exposició que va tenir lloc del 22 novembre 1984 a 1985 al Het Apollohuis
cataleg expandit de
llista que extrec per cercar autors i peces a internet
3 paul panhuysen
6 hugh davies
30 ellen fullman
34 history of unheard music
35 max eastly
38 takehisa kosugi
46 godfriend-willem raes
57 anton van gemert
60 the simulated wood
61 joob van brakel
62 horst rickels
63 rik van lersel
64 bart lootsma
74 giancarlo cardini
76 juan hidalgo
77 walter marchetti
78 davide mosconi
82 arnold dreyblatt
92 richard lerman
98 leon van noorden
110 hans-karsten raecke
114 jon rose
118 george smits
de la introducció:
-henry cowell: 1920's prepara pianos inspira a cage
-8000 efectes de so de Disney
-Bruno Munari: fabrica 2 kinetik sculptures sonadores
-Yacov Agam: sculptural panles playable
-Takis: magnetic sculpture + sound
-Compositors 1940's interessats en electricitat i electrònica
Varése, Hindemith, Messiaen, Graingen, Honegger, Jolivet, Milhaud, Copland, Ives, Shostakovitch, Ravel.
-Fluxus: Joe Jones ( contrucció i mecanització)
-Fluxus: Mood Engineering society (Holland)
-Baschet brothers= :)
-Charles Mattox ( saltamartins sonor)
-Marcel Von Thienen
-Howard Jones (osciladors electrònics interactius)
-Juan Downeyi James Seawright
-David Jacobs (electromagnetic drones)
-Stephan von Heune's
John Cage - Water Walk
John Cage performing "Water Walk" in January, 1960 on the popular TV show I've Got A Secret.
Dave Boston performs John Cage's Water Walk.
To find out more about the styles Dave plays visit http://www.davebostondrums.co.uk
Brown New Music's
Clara Schuhmacher & Whit Bernard
Perform John Cage's "Water Walk"
May 18, 2007 Grant Recital Hall, Brown University
This is just me messing around on the pipes. Play these on good quality speakers, they really do sound good.
If you want info on how to make something like this or just the paddles, read the comments. I have already explained.
Changing Harmonics and Timbre on Melodic Tube Drums by Sarah Tulga
Changing Overtones and Timbre on Electrical Metallic Tubing by Sarah Tulga
vaya un escala...
Jared playing the tubulum at elementary talent show.
a short clip that came from the DVD included with the Tubes toy
play percussion without music instruments with other equipment such as the garbages, bottles drums solo traditional
(s'està portangt molt el rollo tradicional combinat amb una mica de show bolibudienc improvisadamnent, estic casolà de la Universitat de Mahasarakham!)
เดี่ยวแคน โดย จ่อยภูไท ศิลปินพื้นบ้านอีสานชาวภูไท จากวงโปงลาง "บัวละบัดวัฒนธรรมอีสาน" หรือ "หนุ่มภูลาว สาวภูไท"
Kaen Solo by Joy Phuthai: An Esan Traditional Artist from Kalasin Province, Thailand.
(Video clip taken by: Muri)
Musical instruments are made from Bamboo, typically by people who live in forests and use them to protect themselves from wild animals.
Budapest based percussion ensemble playing own composition for the West Javanese bamboo instrument, angklung. Check out more @ http://www.myspace.com/trigintapercus...
Sound wheels in France Chateau Chaumont sur Loire with fun
it´s a musical instrument
A flowing stream makes these bamboo waterfall pipes fill up and empty, a wonderfully soothing rhythm. At Fern Resort in Northern Thailand.
Here's a close up of a hand-cranked instrument I made today, May 14, 2007. I named it "Keith".
Aaron Wendell created this instrument in instructor Eric Leonardson's instrument construction class. Aaron started out with the idea of using water bubbles to create sounds, and then had to figure out everything from how to make the instrument case watertight, to how he could direct the air flow, to how to set up a bellows-type system to create the air flow in the first place. The result is a bizarre yet comfortably Victorian-looking contraption that creates a completely unique sound. See more on gearwire.com.
