the use of the real-time electronic which hybridises the electric instrument is not meant to polish the waves of sound, as a nice shellac, but on the contrary to render the continous more complex, showing its harshness, and the internal swarming of its polished surface. Letting the moment – now – mutate the composition, or observing haw the sounds get older from the inside.»

Kasper T. Toeplitz, composer, electric bass player and musician who has developed his work in the no man’s land between « academic » composition (orchestra, ensembles, opera) and electronic « new music » or « noise music ».

He has won several prizes and distinctions ; 1st prize for orchestral composition at the Besançon Festival, 1st prize at the « Opéra autrement/Acanthes » competition, Villa Médicis Hors les Murs (New York), grant Leonardo da Vinci (San Francisco) , Villa Kujoyama (Kyoto), DAAD (Berlin), Giga Hertz Prise (ZKM, Karlsruhe), Hors-les murs (Poland), got numerous commissions from the French Governement, the radio and works with electronic studios such as Ircam, GRM , GMEM, CRFMW, EMS, GRAME.. 

He also works with experimental or unclassifiable musicians such as Zbigniew Karkowski, Dror Feiler, Art Zoyd, Eliane Radigue, Phill Niblock, Francisco Lopez, Ulrich Krieger, z’ev and others…….. or with leading « new music » ensembles such as Phoenix_Basel or Zeitkratzer, and through all those years he has collaborated with numerous projects of contemporary dance, always proposing live music 

He has definitively integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, working on the sheer electronic noise or hybridising more traditional instruments,or developing a huge body of work on the hybrid he developped between his custom-bulid bass and live-electronics. 

 Dror Feiler
”Ousia” (2005)
for electric bass and electronics
(commissioned by ART ZOYD Studio)
 « Noise as form – most of my music is constructed according to a uniform principle of form. It is a kind of tapestry woven from contradictory, clculated clouds of sound in which each individual expression reflects the absent whole. The music is neverunequivocally defined, but fluctuâtes constantly among the various levels of composition.

My intention is for chaotic, incompleyte form to serve as a counterpoint to positivistic, well-groomed and complete form. The goal is not to advocate a kind of formlessnessn but to accept the inévitable conséquences ofof the aporetic situation in which composition finds itself.the problem is how to strike a balance between the futility and necessity of striving after clarity and solidity in composition. The result is noise as form that is free of preconcived notions about either it self or its antithesis. »


Dror Feiler, an eye-bleeding composer of intifadic and eruptive lung-outs. A music thrasher, saxophonist and political activist. Born in 1951 in Tel Aviv, he has been living in Sweden since 1973. He plays many varieties of the saxophone: sopranino, soprano, alto, tenor and contrabass, as well B♭clarinet, basset horn, and contrabass clarinet. In addition, he operates computerised sound systems. With his strong sense of vocation, Dror Feiler must rank as one of Sweden’s leading composers and improvisation musicians. Recognition for his accomplishments has grown considerably in recent years, with some of the most important European orchestras, ensembles and festivals commissioning and performing his works: Stockholm New Music, Donaueschingen Musiktage, Hudderseld, Wien Modern, Tectonics Festival. He has performed and recorded with orchestras and ensembles as well as a soloist in Sweden, Russia, Yugoslavia, Serbia, Bosnia, Croatia, United Kingdom, Belgium, Denmark, Finland, Belarus, Lithuania, Latvia, Austria, Switzerland, France, Israel, Palestine, the Netherlands, Hungary, Norway, Germany, Japan, Colombia, Mexico, USA, Brazil, and Argentina. He has composed for Ensemble Modern, Klangforum Wien, Hessischer Rundfunk, Bavarian Radio Symphony, BBC Scottish Symphony, Neo, Krommata Percussion Ensemble, Kwartludium, Ascolta, Contrechamps, Ensemble New Music Tallinn, and Vertixsonora. 

When commenting on his work, Feiler stresses his desire to create music that deals with the world: “I always seek to deal with the grim problems of life, like in Beat the White the Red Wedge(revolution), Schlafbrand (World War II), Let the Millionaires go Naked (revenge of the poor), Intifada and Halat Hisar (Israeli–Palestinian conflict), or Tikkun Olam (changing the world). When I compose or play I do not look for beauty, but for truth.” He often depicts images of struggle (fortissimo, at great length), although when speaking about Maavak (Struggle), he says that it “does not describe a struggle, it is a struggle.” Dror Feiler has been active in solidarity work in the Israeli–Palestinian context since 1970 (he was among the initiators of Ship to Gaza Sweden and is a spokesperson for the organisation) and has been engaged in solidarity work in Colombia since the mid-1990s. 

Dror Feiler is vice-president of the Swedish Society of Composers, CEO of Svensk Musik, founder (1976) of the Lokomotiv Konkret improvisation group, founder (1983) and artistic leader of the Too Much Too Soon Orchestra. 

Musique et contestation

Jean-Yves Bosseur

Musique et contestation
La création contemporaine dans les années 1960

S’il est un mot qui semble approprié aux années 1960, c’est bien celui de contestation. Ainsi les divers bouleversements qui se sont opérés dans le domaine de la musique et qui reflètent assez fidèlement les grands mouvements sociaux sont-ils passés en revue dans cet ouvrage, à partir des expérimentations concrètes des groupes et des compositeurs les plus représentatifs de l’époque.
Dans le sillage des compositeurs de l’École de New York (Cage, Feldman, Wolff, Brown), des musiciens européens, tels Cornelius Cardew et Frederic Rzewski, commencent à récuser les avant-gardes établies et les institutions musicales. Gagnés par l’esprit de liberté et le désir d’émancipation qui se sont emparés de l’ensemble de la société, ils vont reconsidérer la notion d’œuvre et les rapports entre compositeurs, interprètes et auditeurs, mettant par exemple leur engagement au service des pratiques de l’improvisation et de la création collective.
C’est alors que naissent, tant aux États-Unis qu’en Europe, des groupes comme ONCE, le New Music Ensemble, Musica Elettronica Viva, le Scratch Orchestra, le GERM ou le New Phonic Art. Bien que très actifs dans les années 1960, ces ensembles ont été rarement évoqués dans des ouvrages en langue française. Un telle investigation est d’autant plus nécessaire aujourd’hui que, depuis plus d’une quarantaine d’années, le paysage musical se partage, notamment en France, entre une confiance d’une naïveté souvent désarmante dans les progrès bénéfiques de la technologie et la restauration d’un certain nombre de valeurs remises en question par les courants les plus novateurs du XXe siècle.

Publié en mars 2019, 228 pages, 15,5 x 23 cm, bibliographie, index

Pierre Bastien au Bon Accueil

A l’occasion de cette exposition personnelle au Bon Accueil, l’artiste et musicien Pierre Bastien a eu carte blanche. Entre art cinétique, esthétique des avant-gardes et musique machinique, Le trompettiste mécanologue propose aux visiteurs de découvrir une exposition-assemblage de sculptures sonores et d’images trouvées ; un monde sonore hypnagogique, souvenir de lecture de Victor Ségalen.

Vernissage jeudi 16 mai à 18H30

74 Canal St Martin, 35700 Rennes

https://www.facebook.com/events/579322199254863/