504 Résultats
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The emergence of electronic music with its new generation of artists and digital technologies has disturbed the world music landscape. From the musicians’ angle, since the end of the eighties, techno, house, and their multiple subgenres, have brought in a new breath, sometimes sweeping aside the order established by rock and pop, and imposing new game rules: ephemeral and(...)
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The emergence of electronic music with its new generation of artists and digital technologies has disturbed the world music landscape. From the musicians’ angle, since the end of the eighties, techno, house, and their multiple subgenres, have brought in a new breath, sometimes sweeping aside the order established by rock and pop, and imposing new game rules: ephemeral and(...)
Titre:
Jean-Yves Leloup: Digital magma
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The emergence of electronic music with its new generation of artists and digital technologies has disturbed the world music landscape. From the musicians’ angle, since the end of the eighties, techno, house, and their multiple subgenres, have brought in a new breath, sometimes sweeping aside the order established by rock and pop, and imposing new game rules: ephemeral and shared creations, widespread sampling, DJ rule, the practice of mix and remix, new and micro-economy. But that aesthetic revolution, which ended up contaminating most music during the nineties, is not only limited to artists. The democratization of the digital, of the means of diffusion, and of exchange and listening, transforms the relationship between the audience and music. Today the MP3 generation, beyond the simple question of piracy, invents new codes and practices which have shaken our way of “consuming” culture.
Jean-Yves Leloup: Digital magma
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The emergence of electronic music with its new generation of artists and digital technologies has disturbed the world music landscape. From the musicians’ angle, since the end of the eighties, techno, house, and their multiple subgenres, have brought in a new breath, sometimes sweeping aside the order established by rock and pop, and imposing new game rules: ephemeral and shared creations, widespread sampling, DJ rule, the practice of mix and remix, new and micro-economy. But that aesthetic revolution, which ended up contaminating most music during the nineties, is not only limited to artists. The democratization of the digital, of the means of diffusion, and of exchange and listening, transforms the relationship between the audience and music. Today the MP3 generation, beyond the simple question of piracy, invents new codes and practices which have shaken our way of “consuming” culture.
Classification:
livres
livres
Publication:
décembre 2009
décembre 2009
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
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The role of popular music is widely recognized in giving voice to radical political views, the plight of the oppressed, and the desire for social change. Avant-garde music, by contrast, is often thought to prioritize the pursuit of new technical or conceptual territory over issues of human and social concern. Yet throughout the activist 1960s, many avant-garde musicians(...)
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The role of popular music is widely recognized in giving voice to radical political views, the plight of the oppressed, and the desire for social change. Avant-garde music, by contrast, is often thought to prioritize the pursuit of new technical or conceptual territory over issues of human and social concern. Yet throughout the activist 1960s, many avant-garde musicians(...)
Titre:
Sound commitments : avant-garde music in the sixties
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The role of popular music is widely recognized in giving voice to radical political views, the plight of the oppressed, and the desire for social change. Avant-garde music, by contrast, is often thought to prioritize the pursuit of new technical or conceptual territory over issues of human and social concern. Yet throughout the activist 1960s, many avant-garde musicians were convinced that aesthetic experiment and social progressiveness made natural bedfellows. Intensely involved in the era's social and political upheavals, they often sought to reflect this engagement in their music. Yet how could avant-garde musicians make a meaningful contribution to social change if their music remained the preserve of a tiny, initiated clique? In answer, this publication examines the encounter of avant-garde music and "the Sixties" across a range of genres, aesthetic positions and geographical locations. Through music for the concert hall, tape and electronic music, jazz and improvisation, participatory "events," performance art, and experimental popular music, the essays in this volume explore developments in the United States, France, West Germany, Italy, the Netherlands, the Soviet Union, Japan and parts of the "Third World," delving into the deep richness of avant-garde musicians' response to the decade's defining cultural shifts.
Sound commitments : avant-garde music in the sixties
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The role of popular music is widely recognized in giving voice to radical political views, the plight of the oppressed, and the desire for social change. Avant-garde music, by contrast, is often thought to prioritize the pursuit of new technical or conceptual territory over issues of human and social concern. Yet throughout the activist 1960s, many avant-garde musicians were convinced that aesthetic experiment and social progressiveness made natural bedfellows. Intensely involved in the era's social and political upheavals, they often sought to reflect this engagement in their music. Yet how could avant-garde musicians make a meaningful contribution to social change if their music remained the preserve of a tiny, initiated clique? In answer, this publication examines the encounter of avant-garde music and "the Sixties" across a range of genres, aesthetic positions and geographical locations. Through music for the concert hall, tape and electronic music, jazz and improvisation, participatory "events," performance art, and experimental popular music, the essays in this volume explore developments in the United States, France, West Germany, Italy, the Netherlands, the Soviet Union, Japan and parts of the "Third World," delving into the deep richness of avant-garde musicians' response to the decade's defining cultural shifts.
