The Art of Electronics

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Computer muziek op Sonologie:
Koenig's Project 1, Project 2, en SSP, Paul Berg's PILE, Werner Kaegi's MIDIM/VOSIM, en Barry Truax's POD.

Over granular gesproken

Barry Truax

Barry Truax (born 1947) is a Canadian composer who specializes in real-time implementations of granular synthesis, often of sampled sounds, and soundscapes.[1] He developed the first ever implementation of real-time granular synthesis, in 1986, the first to use a sample as the source of a granular composition in 1987's Wings of Nike, and was the first composer to explore the range between synchronic and asynchronic granular synthesis in 1986's Riverrun. The real-time technique suites or emphasizes auditory streams, which, along with soundscapes, inform his aesthetic.
[ame="http://en.wikipedia.org/wiki/Barry_Truax"]Wiki

http://youtu.be/X7FoPo-kyoM

 

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Frits Weiland

Frits Weiland, (Bilthoven, 1933 – ) Is een Nederlandse componist, filmmaker en publicist, gespecialiseerd in de elektronische muziek. Hij is lid van het Genootschap van Nederlandse Componisten, Arti et Amicitiae in Amsterdam en van het Utrechts Klokkenluiders Gilde. Hij studeerde radiotechniek, muziek, akoestiek en architectuur en is werkzaam geweest bij de Nederlandse radio en televisie, de Nederlandse Filmakademie, de Rijksuniversiteit te Utrecht en het Koninklijk Conservatorium in Den Haag.
Zijn artistieke activiteiten bestrijken composities voor tape, film en radio. Weiland staat een autonome radiokunst voor ogen, naast de oorspronkelijke openbare taak van het medium als distributeur van gesproken woord en muziek. Naast de bestaande concertpraktijk is de radio voor hem een onmisbaar medium. Hij publiceerde over deze onderwerpen in boeken, museumcatalogi, tijdschriften en radioprogramma's in binnen- en buitenland. In 1988 ontving Frits Weiland het ereburgerschap van de stad Baltimore (USA) als waardering voor zijn werk, met name de coördinatie van een internationaal symposium “Elektronische muziek en radio” en zijn compositie "The Wetness of the Baltimore Aquarium". In 1961 kreeg Frits Weiland een aanstelling als wetenschappelijk medewerker aan de Rijksuniversiteit Utrecht nadat de activiteiten van de Studio voor [ame="http://nl.wikipedia.org/wiki/Elektronische_Muziek"]Elektronische Muziek van het [ame="http://nl.wikipedia.org/wiki/Philips_Natuurkundig_Laboratorium"]Philips Natuurkundig Laboratorium naar deze universiteit waren overgebracht. Als universitair instituut onderging de studio, al snel omgedoopt tot Instituut voor Sonologie, een ver strekkende wijziging in materiële en personele zaken, maar vooral ook in de artistieke doelstelling. Een nieuwe onderwijsstaf en een nieuw artistiek elan waren nodig voor de creatie van de muziekspecialiteit "sonologie". Frits Weiland leverde een substantiële bijdrage in deze koerswijziging. Vrijwel alle concerten op het gebied van elektronische muziek in Utrecht, in het Stedelijk Museum in Amsterdam[1] en later in het Holland Festival werden door hem georganiseerd.

.[ame="http://nl.wikipedia.org/wiki/Frits_Weiland"]wiki

Texture:
http://youtu.be/_cMVnSzi_YY

 

[WaveGuide7]