Suonare luoghi /
Performance nella Cappella di San Vito / salento 2003
Imbutofono track 2 April 24, 2008Suonare luoghi
Frammento della performance alla Fondazione Pistoletto
Biella Settembre 2008
November 27, 2009
Video realizzato da RaiSat1 ARTE nel 1998.
Intervista a Mario Ciccioli nel suo studio a Tuscania condotta da Alessandra Crisanti dove l'artista spiega la genesi del proprio lavoro riguardo la costruzione e l'installazione di Arpe Eolie.
Installazione di tre Arpe Eolie, realizzata a Ginevra nel 1989 davanti al "Musee d'Histoire des Science" nel Parco "Perle du Lac".
September 04, 2009
Voir plus/View more www.bechardhudon.com
Antonio De Luca
May 13, 2009
Scultura sonora per ferro e ottone
Antonio De Luca e Mario Ciccioli
Installazione sonora permanente per acqua e aria
OSSERVATORIO NOMADE /SALENTO
Cappella di San Vito
Antonio De Luca e Mario Ciccioli
Cappella di San Vito, masseria Torcito ,
Salento - Marzo 2003
immagini di Giorgio D'ambrosio
Installazione sonora per ferro, piombo, acqua e cotone
- Palazzo Belmonte-Riso /
Antonio De Luca / Mario Ciccioli
Performance ed installazioni sonore nel Salento
Stanza dei suoni delle mani / Parte 2
|Bow Gamelan Ensemble (1983 - 1990)|
The Bow Gamelan Ensemble was founded in 1983 by Anne Bean, Paul Burwell and Richard Wilson during a boat trip up Bow Creek. Over the next seven years they created a dynamic experience using sound, light and performance which went beyond the conventional definitions of music event.
Since their first (intended to be their only) performance at the London Musicians Collective, the Bow Gamelan Ensemble made dozens of performances, events and specially commissioned works throughout Europe, America, Mexico and Japan.
The name Bow Gamelan derives from the area of East London where they lived and worked and from the Indonesian metallophone ensembles. Their instruments were all specially constructed, mostly from scrap metal, electric motors and glass and produced a wide variety of sounds ranging from the deep, organ like sounds of the pyrophones through a gamut of percussive timbres and dynamic range. Both the sound sources and the musical structures generated were unusual because of the physical relationship between the way instruments work and how they had to be played.
The unique sensibilities of the individual members combined with their long experience in the areas of performance art, drumming, sculpture, environments and multi-media made the collaboration remarkably creative and fruitful.
The Bow Gamelan grew from intimate indoor performances to large outdoor events which created new orchestras out of discarded materials around the world. They developed relationships with pyrotechnicians such as Wilf Scott, le Maitre Fireworks and El Diablo in Mexico and entered into a range of working relationships with artists and groups such as the sound poet Bob Cobbing, the American percussionist z’ev, Simon York of Miraculous Engineering, Tom Leadlay of the Thames Steam Launch Company, Eel Pie Marine, Ballooning World, historic re-creation societies and remote control helicoptor enthusiasts.
In their seven year history, Bow Gamelan received enthusiastic accolades and worldwide press coverage :
They serve up adventures in music, sculpture and performance that dazzle the eyes, astonish the ears and stimulate the imagination of viewers with an unorthodox magic.
Time Out Performance Award
The Bow Gamelan Ensemble… is the most stunning cross media project of the decade. Gloriously inventive, riotously funny and completely accessible.
The sheer scale of the thing is a delight to behold… the smoke and light constantly changing creates a strange beauty where you would never have expected to find it.
The Sunday Times
See also In C and Air (1986), Concrete Barges (1986), Offshore Rig and The Navigators (1987-88), A Damned Near Run Thing (1988), Worldwide (1985-89).