Classification:
livres
livres
Publication:
février 2009, Oxford
février 2009, Oxford
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
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$37.95
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Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used(...)
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Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used(...)
Titre:
Sonic warfare: sound, affect and the ecology of fear
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Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.
Sonic warfare: sound, affect and the ecology of fear
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Résumé:
Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.
Classification:
livres
livres
Publication:
février 2010
février 2010
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
Titre:
Arts/sciences: Alloys
Arts/sciences: Alloys
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Iannis Xenakis succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their interdependency as in the components of an alloy. In this translation Xenakis explains not only his musical and theoretical writings - but also the role of mathematics as a philosophical catalyst in both his musical and architectural works. He discusses in(...)
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Résumé:
Iannis Xenakis succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their interdependency as in the components of an alloy. In this translation Xenakis explains not only his musical and theoretical writings - but also the role of mathematics as a philosophical catalyst in both his musical and architectural works. He discusses in(...)
Titre:
Arts/sciences: Alloys
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$52.00
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Résumé:
Iannis Xenakis succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their interdependency as in the components of an alloy. In this translation Xenakis explains not only his musical and theoretical writings - but also the role of mathematics as a philosophical catalyst in both his musical and architectural works. He discusses in detail his unique use of computers as a graphic tool in the composition of some of his scores.
Arts/sciences: Alloys
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Résumé:
Iannis Xenakis succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their interdependency as in the components of an alloy. In this translation Xenakis explains not only his musical and theoretical writings - but also the role of mathematics as a philosophical catalyst in both his musical and architectural works. He discusses in detail his unique use of computers as a graphic tool in the composition of some of his scores.
Classification:
livres
livres
Publication:
février 2010
février 2010
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
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Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s. Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term "bio-mechanics"; Leon Theremin, inventor of the(...)
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Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s. Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term "bio-mechanics"; Leon Theremin, inventor of the(...)
Titre:
Sound in Z: experiments in sound and electronic music in early 20th century Russia
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Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s. Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term "bio-mechanics"; Leon Theremin, inventor of the world's first electronic instrument, the Theremin; and others whose dreams for electronic sound were cut short by Stalin's regime. Drawing on materials from numerous Moscow archives, this book reconstructs Avraamov's "Symphony of Sirens," an open-air performance for factory whistles, foghorns and artillery fire first staged in 1922, explores Graphic Sound and recounts Theremin's extraordinary career-compiling the first full account of Russian electronic music.
Sound in Z: experiments in sound and electronic music in early 20th century Russia
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Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s. Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term "bio-mechanics"; Leon Theremin, inventor of the world's first electronic instrument, the Theremin; and others whose dreams for electronic sound were cut short by Stalin's regime. Drawing on materials from numerous Moscow archives, this book reconstructs Avraamov's "Symphony of Sirens," an open-air performance for factory whistles, foghorns and artillery fire first staged in 1922, explores Graphic Sound and recounts Theremin's extraordinary career-compiling the first full account of Russian electronic music.
Classification:
livres
livres
Publication:
mars 2010
mars 2010
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
Titre:
See this sound
See this sound
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As the status of sound in art and music evolves and redefines itself, so too does sound art find new ways of describing its history. See This Sound compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor(...)
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As the status of sound in art and music evolves and redefines itself, so too does sound art find new ways of describing its history. See This Sound compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor(...)
Titre:
See this sound
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As the status of sound in art and music evolves and redefines itself, so too does sound art find new ways of describing its history. See This Sound compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor of cinema as rhythm or symphony. Proceeding chronologically, the book takes the early cinematic “eye music” of Hans Richter as a starting point, noting parallel works by Walter Ruttmann and Oskar Fischinger; moving into the postwar period, the art/cinema/ music experiments of Peter Kubelka, Valie Export and Michael Snow are discussed, establishing precedents to similar work by Rodney Graham, Carsten Nicolai, Jeremy Deller and many others. In its scope and intelligence, See This Sound is a unique survey of this realm.
See this sound
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As the status of sound in art and music evolves and redefines itself, so too does sound art find new ways of describing its history. See This Sound compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor of cinema as rhythm or symphony. Proceeding chronologically, the book takes the early cinematic “eye music” of Hans Richter as a starting point, noting parallel works by Walter Ruttmann and Oskar Fischinger; moving into the postwar period, the art/cinema/ music experiments of Peter Kubelka, Valie Export and Michael Snow are discussed, establishing precedents to similar work by Rodney Graham, Carsten Nicolai, Jeremy Deller and many others. In its scope and intelligence, See This Sound is a unique survey of this realm.
Classification:
livres
livres
Publication:
février 2010
février 2010
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
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$26.95
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Résumé:
The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of(...)