Ha, alweer eentje die ik ken!
Frits Weiland, (door de altijd beetje arrogante Stockhausen neerbuigend en consequent aangeduid als "technician") heeft, naar mijn smaak, vooral naam gemaakt door het zeer lezenswaardige boek "Electronische Muziek", waarvan hij het eerste (historische) deel schreef. (Stan Tempelaars (bij wie ik afstudeerde) schreef het technische deel dat inmiddels een beetje gedateerd is, maar dat ook een heel praktische, "implementeerbare" introductie in het Fourierprincipe bevat).
In de tijd dat ik in Den Haag zat, bezocht Weiland nog regelmatig de sono-luisteravonden, waar studenten hun werk lieten horen en bespraken onder leiding van Konrad Boehmer, die dan soms heel merkwaardige vragen kon stellen, zoals: "Is he guilty?". Frits, toen al met wit haar, en altijd gehuld zandkleurige corduroy broek, zat achterin de zaal, luisterde aandachtig en zweeg. En altijd natuurlijk alles tapen, tapen, tapen, zoals hij dat vanaf de jaren vijftig gewoon was.

 

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Ja altijd met zn taperecorder.


Nog steeds verkrijgbaar:
http://www.tower.com/signal-processing-speech-music-stan-tempelaars-hardcover/wapi/111062222

 

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Milton Babbitt

Milton Byron Babbitt (May 10, 1916 – January 29, 2011) was an American [ame="http://en.wikipedia.org/wiki/Composer"]composer, [ame="http://en.wikipedia.org/wiki/Music_theorist"]music theorist, and teacher. He is particularly noted for his [ame="http://en.wikipedia.org/wiki/Serialism"]serial and [ame="http://en.wikipedia.org/wiki/Electronic_music"]electronic music.
[ame="http://en.wikipedia.org/wiki/Milton_Babbitt"]Wiki

Composition for Synthesizer (1961):
http://youtu.be/gbzw8VNkA5o

 

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Claude Fatus

Op Sonologie, Utrecht gaf deze componist/assistant coleges. Hij was al bezig met het samplen op de computer. Indertijd een giganties mainframe van IBM. Indertijd sampelde hij Jazz. Dus nog voordat iedereen een winkel binnen kon stappen en hardware -software samplers kon kopen.
Onder meer ook auteur van:
Vocabulaire des nouvelles technologies musicales

muziek:
http://youtu.be/PWd5eg-NMiA

 

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Rond 1950 was elekronische (tape)muziek wijd verbreid over de wereld. Europese, Nordic, Amerikaanse componisten. Zo ook in Japan. In de studio van Sony experimenteerden o.m de componisten: Toru Takemitsu, Kuniharu Akiyama, Joji Yuasa met elektronische muziek.
Toshiro Mayuzumi
who in 1952 attended a Schaeffer concert in [ame="http://en.wikipedia.org/wiki/Paris"]Paris.[42] On his return to Japan, he experimented with a short tape music piece for the 1952 [ame="http://en.wikipedia.org/wiki/Comedy_film"]comedy film Carmen Jyunjyosu (Carmen With Pure Heart)[44] and then produced X, Y, Z for Musique Concrète, broadcast by the [ame="http://en.wikipedia.org/wiki/Nippon_Cultural_Broadcasting"]JOQR radio station in 1953.[42] Mayuzumi also composed another musique concrète piece for [ame="http://en.wikipedia.org/wiki/Yukio_Mishima"]Yukio Mishima's 1954 [ame="http://en.wikipedia.org/wiki/Radio_drama"]radio drama Boxing.[44] Schaeffer's French concept of [ame="http://en.wikipedia.org/wiki/Sound_object"]objet sonore (sound object), however, was not influential among Japanese composers, whose main interest in music technology was instead to, according to Mayuzumi, overcome the restrictions of "the materials or the boundary of human performance."[45] This led to several Japanese [ame="http://en.wikipedia.org/wiki/Electroacoustic_music"]electroacoustic musicians making use of [ame="http://en.wikipedia.org/wiki/Serialism"]serialism and twelve-tone techniques,[45] evident in [ame="http://en.wikipedia.org/wiki/Yoshiro_Irino"]Yoshiro Irino's 1951 [ame="http://en.wikipedia.org/wiki/Dodecaphonic"]dodecaphonic piece "Concerto da Camera",[44] in the organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956.[46] Wiki

Mayuzumi- Mandara
http://youtu.be/5jZ1N1ryNtA

Waarom deze plaatsing?
Zonder deze Japanse voorgangers b.v. geen Ryuichi Sakamoto of Yellow Magic Orchestra.

ps. na de vakantie verder.moet mij voorbereiden voor usa concert begin september.
fijne vakantie iedereen.