(escolta'l) i http://www.last.fm/music/Akio+Suzuki
Perhaps the most charming, engaging artist I’ve seen, Japanese musician and inventor, instrument builder and shaman Akio Suzuki is probably unknown to most of you. But we think his work is utterly captivating and crucial; it deserves a much bigger audience. Akio has been performing, teaching and building instruments for nearly 40 years. His music is simple and pure, and beautifully unworried by the rules of modern music. He explores nature and how its atmospheres and sounds can be harnessed and then set free, how you can lose yourself in the sound that surrounds us, and how musical creation and beauty exist in all things, in all moments.
“I think of Akio Suzuki as a kind of magician”
“Hearing this music, I remember many things, including playing in a puddle as a tiny kid”
Yamatsuka Eye: Boredoms
Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. The inspiration behind this performance - the idea that if one were to hurl an object down a well-balanced stairway, a pleasant rhythm might be the result - took the desire to "listen" as its subject. That desire to hear, to listen has remained the one constant in Suzuki's stance as an artist.
During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. The instrument's structure resembles that of two mirrors facing each other, reflecting into infinity. As an extension of the principles underlying Analapos, Suzuki constructed the Hinatabokko no kukan (Space in the Sun) in 1988. This space consists of two huge parallel walls, in between which the artist can sit all day and purify his hearing by listening to the reflected sounds of nature. This space leads the artist to discover a new method of listening. Suzuki himself comments, "Sound, which had been conceptually imprisoned in various spaces, is freed to circle the world."
From the late seventies and through the eighties, Suzuki also developed a form of performance he refers to as Conceptual Soundwork. Applying a number of self-imposed, simple and austere rules, he uses objects close at hand in a mode of "intellectual play". While these events do on the one hand express a critique of meaningless improvised performance, at the same time Suzuki is constantly aware of the audience's process of listening and he attempts to create contemporaneous connections with the site of performance. It was around this time that Suzuki began to travel frequently to the US and Europe, and his performances at leading music festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received.
As sound art enjoyed a period of prosperity in the nineties, Suzuki was given the chance to create many installations, particularly in Berlin. Worthy of special note were his soundless installations, such as Otodate (Echo point, 1996) in Berlin, Enghien-les-Bains (since 1997, http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people excavating sounds. These soundless pieces were not designed to critique the old perceptual theories of music, rather they questioned the very location of music. Through their encounter with these works, the past experiences and memories of viewers were reconstructed as new experiences. This process was fundamental to the action of "listening" to the works.
In recent years, the insights he gained from the Turbridge (1999-2000) installation at the Daad Gallery in Berlin have opened up new avenues of development for his future work. By recording and creating sound sources himself, and by using electric amplification with Suzuki's own self-designed output devices, he was able to reconstruct sounds and experiment with listening to the "factors of place". These experiments were followed up by the sound-drawing Mowe (Seagull, 2002) for the Berlin radio station SFB, and Nagekake & Tadori (Throwing and Following, 2002) which included some suggestions towards the construction of place. Visitors to the latter were able to experience a "place established by the artist as a wholly different space and time axis."
To run simultaneously with these experiments, Suzuki has started the Mogari series since 2002 at the Brunei Gallery at the School of Oriental & African Studies in London. This series centres around unbelievably powerful performances on iwabue - ancient and naturally-sculpted stone flutes which have been handed down in Suzuki's family. Using these ancient instruments Suzuki sculpts time and place, and through their music he searches for his own end.
(documental de la BBC en 6 parts)
Per escoltar a Spotify:
Harry Partch – Revelation In The Courthouse Park
Harry Partch – 17 Lyrics Of Li Po
The great American composer and maverick iconoclast Harry Partch is better known for making musical instruments in ancient tuning systems than for rose petal jam, yet here he is in 1969 doing just that. Find out more on the www.innova.mu series Enclosures: Harry Partch
Mike Patton jugant amb reconstruccions!
