The Oxford Handbook of Computer Music

DEAN, Roger [2009]: The Oxford Handbook of Computer Music (Oxford Handbooks in Music)

Oxford University Press, USA. ISBN: 0195331613

For those who wanted to learn deeply via a syncretic reference that amalgamate the very different tendencies on electronic and computer music, congratulations. Since 2009 Oxford University Press has released a wonderful monography, The Oxford Handbook of Computer Music.

Ethernet pedal by Lex van den Broek

Lex van den Broek from the Technical Department of the Institute of Sonology - Royal Conservatory of The Hague has specifically created a new device in order to assist some requirements of the composer Ángel Arranz. The device consists in a re-shaping and re-functionality of a conventional guitar volume pedal, by removing the pre-existent circuitry and applying a new one, based on Ipson Lab technology developed by Lex.

Música electrónica y música con ordenador - Martin Supper

SUPPER, Martin [2004]: Música Electrónica y Música con Ordenador. Historia, estética, métodos, sistemas.

Alianza Música (Alianza Editorial), Madrid. ISBN: 84-206-8169-5.

Esta vez me lanzo al blog haciendo uso del castellano para recomendar a la comunidad hispano-hablante un libro, aunque no podemos considerar de reciente edición (2004), sin embargo encuentro interesante. Se trata de un libro escrito por Martin Supper, Música electrónica y música con ordenador, intitulado Historia, estética, métodos, sistemas. Está editado en la conocida editorial madrileña Alianza Música a partir de una traducción del original en alemán del año 1997: Elektroakustische Musik und Computermusik. Geschichte, Äesthetik, Methoden, Systeme

Soundpainting Workshop - León [ES]

EspacioVías organizes the workshop Soundpainting
by Beatriz Franco Mielgo during the 8th and 9th April.
EspacioVías, León [ES]

Soundpainting is a language of signs created at the 80's by the Newyorker musician Walter Thompson in order to compose pluridisciplinar performances real-time, given that it is oriented to musicians, dancers, actors, poets and/or visual artists.

This language comes up from the idea of conducting and giving form to the improvisation during its execution. The conductor or soundpainter addresses to the artists by means of gestures that mean actions. A soundpainting composition is the result of the comunication of the soundpainter's signs and the performers' responses within a live, interactive process.

A hidden poetic space behind electronic branches - Chorro de Luz

www.chorrodeluz.net

I think that it could be a good reason to break these long weeks of intellectual dryness by telling you some really worthwhile news. And that it is not exactly "news", because it is something that began to work certain time ago. Anyway, for me was a totally illuminated moment when few days ago I found by chance in the Internet Chorro de Luz (something that could be translated as "Stream of Light"), a fascinanting broadcasting adventure carried out by the journalist and music critic Ismael G. Cabral based in the city of light, Seville [SP].

Chorro de Luz is an interesting Spanish-spoken showcase, via both radio and blog, on very carefully selected contemporary music with excellent commentaries that invite you once a week to reflect on creation, actuality and diverse artistic approaches around music. if you are around Seville, you could follow it in Radiópolis 98.4 FM / Sevilla, Monday from 17.00 to 18.00 (repetition on Friday from 15.30 to 16.30). If not, you could search it at the Internet, in www.chorrodeluz.net, where besides downloading any program in mp3 format, you can read extended posts on the music displayed. I wish you enjoy this weekly treasure.

Metal splinters, helicopters with umbrella and PVC voices

EXTRUSION [2010]

8-channel tape piece

Ángel Arranz

'Everything is curved'. So did my dear colleague Casper Schipper define his first listening to Extrusion, the second electronic piece from a series of four works, which I expect to finish in 2011. Maybe it is because of my renewed interest in Baroque aesthetics, maybe because of a more aware use of the spatial/temporal qualities of the materials, certainly it results in a more flexible approach to time than even in my previous electronic piece, Electronic Study. The piece was composed thinking about the features of the space in which it has been premiered, the Schoenbergzaal of the Royal Conservatory of The Hague. To a certain extent, in Extrusion sounds seem to be closer to the limits of the space they inhabit. I have always found especially suitable the apparently austere concavities of the Schoenbergzaal, an architectural compound of solid bricks and wood. In order to develop spatial gestures of sounds in a physical way, the hall is not hugely big as a large concert hall, but long and wide –and high- enough as to magnify some sonic gestures, which draw a completely new impression of the space fed by the music. So, space becomes a sort of instrument just in the moment when you try to modify the perceptions that the audience have about it in a virtual way along a deconstructed timeline.

Institute of Sonology - Discussion Concert Series - 7th May

Institute of Sonology
Discussion Concert Series
DC #5 – 7th May, 2010
Arnold Schoenbergzaal, 19:30
Royal Conservatory of The Hague

Works of G.M. Koenig, Adalsteinsson, Zweerts, Vinton, Van Paemel/Braet, Konstantinidou, Li and Arranz.

Next Friday 7th May the last Discussion Concert of this season will be celebrated at the Institute of Sonology, Royal Conservatory of The Hague. In this occasion the concert will be attended by G.M. Koenig, who will open the program with ‘Ubung fur klavier’, a piece of 1970 interpreted by the Japanese pianist Akane Takada. The program, quite varied in genres, is basically conformed by tape pieces, improvised music, instrumental music, live electronics pieces and dance.