 

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Josef Anton Riedl

Josef Anton Riedl (born 11 June 1929 in Munich [1927 is also given as his year of birth] is a German composer.

Biography

Following a period of studies at the Hochschule für Musik und Theater München and in courses given by Hermann Scherchen in Gravesano, Riedl, influenced by Carl Orff und Edgar Varèse, devoted himself as a composer particularly to percussion and Lautgedichte (sound poetry) (Schmidt 2001).

In 1950 he was co-founder of the German Section of the Jeunesses Musicales, together with Herbert Barth, Reiner Bredemeyer and Eckhart Rolfs (Schmidt 2001). Starting in 1952 he did pioneering work in the use of concrete and electronic sounds, joining Pierre Schaefer’s Groupe de Recherche Musicale in 1953 (Schmidt 2001). In 1955 he worked in the electronic studio of NWDR in Cologne, and spent some time in 1959 in Scherchen’s experimental studio in Gravesano (Schmidt 2001). From 1959 until its closure in 1966 Riedl was director of the Siemens Studio for electronic music (Schmidt 2001). The concert series Neue Musik München / Klang-Aktionen initiated by Riedl in 1960 (Schmidt 2001) continues to this day.[citation needed] In 1967 he established the Musik/Film/Dia/Licht-Galerie group, and in 1974 in Bonn founded the Kultur Forum, which he directed until 1982 (Schmidt 2001).
Wiki

http://youtu.be/wjHsq9cYUAI

 

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Kaija Saariaho

Born in 1952 in Finland, Kaija Saariaho lived a childhood embedded in music, playing several instruments. In parallel to musical studies, she started art studies, at the Fine Arts School of Helsinki, that she quickly quit to concentrate on music. At the Sibelius Academy in Helsinki, she received the composition teachings of Paavo Heininen, before to follow, in Darmstadt then in Fribourg, the courses of Brian Ferneyhough and Klaus Huber.

Characterizing her works of the eighties, her sensual writing, descriptive and lyrical, unfold subtile transformations. Her research of new timbres has stimumlated her study of new technics in the instrumantal as well as the computer domain, for which starting in 1982, she initiated herself at Ircam. This practice constitutes an important element of her compositions.

She confirms her international notoriety with works such as Verblendungen for orchestra and tape(1982-84), Lichtbogen for chamber ensemble and live-electronics (1985-86), Nymphéa (1987) commission of the Lincoln Center for the Kronos Quartet.
http://www.saariaho.org/

http://youtu.be/nKlcC4YrrY0

Saariaho- Lichtbogen:
http://youtu.be/Z9y1b91uVuA

 

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Pierre Boulez

Pierre Boulez was born in 1925 in Montbrison, France. He first studied mathematics, then music at the Paris Conservatory (CNSM), where his teachers included Olivier Messiaen and René Leibowitz. In 1954, with the support of Jean-Louis Barrault, he founded the Domaine musical in Paris – one of the first concert series dedicated entirely to the performance of modern music – and remained their director until 1967.

Boulez began his conducting career in 1958 with the Südwestfunk Orchestra in Baden-Baden, Germany. From 1960 to 1962 he taught composition at the Music Academy in Basel. As a composer, conductor and teacher, Pierre Boulez has made a decisive contribution to the development of music in the 20th century and inspired generations of young musicians with his pioneering spirit. His recordings have earned him a total of 26 Grammys and vast numbers of other prestigious awards. Director of IRCAM, Paris

Pierre Boulez, "Anthemes 2" (1997) for violin and electronic alterations. Hae-Sun Kang, violin solo:
http://youtu.be/_s_x4cKIXgo

 

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Ton Bruynèl

(Utrecht January 26th 1934 - May 5th 1998 in Mailly, France) was a Dutch composer of mainly electronic music.

