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The first 10 minutes of the more that 5 hours composition.
The piano is re-tuned to in just intonation.
lundi 20 juillet 2009
Tom Dissevelt and Kid Baltan- Song To The Second Moon
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One of the first electronic songs from 1957
One of the first electronic songs from 1957
Kid Baltan and Tom Dissevelt 1959
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Kid Baltan (Dick Raaijmakers) and Tom Dissevelt at Philips "Nat. Lab" 1959, explaining how electronic tape music is made. Broadcast by VARA television on January 17, 1959
Kid Baltan (Dick Raaijmakers) and Tom Dissevelt at Philips "Nat. Lab" 1959, explaining how electronic tape music is made. Broadcast by VARA television on January 17, 1959
lundi 13 juillet 2009
vendredi 10 juillet 2009
The Joshua Light Show - Liquid Loops (1969)
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Live projection performance on an overhead projector using oil, water and glycerin. Light artist: Cecily Hoyt. Originally recorded on 35mm film.
Live projection performance on an overhead projector using oil, water and glycerin. Light artist: Cecily Hoyt. Originally recorded on 35mm film.
mardi 7 juillet 2009
jeudi 4 juin 2009
Capt Hard Rock Gunther & Judah Warsky / Live Point Ephémère
Hard Rock Gunther / Judah Warsky
envoyé par ItahLives. - Regardez la dernière sélection musicale.">
Pan European Recording : A Psychedelic Night part. V 16/04/09
mercredi 27 mai 2009
Elektron Musik Studion 1974 Stockholm
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Stiftelsen Elektronmusik Studion (EMS, Stockholm)
1974. EMS was founded in 1968, but existed since 1964 as a department of the Swedish Radio.
It is the very first computer music centers in Europe,
The digital music production was based on a a DEC PDP 15/XVM computer (similar to the Utrecht studio)
At that time the main software for the PDP-15 were the real-time interactive program IMPAC (Michael Hinton)
and the universal purpose program EMSETT. Both developed at the EMS.The software controlled the analog synthestizer
with its 24 tonegenerators, filterbanks etc.
The film shows both the huge Synthetizer occupiÿing a whole room, the PDP 15/XVM with Tamas Ungvary programming and the fameous control consol
Stiftelsen Elektronmusik Studion (EMS, Stockholm)
1974. EMS was founded in 1968, but existed since 1964 as a department of the Swedish Radio.
It is the very first computer music centers in Europe,
The digital music production was based on a a DEC PDP 15/XVM computer (similar to the Utrecht studio)
At that time the main software for the PDP-15 were the real-time interactive program IMPAC (Michael Hinton)
and the universal purpose program EMSETT. Both developed at the EMS.The software controlled the analog synthestizer
with its 24 tonegenerators, filterbanks etc.
The film shows both the huge Synthetizer occupiÿing a whole room, the PDP 15/XVM with Tamas Ungvary programming and the fameous control consol
Peter Zinovieff and Electronic Music Studios
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Peter Zinovieff's pioneering work into the fields of electronic music production and research led to many innovative electronic music instrument developments that were outstanding for the time. Peter was fascinated by electronic music and used his financial resources to develop a huge voltage-controlled studio that occupied an entire room in his home premises. There was a time when EMS (Electronic Music Studios) stood as equal to Moog and Arp. In many ways, EMS was more advanced with several pioneering ideas being investigated. Peter used two PDP8 minicomputers in the late 1960s to control the voltage-controlled analogue modules for research into electronic music exploration. Twenty years before affordable computing and sequencing packages, Zinovieff's computers could store and replay compositions, complete with sound shaping parameters even inventing a form of spectral or additive synthesis. Excerpts are edited from the television documentaries "What the Future Sounded Like" and "The New Sound of Music" featuring the first public performance of music by a computer in the Queen Elizabeth Hall in 1967. The spirit of EMS continues, and Peter's synthesizer innovations like the VCS3 and Synthi 100 have become outstanding analogue classics.
Peter Zinovieff's pioneering work into the fields of electronic music production and research led to many innovative electronic music instrument developments that were outstanding for the time. Peter was fascinated by electronic music and used his financial resources to develop a huge voltage-controlled studio that occupied an entire room in his home premises. There was a time when EMS (Electronic Music Studios) stood as equal to Moog and Arp. In many ways, EMS was more advanced with several pioneering ideas being investigated. Peter used two PDP8 minicomputers in the late 1960s to control the voltage-controlled analogue modules for research into electronic music exploration. Twenty years before affordable computing and sequencing packages, Zinovieff's computers could store and replay compositions, complete with sound shaping parameters even inventing a form of spectral or additive synthesis. Excerpts are edited from the television documentaries "What the Future Sounded Like" and "The New Sound of Music" featuring the first public performance of music by a computer in the Queen Elizabeth Hall in 1967. The spirit of EMS continues, and Peter's synthesizer innovations like the VCS3 and Synthi 100 have become outstanding analogue classics.
WHAT IS MUSIQUE CONCRETE?
