Un’altra drum machine online basata sui caratteri alfanumerici.
Questa è più carina del solito. Viene bene perfino “devi morire“.
Le maiuscole e le minuscole sono uguali; lo spazio introduce una pausa. Non si può cambiare il metronomo né scaricare un file (dovete registrare il loop).
Badate ad utilizzare un numero di caratteri multiplo di 4 se volete il vostro fanatico 4/4.
Da YouTube salta fuori anche questa registrazione della Cantata “Gott ist mein König” (BWV 71) esguita in St. Mary’s Church a Mühlhausen.
Si tratta di una cattedrale gotica del 14mo secolo il cui riverbero illumina la cantata fin dall’attacco del primo movimento. Bach lavorò a Mühlhausen nel 1707/8 ed è probabile che la cantata BWV 71 sia stata eseguita per la prima volta proprio in questa chiesa.
Alan Lomax (1915 – 2002), etnomusicologo, antropologo e produttore discografico, ha raccolto materiali sonori in quasi tutto il mondo, dalla Spagna alla Gran Bretagna, al Sud America, all’Africa.
Ora tutto questo materiale è online qui.
Descrizione tratta dal sito:
The Sound Recordings catalog comprises over 17,400 digital audio files, beginning with Lomax’s first recordings onto (newly invented) tape in 1946 and tracing his career into the 1990s. In addition to a wide spectrum of musical performances from around the world, it includes stories, jokes, sermons, personal narratives, interviews conducted by Lomax and his associates, and unique ambient artifacts captured in transit from radio broadcasts, sometimes inadvertently, when Alan left the tape machine running. Not a single piece of recorded sound in Lomax’s audio archive has been omitted: meaning that microphone checks, partial performances, and false starts are also included.
This material from Alan Lomax’s independent archive, begun in 1946, which has been digitized and preserved by the Association for Cultural Equity, is distinct from the thousands of earlier recordings on acetate and aluminum discs he made from 1933 to 1942 under the auspices of the Library of Congress. This earlier collection — which includes the famous Jelly Roll Morton, Woody Guthrie, Lead Belly, and Muddy Waters sessions, as well as Lomax’s prodigious collections made in Haiti and Eastern Kentucky (1937) — is the provenance of the American Folklife Center at the Library. Attempts are being made, however, to digitize some of this rarer material, such as the Haitian recordings, and to make it available in the Sound Recordings catalog. Please check in periodically for updates.
1:27 hour relax
Wow! Su You Tube c’è l’intero film (~ 1 ora) Halber Mensch (aka ½ Mensch, trad. half humans) di Sogo Ishii dedicato agli Einstürzende Neubauten.
Il film documenta la visita in Giappone della band tedesca e include estratti da alcuni concerti, scene girate mentre la band suona nelle rovine di una vecchia ferriera ed esecuzioni accompagnate da danzatori Butoh.
Venne girato nel 1985 e uscì nel 1986 su VHS per essere poi ristampato su DVD solo nel 2005. Pur essendo su DVD la qualità non è il massimo a causa del materiale di partenza in VHS e proprio per questo la band ne ha realizzato una versione rimasterizzata.
Il titolo è quello dell’album degli Einstürzende Neubauten pubblicato lo stesso anno della tournée giapponese. La formazione è:
Avevo già parlato di questo film in un post del 2007, ma allora ne avevo trovato solo un breve estratto.
Un documentario di un’ora, di BBC Four, su uno dei miei musicisti preferiti (fra quelli non accademici). Con dentro anche molta musica live.
Edgar Froese è morto a Vienna il 20 Gennaio, ma l’annuncio è stato dato solo il 23.
Unico membro stabile dei Tangerine Dream e a tratti anche unico membro tout court, nel senso che numerose pubblicazioni uscite a nome Tangerine Dream sono in realtà lavori solisti di Froese stesso, è stato l’ispiratore delle sonorità più sperimentali del gruppo, quelle dei primi album legati alla cosiddetta Kosmische Musik degli anni ’70, ispirata da un lato alla psichedelia e dall’altro alla musica minimale e alle composizioni strumentali del Ligeti degli anni ’60 da cui i primi Tangerine Dream pescavano a piene mani.
 |
 |
Un altro brano corale di Murray Schafer con una bella partitura grafica.
Epitaph for Moonlight (1968), for youth choir with optional bells.
Roanoke College Choir, Jeffrey Sandborg director.