From 1952 to 1956 he studied piano with Wolfgang Wijdeveld at the Utrecht Conservatory of Music. His choice of teacher was motivated both by the fact that Wijdeveld had been a pupil of Béla Bartók and that he was active as a composer at a time when composition was not offered as a course of study in Utrecht.

In defiance of the cold shoulder given to composition, Bruynèl banded together with fellow students Peter Schat and Jan van Vlijmen, rallying round the composer Kees van Baaren. Van Baaren introduced his young disciples to dodecaphony, with which Bruynèl felt little affinity. His attention, rather, was focused enthusiastically on the French musique concrète. He chose his instrumentation with the reproduction of concrete sounds in mind, and oriented himself with the Electronic Music Studio at the universities of Utrecht and Delft , later renamed the Institute for Sonology.

In 1957 he established his own studio in Utrecht - the first private studio in The Netherlands - specializing in writing music which combines electronic and acoustic sounds. In the 1970s and 1980s he taught electronic-composition at the Utrecht Conservatory.

Documentaire:
http://dai.ly/x54d4s

Nocturne en Pedraza for flute and tape:
http://youtu.be/ZqC4gi69wnI

 

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Jean-Claude Risset

Composer Jean-Claude Risset was a pioneer in the field of computer music and recipient of a great many honors for this music and research (especially in the area of sound synthesis). After studying the sciences, in addition to composition and piano with teachers like André Jolivet (Le Jeune France co-founder), Risset went on to work at Bell Labs, with Max Matthews, for a few years in the late '60s, working on applications that would imitate instruments and others sounds. He brought sound synthesis to Orsay in the early '70s, and Marseille and Paris -- to the Institute for Acoustic Music Research and Creation, with Pierre Boulez -- in the mid-'70s. He became IRCAM's computer music director from 1975-1979.

Computer Suite From Little Boy, 1968:
http://youtu.be/RcX0ubvoZUA

 

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Michel Philippot

(2 February 1925 in [ame="http://en.wikipedia.org/wiki/Verzy"]Verzy – 28 July 1996 in [ame="http://en.wikipedia.org/wiki/Vincennes"]Vincennes) was a [ame="http://en.wikipedia.org/wiki/France"]French [ame="http://en.wikipedia.org/wiki/Composer"]composer, [ame="http://en.wikipedia.org/wiki/Mathematician"]mathematician, acoustician, [ame="http://en.wikipedia.org/wiki/Musicology"]musicologist, [ame="http://en.wikipedia.org/wiki/Aesthetics"]aesthetician, broadcaster, and educator.
In 1949 he began a career at [ame="http://en.wikipedia.org/wiki/ORTF"]ORTF in a position as a music producer. In 1959 he became assistant to [ame="http://en.wikipedia.org/wiki/Pierre_Schaeffer"]Pierre Schaeffer in the [ame="http://en.wikipedia.org/wiki/Groupe_de_Recherches_Musicales"]Groupe de Recherches Musicales, and later worked under [ame="http://en.wikipedia.org/wiki/Henri_Barraud"]Henri Barraud at France-Culture. From 1964 to 1972 he was in charge of music programs, then became a technical adviser to the Director General of [ame="http://en.wikipedia.org/wiki/Radio_France"]Radio France and to the President of the Institut National de l'Audiovisuel. From 1969 to 1976 he also taught musicology and aesthetics at the Universities of Paris I and IV, and from 1970 was Professor of Composition at the Conservatoire National Supérieur de Musique de Paris. In 1976 he moved to [ame="http://en.wikipedia.org/wiki/Brazil"]Brazil in order to create the department of music at the University of the State of São Paulo, as well as to take up a position as Professor at the [ame="http://en.wikipedia.org/wiki/Universidade_Federal_do_Rio_de_Janeiro"]Universidade Federal do Rio de Janeiro. Upon returning to France in 1983, he resumed his occupation as technical advisor to INA (until 1989) and his professorship at the Paris Conservatory (until 1990).
Philippot’s compositions are almost exclusively instrumental, in a style indebted in part to [ame="http://en.wikipedia.org/wiki/Claude_Debussy"]Debussy, while his essentially contrapuntal textures adhere to the Schoenbergian principle of continuous variation.
His honors include the Grand Prix national de la musique (1987), and the presidency of the Académie Charles Cros.(Wiki)