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Musique Concrete is the experimental technique of musical composition using recorded sounds as raw material. The principle uses the assemblage of various natural sounds to produce an aural montage. A precursor to the use of electronically generated sound, musique concrete was among the earliest uses of electronic means to extend the composer's sound resources. Before the days of sampling and computer manipulation of sounds, musicians used analogue tape recorders to record natural sounds and tape splicing techniques. Music concrete uses natural sounds to create aural compositions. This excerpt is taken from the BBC 1979 documentary "The New Sound of Music".
Musique Concrete is the experimental technique of musical composition using recorded sounds as raw material. The principle uses the assemblage of various natural sounds to produce an aural montage. A precursor to the use of electronically generated sound, musique concrete was among the earliest uses of electronic means to extend the composer's sound resources. Before the days of sampling and computer manipulation of sounds, musicians used analogue tape recorders to record natural sounds and tape splicing techniques. Music concrete uses natural sounds to create aural compositions. This excerpt is taken from the BBC 1979 documentary "The New Sound of Music".
jeudi 5 mars 2009
mardi 3 mars 2009
Between the Eyes - Amon Düül II
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Title: Between the Eyes
Artist: Amon Düül II
Album: Lemmingmania
Video in the Best of krautrock volume one
Title: Between the Eyes
Artist: Amon Düül II
Album: Lemmingmania
Video in the Best of krautrock volume one
BEST OF KRAUTROCK Vol. 1
Le DVD Best of Krautrock Vol.1 est produit par l'éditeur allemand Aviator Entertainement. Revenons rapidement sur les différents sens du terme "Krautrock" pour lever toute ambiguïté. Chez les anglophones, inventeur de l'étiquette, il a tendance aujourd'hui à recouvrir la frange expérimentale et électronique du rock allemand des années 70 (CAN, Kraftwerk, Neu!, Faust...). En France, suivant l'exemple anglo-saxon, le mot est maintenant couramment employé dans la presse musicale pour cette même signification restrictive et pourrait tout aussi bien être remplacé par "motorik". Les fans hardcore sont quant à eux plus proches de sa signification première et classent au rayon Krautrock les tendances les plus bigarrées du rock allemand des seventies : entre rock progressif et fusion jazz-rock très électrique. En Allemagne même l'étiquette a toujours été, depuis son importation d'Angleterre, synonyme de Deutsch Rock ou German Rock, soit, on l'aura compris, "rock allemand" tout court. En bon Best of ce DVD reflète sa diversité avec 15 extraits d'émissions télévisées, une interview de Lothar Meid (d'Amon Düül II) et un documentaire datant de 1975.
Le grand intérêt de ce DVD est de publier pour la première fois tout à fait officiellement des prestations live dans l'émission culte The Beat Club, 10 au total. Parmi elles figurent Amon Düül II avec "Between The Eyes" ; CAN avec "Paperhouse" ; Popul Vuh avec "Bettina" ; le fameux "Rücktoss-Gondoliere" de Kraftwerk en 1971 (alors réduit au power trio Michael Rother / Klaus Dinger / Florian Schneider), ainsi que des groupes s'exprimant par un heavy rock progressif mettant nettement à contribution l'orgue Hammond : Frumpy et le poids lourd Birth Control (avec une excellente improvisation instrumentale). L'émission The Beat Club détonnait par son usage parfois extrémiste des surimpressions psychédéliques, superpositions de prises de vue et effets très "spéciaux". Si vous avez déjà vu la prestation de Kraftwerk, vous vous rendez compte que non, la copie pirate qui circulait n'était pas endommagée. L'image était dès l'origine consciemment altérée pour obtenir un rendu disons "esthétique"... Quelques autres prestations, de 1977/78 sont issues de l'émission Rockpop de la ZDF, nettement plus sobre, avec Novalis (s'inspirant de la musique classique), Eloy (un hard-rock soutenu par de l'orgue Hammond et une voix passée à la chambre d'échos), Jane (un groupe heavy progressif à tendance pink-floydienne très populaire aus Deutschland). Le DVD permet aussi d'avoir des images de la référence du jazz-rock allemand, le très cuivré Passport. Le documentaire de 1975, qui évoque justement la valse des étiquettes en Allemagne (Deutsch Rock, German Rock, Krautrock) permet de voir quelques groupes ayant sillonné les landers : Pell Mell, Holderlin, Ougenweide, Tangerine Dream, Kraan... Ce documentaire, présenté par une voix off en allemand malheureusement non sous-titrée, s'apprécie aussi pour l'exotisme de cette plongée dans un passé d'Outre-Rhin. Avec pas loin de 3 heures d'images, le dépaysement est garanti mein Herr
http://www.aviator-entertainment.com/Index/dvd/music/bestofkraut.html
lundi 23 février 2009
Tangerine Dream - live in Paris 15Feb73 (part 1)
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Tangerine Dream live at the Theatre de l'Ouest in Paris, February 15, 1973.
Tangerine Dream live at the Theatre de l'Ouest in Paris, February 15, 1973.
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