It is a free composition in which the singers must improvise from given indications of pitch, intensity and duration. To accompany the voices there is a selection of instruments as desired: glockenspiels, metallophones, vibraphones, triangles, bells, cymbals. The vibrations from these instruments, when used carefully, produced luminous effects that are evocative of moonlight reflecting on water. The score is written graphically and so does not require a knowledge of conventional musical notation.
R. Murray Schafer – Snowforms (1982) – for treble choir
The text consists of inuit words for various kinds of snow : apingaut , first snowfall; mauyk, soft snow; akelrorak , drifting snow ; pokaktok , snow like salt.
Notes from the composer:
In 1971 I flew the polar route from Europe to Vancouver over Greenland. Clear weather provided an excellent opportunity to study the forms of that spectacular and terrifying geography. Immediately, I had an idea for a symphonic work in which sustained bulks of sound would be fractured by occasional splinters of colour. That experience remains clear in memory. It suggested the orchestral textures of “North/White” and it returns now to shape “Snowforms”, yet very differently, for my memory of the vast foldings of Arctic snow has been modified by the experience of passing winters in Ontario. Often on a winter day I have broken off from other work to study the snow from my farmhouse window, and it is the memory of these forms which has suggested most of the continuous horizon of “Snowforms “.
Sometimes I have given children ‘sight-singing’ exercises in which they are asked to ‘sing’ drawings or the shapes of the distant horizon. Snowforms began as a series of sketches of snowdrifts, seen out the window of my Monteagle Valley farmhouse. I took these sketches and traced a pentagram over them. The notes of the pieced emerged wherever the lines of the sketch and the stave crossed. Of course I modified the drawings as necessary since the work is primarily a piece of music and only secondarily a set of sketches. I printed the work so that the shapes of the snow were in white over a pale blue background.
The entire piece is soft, and I wanted the voices to slide from note to note just like falling or drifting snow. Snowforms is related to Epitaph for Moonlight, Miniwanka and Sun ; they are all descriptions of nature. Later I was to add Fire, A Garden of Bells and Once on a Windy Night as further celebrations of natural phenomena. As the urban populations of the world grow, the forces and charms of nature are more distanced from increasing numbers of people. But I do not write such works out of nostalgia; they are a very real part of my life. Snowforms was actually preceded by a much more complex work of the same name which was performed once by the Vancouver Chamber Choir, but I am glad I withdrew it, substituting this simpler and purer expression of one of nature’s most beautiful elements.
Notes from co-conductors :
This 20 th century monument of treble choral literature was written in 1982 by the imaginative, highly respected, internationally praised composer, R. Murray Schafer. Watching from his farmhouse window in Ontario , Schafer was intrigued by the various shapes, forms, and ever-changing, soft foldings of snow. From these observations came the inspiration to write Snowforms. Using graphic notation, he asks singers to sing ‘shapes’ or ‘drawings’ which are representations of snow forms on the distant horizon. Schafer’s graphic notation is augmented by suggested pitches and the voices are asked to ‘glide’ from one pitch to another in a continuous portamento. A time log is written in the score to suggest durations but Schafer is quite specific that conductors should not feel ‘enslaved’ by the timed suggestions. Although it was written for two part treble chorus, there are a few times within the score when each of the two parts split into four independent lines. Except for the occasional interjection of words which mean various types of ‘snow’ in the Inuit language the entire piece is hummed thereby giving a sense of smoothness and peaceful quietness or hush. Challenges for the conductor are to find gestures that suggest and mirror the contours that are found within the score. Challenges for the singers are to believe the piece will ‘work’ and to trust the instincts and imagination of not only the composer and conductor but also of themselves. Snowforms is a remarkable work that fascinates listeners but more importantly encourages collaboration and exchange of ideas between conductors and singers. It encourages performers to create music beyond the bounds of a traditional score with very satisfying results. – DL
In questa composizione di John Lely per violoncello solo, l’esecutore esegue un lunghissimo glissando su una sola corda, dal capotasto fino al ponte, esercitando una leggera pressione per ottenere gli armonici, da cui il titolo The Harmonics of Real Strings (2006/2013). Nel CD edito da Another Timbre si possono ascoltare quattro versioni del brano, una per ciascuna corda del violoncello. L’esecutore è Anton Lukoszevieze.
Nella stessa pagina trovate anche un’intervista con il compositore. Nella pagina di John Lely su Soundcloud potete ascoltare anche le versioni per violino e per contrabbasso.