First workshop I had with Martin Parker, he wrote as a max msp patch that would play sound samples randomly. We had a small performance test with the patch and I immediately fell in love with it. Understand: not with writing patches, but using them.
Since then I have been chasing a live performance, that for some time was left aside and finally I was able to bring into life last week, at Orpheus Institute.
The most special thanks to Elias Heuninck who, unlike me, can pretty much write max patches and jazzed it so I could use it.
http://www.chriswatson.net/ Watson is one of the world's leading recorders of wildlife and natural phenomena, and for Touch he edits his field recordings int...
THE SOUND OF STORY 2015 Showcasing critically acclaimed and innovative projects, The Sound of Story is aimed at filmmakers, sound practitioners, music produc...
can’t f******* believe I didn’t see this before :)
I’m finally mixing my piece for surround today, with the help of a professional mixer who is being kind enough to accommodate my unconventional requests...
SAE Institute Audio Production graduate Sophie Kirkham showcases her impressive final year project "Hear the Rainbow" Start your career in audio: http://www....
Living legend Meredith Monk is a composer, vocalist, dancer and filmmaker. While all of these descriptors are on point, none quite gets to the bones of who she is as an artist.
“A man sets himself the task of portraying the world. Over the years he fills a given surface with images of provinces and kingdoms, mountains, bays, ships, islands, fish, rooms, instruments, heavenly bodies, horses, and people. Shortly before he dies he discovers that this patient labyrinth of lines is a drawing of his own face.”
Many religious leaders would like to liven up their services to attract a younger, hipper flock, but few have the necessary background to pull it off in a truly impressive way.
“Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978.
Recorded in the composer's studio in Paris.
After the premiere of Adnos I in San Francisco in 1974, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements", water, air, fire, earth....Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions.
This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980), Adnos III (1981), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley -, "Jetsun Mila" (1986), as well as the Trilogy of Death: Kyema (1988), Kailasha (1991) and Koume (1993).