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The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of(...)
Titre:
Sinister resonance: The mediumship of the listener
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The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of immaterial worlds. As if reading a map of hitherto unexplored territory, Sinister Resonance deciphers sounds and silences buried within the ghostly horrors of Arthur Machen, Shirley Jackson, Charles Dickens, Algernon Blackwood, M.R. James and Edgar Allen Poe, seventeenth century Dutch genre painting from Rembrandt to Vermeer, artists as diverse as Francis Bacon and Juan Munoz, Ad Reinhardt and Piero Della Francesca, and the writing of many modernist authors, including Virginia Woolf, Samuel Beckett, James Joyce and William Faulkner. Threaded through the book is Marcel Duchamp's curious observation "One can look at seeing but one can't hear hearing" and his concept of the infra-thin, those human experiences so fugitive that they exist only in the imaginative absences of perception.
Sinister resonance: The mediumship of the listener
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The history of listening must be constructed from narratives of myth and fiction, silent arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, instability, forbidden desires, disorder, formlessness, the unknown, unconscious and extra-human, a representation of immaterial worlds. As if reading a map of hitherto unexplored territory, Sinister Resonance deciphers sounds and silences buried within the ghostly horrors of Arthur Machen, Shirley Jackson, Charles Dickens, Algernon Blackwood, M.R. James and Edgar Allen Poe, seventeenth century Dutch genre painting from Rembrandt to Vermeer, artists as diverse as Francis Bacon and Juan Munoz, Ad Reinhardt and Piero Della Francesca, and the writing of many modernist authors, including Virginia Woolf, Samuel Beckett, James Joyce and William Faulkner. Threaded through the book is Marcel Duchamp's curious observation "One can look at seeing but one can't hear hearing" and his concept of the infra-thin, those human experiences so fugitive that they exist only in the imaginative absences of perception.
Classification:
livres
livres
Publication:
mai 2010
mai 2010
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
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$28.85
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Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to(...)
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Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to(...)
Titre:
Pink noises: Women on electronic music and sound
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Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women.
Pink noises: Women on electronic music and sound
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Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women.
Classification:
livres
livres
Publication:
avril 2010
avril 2010
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
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$52.00
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A revised, and expanded edition of Iannis Xenakis's landmark book of 1971. In addition to three new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future(...)
$52.00
(disponible sur commande)
Résumé:
A revised, and expanded edition of Iannis Xenakis's landmark book of 1971. In addition to three new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future(...)
Titre:
Formalized music: Thought and mathematics in music
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$52.00
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A revised, and expanded edition of Iannis Xenakis's landmark book of 1971. In addition to three new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a critical self-examination of his theoretical propositions and artistic output of the past thirty-five years.
Formalized music: Thought and mathematics in music
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$52.00
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Résumé:
A revised, and expanded edition of Iannis Xenakis's landmark book of 1971. In addition to three new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a critical self-examination of his theoretical propositions and artistic output of the past thirty-five years.
Classification:
livres
livres
Publication:
mai 2010
mai 2010
Sujet:
Acoustique
Acoustique
Classification:
livres
livres
Titre:
Performing Xenakis
Performing Xenakis
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Résumé:
This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only(...)
$44.95
(disponible sur commande)
Résumé:
This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only(...)
Titre:
Performing Xenakis
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Prix:
$44.95
(disponible sur commande)
Résumé:
This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only attested to by those close to the composer during his lifetime, but also by the younger generation that continues to be drawn to it. Each essay gives a new perspective: on what the composer was really looking for, on tricks of the trade for negotiating treacherously technical prowess, or on the attainment of an enhanced sense of self through the performance of this music. Following an extensive preface by Kanach, who collaborated closely with Xenakis from the late 1970s until his death in 2001, the book is divided into chapters organized by family of instruments. Every instrument of the orchestra is discussed by its practitioner; issues unique to the voice, as well as ensemble and orchestral works are explored, and two contributions concern the performance of Xenakis pioneering electronic works.
Performing Xenakis
Actions:
Prix:
$44.95
(disponible sur commande)
Résumé:
This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only attested to by those close to the composer during his lifetime, but also by the younger generation that continues to be drawn to it. Each essay gives a new perspective: on what the composer was really looking for, on tricks of the trade for negotiating treacherously technical prowess, or on the attainment of an enhanced sense of self through the performance of this music. Following an extensive preface by Kanach, who collaborated closely with Xenakis from the late 1970s until his death in 2001, the book is divided into chapters organized by family of instruments. Every instrument of the orchestra is discussed by its practitioner; issues unique to the voice, as well as ensemble and orchestral works are explored, and two contributions concern the performance of Xenakis pioneering electronic works.
Classification:
livres
livres
Publication:
mai 2010
mai 2010
Sujet:
Acoustique
Acoustique