Etude III, 1962:
http://youtu.be/q7o2pvpeddI

 

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Mauricio Kagel
December 24, 1931 – September 18, 2000

He studied music, history of [ame="http://en.wikipedia.org/wiki/Literature"]literature, and [ame="http://en.wikipedia.org/wiki/Philosophy"]philosophy in [ame="http://en.wikipedia.org/wiki/Buenos_Aires"]Buenos Aires (Grimshaw 2009). In 1957 he came as a scholar to [ame="http://en.wikipedia.org/wiki/Cologne"]Cologne, Germany, where he lived until his death.
From 1960–66 and 1972–76, he taught at the International Summer School at Darmstadt (Attinello 2001).
He taught at the State University of New York at Buffalo from 1964 to 1965 as Slee Professor of music theory and at the Berlin Film and Television Academy as a visiting lecturer. He served as director of courses for new music in [ame="http://en.wikipedia.org/wiki/Gothenburg"]Gothenburg and Cologne (Attinello 2001). He was professor for new music theatre at the [ame="http://en.wikipedia.org/wiki/Cologne_Conservatory"]Cologne Conservatory from 1974 to 1997.
Invited by [ame="http://en.wikipedia.org/wiki/Walter_Fink"]Walter Fink, he was the second composer featured in the annual Komponistenporträt of the [ame="http://en.wikipedia.org/wiki/Rheingau_Musik_Festival"]Rheingau Musik Festival in 1991. In 2000 he received the [ame="http://en.wikipedia.org/wiki/Ernst_von_Siemens_Music_Prize"]Ernst von Siemens Music Prize.
Among his students were [ame="http://en.wikipedia.org/wiki/Maria_de_Alvear"]Maria de Alvear, [ame="http://en.wikipedia.org/wiki/Carola_Bauckholt"]Carola Bauckholt, Branimir Krstić, [ame="http://en.wikipedia.org/wiki/David_Sawer"]David Sawer, Rickard Scheffer, [ame="http://en.wikipedia.org/wiki/Juan_Maria_Solare"]Juan Maria Solare, Gerald Barry and Chao-Ming Tung.
He died in Cologne on September 18, 2008 after a long illness, at the age of 76 (Nonnenmann 2000). Wiki

Transición I, 1958:
http://youtu.be/bqGobBhbSlg

 

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Bülent Arel
(23 April 1919 – 24 November 1990) was a Turkish-born composer of contemporary classical music and electronic music.

He was born in Istanbul, and studied composition at the Ankara Conservatory and sound engineering in Paris. He later taught at the Ankara Conservatory, established the Helikon Society of Contemporary Arts, and served as the first music director of Radio Ankara from 1951 to 1959. He was also a painter and sculptor, and several of his works are in the permanent collection of the Turkish National Gallery.
In 1959, the Rockefeller Foundation invited him to work at the Columbia-Princeton Electronic Music Center. In 1962, he worked with Edgard Varèse on the electronic sections of Varèse's Déserts.
He also designed and installed the electronic music laboratory at Yale University, where he taught from 1961 to 1970, and he established the electronic music program at the State University of New York at Stony Brook, where he taught from 1971 until his retirement in 1989. Besides electronic works, Mr. Arel wrote chamber music, vocal works, and symphonic pieces, including a series of works commissioned by the Mimi Garrard Dance Theater.
In the course of his work he invented the 'splicing tape dispenser', as well as other devices for tape handling. He was a pioneer of looping techniques.(Wiki)

