Learning Synths

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. 

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/

CC présente, Kasper T. Toeplitz et Mariachi en concert !

Dans le cadre du festival ]interstice[, la deuxième partie du film documentaire « All sounds considered » de Goran Vejvoda et Florence Müller sera projetée dans l’auditorium de l’ésam le mardi 7 mai à 18h,. Elle sera suivie, à 20h, par les performances sonores de Kasper T.Toepliz et de Mariachi, programmés par le Label CC de l’ésam. L’ensemble de ces évènements est en entrée libre et gratuite. Une restauration sera possible sur place.


Le documentaire « All sounds considered » (52 min) explore sans dogme la relation entre son et silence. Le film montre les nombreuses facettes de ce domaine de la création artistique qui fait du son la matière. Goran Vejvoda et Florence Müller nous ouvrent les oreilles et donnent la parole aux acteurs de cette scène artistique, variant les points de vue pour témoigner de la multiplicité de leurs idées.
Avec une approche libre et non linéaire, le film prend différentes directions et s’intéresse aux instruments, machines, publications, performances, expositions pour dévoiler la richesse du « son », un domaine artistique autant séduisant qu’intrigant.

Conçu à la demande de Kasper T. Toeplitz par Éliane Radigue, « Elemental II » reprend les thèmes de son ancêtre « Elemental » (1968), basé sur une évocation à la fois réaliste et symbolique des cinq éléments présents en toute culture. À savoir la Terre, principe de densification ; l’Eau, la fluidité ; le Feu, la chaleur ; l’Air, le souffle et l’Espace qui englobe le tout en son énergie subtile.
Il y a un paradoxe en cette période de haute technologie de ne pouvoir traduire en aucune écriture certains « concepts sonores ». Aucune notation algorithmique ni traditionnelle ne peut rendre compte de « l’esprit des sons » susceptible d’animer ces projections. La transmission directe, faite de sensibilités accordées, dans un entendement spontané est fondamentale dans ce genre d’entreprise.
www.sleazeart.com

Mariachi (Nina Garcia) expérimente à mi-chemin entre musique improvisée et noise. Le dispositif est réduit au minimum : une guitare, une pédale, un ampli. L’attention est donnée au geste et à la recherche sur l’instrument, ses résonances, ses limites, ses extensions, ses impuretés, ses recoins audibles : aller avec ou contre lui, le contenir ou le laisser sonner, le soutenir ou le violenter.
On y trouve en vrac : feedbacks, crépitements, courts circuits, impacts, harmoniques, grincements, débordements, et par hasard, notes et accords presque parfaits.
www.parabailarlabamba.fr

Pour en savoir + : https://festival-interstice.net/

Sounding New

SOUNDING NEW : ŒUVRES SONORES DE LA COLLECTION

8 MARS – 7 JUILLET 2019

Inauguration jeudi 7 mars 2019

Au printemps 2019, le Musée d’art contemporain de Lyon présente une exposition d’œuvres de sa collection consacrée à l’expérimentation sonore depuis les années 1960.
L’acquisition récente de Rainforest V (Variation 4), 1973-2017 de David Tudor et Composers Inside Electronics constitue le cœur de cette exposition qui permet de revenir sur la présence du son dans la collection du macLYON en réunissant des œuvres proches par l’histoire et l’esthétique.
Autour de Rainforest V (Variation 4), le Time Lag Accumulator, 1967-2003 de Terry Riley, Sound With/In, 1989 de La Monte Young, Empty Vessels, 1997 d’Alvin Lucier ou World Trade Center Recording: Winds After Hurricane Floyd, 1999-2002 de Stephen Vitiello dessinent quelques traits de la musique expérimentale américaine et explorent ses liens avec les arts plastiques.
Le macLYON propose de parcourir les univers de 17 artistes ayant expérimenté et produit des formes nouvelles en décloisonnant les disciplines – musique, arts visuels, théâtre, danse et poésie – s’éloignant des conventions artistiques et culturelles de leur époque. Nous invitons à regarder, écouter, lire, ressentir les œuvres de ces artistes qui ont marqué l’histoire de la musique et de l’art contemporain par leur audace et leur créativité.
Avec des œuvres de : Laurie Anderson, George Brecht, Philip Corner, Molly Davies, Morton Feldman, Anna Halprin, Joe Jones, Allan Kaprow, Alvin Lucier, George Maciunas, Peter Moore, Nam June Paik, Terry Riley, David Tudor, Stephen Vitiello, La Monte Young et Marian Zazeela.