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Joined: May 26 2008
Location: Declined
Status: Offline
Points: 16715
Posted: December 21 2010 at 15:35
I have been meaning to get this Xenakis piece for a while but I have to restrain myself from buying any new music for quite some time and I never got into keeping a list so I'm always forgetting and remembering things I was interested in.
This is just part 1, there's more of it up on Youtube but the quality is a bit lame.
Joined: January 04 2007
Location: Grok City
Status: Offline
Points: 17777
Posted: December 22 2010 at 17:44
Hi,
I think I need to do some homework, and stop listening to that metal stuff ... it's grinding my ear hairs now!
... have fallen behind on some of these. Stockhausen, however, is not one of those that I can enjoy much or appreciated in the past, or Heinemann. Do remember that those folks were teaching in a famous school in Germany that gave us a massive amount of musicians that we consider "progressive" these days ... and they did the same thing in the confines of jazz and rock --- which we still do not credit krautrock for, specially when some of it came from this stuff and people.
But yeah .. things like Audentity, stands by me as one of my favorite albums by KS ... and Sebastian in Traum is by far one of my favorite pieces ... but this stuff is so far out and away from this metal and prog crap conversation around here ... that it is scary sometimes.
But now you know why Tangerine Dream and KS are so big in my collection!
Edited by moshkito - December 22 2010 at 17:56
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com
Let's just make this thread about Stockhausen and stop worrying about what the hell electroacoustic means.
We should. Unfortunately, and for many years,..I had high hopes of meeting other's and sharing a common interest with Avant-Garde in general. Either on college campus, attending a concert by candlelight with a string quartet at the Laurel Mansion in P.A., or concerts at the Glencarin Castle in P.A. It felt almost impossible to meet someone interested in Stockhausen let alone my favorite 20th century composer George Crumb. It's probably bad luck that's all. I've met a few Stockhausen connoisseur's along the way but, I wonder what the percentage of us...the minority..is?
There's quite a few of us. I mean he's one of the most respected 20th century composers, and has a few million listens on last.fm.
George Crumb has quite a bit of recognition due to Black Angels, especially with the Kronos Quartet performing it.
Perhaps I'm thinking of the 70's in a dormitory full of jazz/fusion musicians while the 2 fans of 20th century composers lingered in the hallway and were fringe members of their own group. Pointless to bring up I suppose due to the fact that I may have been in the wrong places or by chance the wrong time. The Jazz/Fusion thing was very dominating in the 70's at music college. It is possible I could have missed the boat and only met a total of 3 individuals who educated me to 20th century composers. The music professors I met were not exactly keen on Avant-Garde but much steered toward the music of Mozart or J.S.Bach. I am grateful that members on P.A. are huge fans and I have the opportunity to read their recommendations.
Joined: March 05 2006
Location: .
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Points: 2134
Posted: December 24 2010 at 05:17
I find some of the electronic music made before proto-prog occurred around 1966 to be a kind of pre-space rock. I beleive I have even found traces of Vladimir Ussachecsky's Wireless fantasy for Tape in Pink Floyd's Astronomy Domine.
You experts out there, any examples of pre-space rock in electroacoustic music?
Joe Meek also seems to be a bridge between electroacoustic music and pop/rock (space music). Do see any link here?
While it was progressive rock that primarily allowed me to bridge the gap into more avant-garde forms of music like free jazz, new "art"music and electronic music, I listen to traditional prog much less now that I have discovered some of the further reaching directions of certain bands and composers. While I enjoy a lot of early electronic music, I'm most fond of some of the artists lumped in under the noise banner, as well as instrumentalists performing with electronics, usually some combination of live manipulation and pre-recorded sound. There is a lot of the latter being done by artists lumped in under the banner of jazz, whether in solo or ensemble settings. I find this kind of improvising to be really aggressive but quite rewarding.
I am also a bit biased. I make electro-acoustic music myself, primarily focusing on processing of acoustic instruments and voice, so I do have my slant on the issue.
Joined: December 15 2010
Location: UK
Status: Offline
Points: 20
Posted: January 01 2011 at 08:15
Funny enough...Im listening to Tangerine Dream's Ricochet LP right now as I found this thread. . If you are interested in electronically treated acoustic music then I have only two words to type. 'Boulez' and 'Ircam'
Joined: October 03 2008
Location: Là, sui monti.
Status: Offline
Points: 10841
Posted: January 01 2011 at 09:32
WHAT? BOULEZ AND IRCAM??? HA HA HA HA !!!!
Er, sorry, I'm a bit extreme in my reaction, but I can tell you that Boulez had never been very much interested in electronic music: he only did a couple of pieces, recorded at the GRM (Groupe de Recherches Musicales) and he even wrote a few texts AGAINST electronic music and musique concrète. The IRCAM may have programmed some electronic pieces at some concerts, but this institution focus rather on written avant-garde music.
In France, the story of electronic music revolves mainly around Pierre Schaeffer, Pierre Henry and the whole GRM since its creation in the early 50's.
It's very haunting but also creates some positive spiritual vibe for me personally. During the 80's I would sit on a swing or a park bench and listen to it with headphones. I could spend hours in the park just listening to it till dusk. I feel there is something unexplainable about the impact it had on me when listening to it outdoors. It forces you not to speak but just stare into a patch of woods from the kitchen window. It sounds a little ridiculous I know....but I have, in the past, used String Quartet In Four Parts as a form of escapism.
I don't believe I hear it. I'll have to check it out.
Is it aleatory in nature? Or is 1950 before Cage really started the chance works like in the later half of the 50s?
It is not completely aleatoric. He stated somewhere along the line that he wanted to compose a work that would praise silence but without actually using it. I found that within itself to be fascinating. He said the work was like the opening of another door and that the possibilities implied were unlimited. I hope I've been of some help. I am not that familiar with the chance works although having heard them decades ago, I intend on purchasing them in the near future.
You experts out there, any examples of pre-space rock in electroacoustic music?
Ralph Lundsten:
MUMS '67
Elektronisk musik (with Leo Nilson) '68
Tellus. Fågel Blå '69
Wow! I can't believe you mentioned Ralph Lundsten. I haven't heard anything from this guy since the early 80's. I had this particular electronic piece from him that emulated the sound of clocks. Years later I used to see his cd's in "New Age" or "Arts and Crafts" gift shops. Never understood it because the title I owned filed under "New Age" was very electroacoustic.
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electroacoustic Music (electronic Music)
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