vendredi 13 décembre 2013
mercredi 28 août 2013
lundi 10 juin 2013
mercredi 29 mai 2013
jeudi 13 septembre 2012
lundi 6 août 2012
jeudi 12 avril 2012
jeudi 15 décembre 2011
Vidéo by Sabrina Ratte
Music by Jonathan Fitoussi
"Pluralis" taken from the album "Pluralis" (Pan European Recording)
From his electro-acoustic laboratory, Jonathan Fitoussi takes us on Pluralis, crystalline musical star of eternal cycles. Travel in the light of mysterious stars from dark forest to ivory continents, from magnetic fields to sound oceans of unfathomable echoes...
lundi 28 novembre 2011
vendredi 30 septembre 2011
lundi 29 août 2011
jeudi 7 juillet 2011
Jürgen Müller was a self-taught amateur musician who, while studying oceanic science at the University of Kiel, purchased some electronic instruments and set up a mobile studio on his house boat, docked along the town of Heikendorf, on the North Sea. He held a life-long fascination with the ocean, the expansive and endless inner-space of the deep, where he felt many ecological miracles had yet to be discovered, and which kindled a love for the unknown. This love of all things nautical started early in his youth and eventually led him to study the oceanic sciences.
For one week in 1979 Jürgen took up with a film crew on a mission to document some sea-water toxicity testing that was being performed by a couple of notable biologists, only a few kilometers off the shore. This was to air as a special later to be viewed in universities. Jürgen went to take notes for a course, but soon found himself instead moved by the surroundings more in an artistically inspired sense than a scientific one. He found the mystery and romance of the great seas to be quite moving, and then decided rather abruptly that he would make music to capture this feeling.
Utilizing only a handful of barely-remembered childhood piano lessons, Jürgen set about creating his marine-influenced vignettes with some electronic instruments he had gathered through friends, as well as borrowing some new equipment from a local school’s music department. As a general music lover, earlier in the '70s he had taken note of several avant garde electronic composers who he felt simultaneously captured a purity of sound and sense of wonder that was lacking in other music. He dreamt of fusing this ideal with the synthetic recreations of nature. In a sense, one could say he stumbled onto an early “new age” aesthetic through pure ignorance and coincidence. Mixing relaxing ambient tones and spooky otherworldly sounds, he came up with a unique approach. After filling several reels of home recordings he held ambitions of becoming a film composer. He decided to start his own publishing company, Neue Wissenschaft, and hoped to compose albums in order to sell as production music to various film companies for use in documentaries and television programs. As he was simultaneously hard at work on his studies to finish school, he had to work on his music in short intervals, and often had to put it aside altogether. As a result, it took several years for him to actually realize his sole full-length recording, Science of the Sea, the sessions for which began in late 1981, before finishing a year later.
jeudi 19 mai 2011
out on Die Schachtel's the 1976 largely neglected masterpiece from Swedish-born composer Catherine Christer Hennix, a disciple of LaMonte Young and Pandit Pran Nath during the 1970s.
mercredi 27 avril 2011
The broadcaster and Doctor Who fan Matthew Sweet travels to The University of Manchester - home of Delia Derbyshire's private collection of audio recordings - to learn more about the wider career and working methods of the woman who realised Ron Grainer's original theme to Doctor Who.
Further details from http://www.bbc.co.uk/programmes/b00rl2ky
Photographs are BBC/public domain. Used, by permission, from Ray White's 'Radiophonic Gallery', http://whitefiles.org/rwg/.
mercredi 30 mars 2011
mercredi 2 mars 2011
"In its early days, electronic music wasn’t very musical. Painstakingly put together with wave generators or tiny bits of tape spliced together on splicing blocks by music professors and hobbyists, it was often highly abstract, largely concerned with pitch and timbre, and lacked much rhythm or pattern.
Enter Morton Subotnick.
Back in the sixties, while Robert Moog was developing his pioneering keyboard on the East Coast, Subotnick, Ramon Sender and Don Buchla were toiling away in San Francisco on what would become possibly the world’s first analog synthesizer, the ‘electronic music easel’BUCHLA 100. Instead of a keyboard, it relied on pressure sensitive touch-plates, which controlled individually tuneable keys for limitless micro-tuning possibilities, analog sequencers, and complex waveforms beyond your basic sine, sawtooth, and square waves. You can now find it at the Smithsonian.
Check out more at Motherboard.
See the rest at VBS.TV: Electric Independence: Morton Subotnick - Motherboard | VBS.TV"
lundi 14 février 2011
"MEA CULPA" A FILM BY BRUCE CONNER 1981
Music : Mea Culpa / My life in the bush of ghosts David Byrne / Brian Eno