Stereo Electronic Music No.1, 1960:
http://youtu.be/rsNGUzYZv5c

 

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Eliane Radigue

Electronic music composer Eliane Radigue (1932), was a pioneer of synthesizer music in the 1960′s and 70′s. Working firstly as an assistant to Pierre Schaeffer, she began to compose her own style of drawn-out, minimal pieces whilst studying at New York University. There she developed her sound predominantly using the ARP 2500 modular system, which was subsequently compared to aspects of Buddhist meditative techniques. Radigue became a follower of Buddhism and it had a profound effect on her work, encouraging the sparse and meditative nature of her compositions.

Islas resonantes:
http://youtu.be/1RrsiGmLp_E

 

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Louis and Bebe Barron

Bebe Barron (16 June 1925 – 20 April 200 and Louis Barron (23 April 1920 – 1 November 1989) were two American pioneers in the field of electronic music. They are credited with writing the first electronic music for magnetic tape, and the first entirely electronic film score for the MGM movie Forbidden Planet (1956). Wiki

Love at the Swimming Hole:
http://youtu.be/dwaaY34OQaM

Excerpt from Geoff Elliot's tribute documentary:
http://youtu.be/YSFoILcyqAU

 

[phochos]

İlhan Mimaroğlu (Turkish pronunciation: [ˈilhan mimaɾˈoːɫu], March 11, 1926 – July 17, 2012) was a musician and electronic music composer. He was born in Istanbul, Turkey, the son of the famous architect Mimar Kemaleddin Bey depicted on the Turkish lira banknotes, denomination 20 lira, of the 2009 E-9 emission. He graduated from Galatasaray High School in 1945 and the Ankara Law School in 1949. He went to study in New York supported by a Rockefeller Scholarship. He studied musicology at Columbia University under Paul Henry Lang and composition under Douglas Moore.

During the 1960s he studied in the Columbia-Princeton Electronic Center under Vladimir Ussachevsky[1] and on occasions worked with Edgard Varèse and Stefan Wolpe. His notable students included Ingram Marshall.

He worked as a producer for Atlantic Records, where he created his own record label, Finnadar Records, in 1971.[2] In the same year he collaborated with trumpeter Freddie Hubbard on a moving anti-war statement, Sing Me a Song of Songmy. He also was the producer for Charles Mingus’ Changes One and Changes Two, as well as Federico Fellini’s Satyricon.

He was awarded the Guggenheim Fellowship in music composition in 1971.

İlhan Mimaroğlu died of pneumonia in 2012.[3]

 

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Bedankt Phochos.

Hier een tube-link.
Agony, 1965:
http://youtu.be/EEiFOnj6sVQ

 

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Otto Clarence Luening
(June 15, 1900 – September 2, 1996)
was a German-American composer and conductor, and an early pioneer of tape music and electronic music.

Luening's 'Tape Music', including A Poem in Cycles & Bells, Gargoyles for Violin & Synthesized Sound, and Sounds of New Music demonstrated the early potential of synthesizers and special editing techniques for electronic music. An October 28, 1952 concert with Vladimir Ussachevsky at the Museum of Modern Art in New York City introduced Fantasy in Space, flute recordings manipulated on magnetic tape, and led to an appearance on The Today Show with Dave Garroway. Luening was co-founder, along with Ussachevsky, of the Columbia-Princeton Electronic Music Center in 1958. He also co-founded Composers Recordings, Inc. in 1954, with Douglas Moore and Oliver Daniel. Wiki

"Low Speed", 1952:
http://youtu.be/Axwf6hVUnoI