The Intonarumori (noise intoners) were a family of musical instruments invented around 1913 by the Italian Futurist composer and painter Luigi Russolo. Each instrument was made of a parallelepiped sound box with a speaker on its front. Inside the box, a gut or metal string was excited by a rotating wheel. The speed of the wheel was changed by the player by using a crank, while the tension of the string was varied by using a lever. Such instruments were acoustic noise generators which allowed to simulate different everyday noisy sonorities. According to Russolo, the Intonarumori created different kinds of everyday sounds, from rumbles to screeches. The Intonarumori were a consequence of Russolo's theories regarding the structure of the futuristic orchestra. With the belief that the traditional orchestra needed some new sonorites, in his book ``The Art of Noises'' he proposed a taxonomy of noise sounds having six families of noises. Noises were divided in rumbles, whistles, whispers, screeches, percussion noises and human and animal voices. The 27 varieties of Intonarumori built by Russolo and his colleagues aimed at simulating such variety of noises. The different names of the instruments were created according to the sound produced: howling, thunder, crackling, crumpling, exploding, gurgling, buzzing, hissing and so on.
During World War II, all the original Intonarumori got destroyed. Several attempts to rebuild such instruments were made. Among them, the ones shown in Figure 1 are some reproductions recently shown at the exposition Sounds and Lights at the Pompidou Center in Paris.
Figure 1: Reproductions of Russolo's Intonarumori as shown at the exposition "Light and Sound" in Paris, December 2004.
As seen in Figure 1, the external appearance of each Intonarumori is similar. Each instrument is made of a sound box with a radiating horn attached at one extremity. The different timbres of the instruments are mainly do to the different excitation mechanisms, and are the origin of the names of the instruments. As an example, in the Gracidatore (the Croaker), whose excitation mechanism is shown in Figure 2, the shape of the rotating wheel allows to obtain plucked string sonorities. The wheel, rotating at a speed controlled by an external crank, excites a vibrating string attached at two extremities of the wooden soundbox. The player, as in the other instruments, is able to control the tension of the string by using an external lever.
Figure 2: The excitation mechanism of the Gracidatore.
In the Crepitatore (the Cracker), shown in Figure 3, the excitation mechanism is a metal wheel, and two levers are present, as well as two vibrating strings. This allowed the string attached to the drumskin to be different from the one excited by the rotating wheel.
Figure 3: A reproduction of the Crepidatore.
The same idea was also adopted in the Stroppicciatore (the Rubber). Documents and patents did not succeed in explaining the role of the two strings in the resulting sonorities produced by the instruments.
In the Ululatore (Howler), described by Russolo as "soft, velvety and delicate", shown in Figure 4, the excitation mechanism was a metal wheel.
Figure 4: The excitation mechanism of the Ululatore.
Russolo and his assistant Ugo Piatti researched all the physical aspects that could be varied in order to obtain different timbres and sonorities, in order to achieve a satisfactory simulation of the different families of noises.
As an example, the string was either steel or gut, the wheel either metal or wood, with its rim notched with small teeth or smoother, and the skins were soaked in a variety of special chemical preparations. Furthermore, the pressure of the wheel against the string, stronger than is necessary with a violin bow, created a louder and noisier sound quality.
Russolo also experimented with more radical Intonarumori, based on electrical rather than mechanical control, such as the one used in the Hummer (Ronzatore), which was more a percussion than a string instrument. It has been suggested that the electrical control might have been due to the need for a speed that was too rapid to have been achieved manually. As a supplementary enhancement, a second lever was added in the Burster (Scoppiatore), the Whistler (Sibilatore) and the Gurgler (Gorgogliatore). In his writings, Russolo does not explain the need for such second lever.
The understanding of the sound production mechanism of the instruments from the Intonarumori family is a fundamental step for the development of computer simulations of such instruments, as well as physical reconstructions of them. Such computer simulations are important for preservation of the instruments and development of new extended musical instruments.