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Pour définir le sens de la musique, il faudrait revenir aux notions simples de sens, de messages-signaux à ces sens, et de pensées véhiculées par ces signaux. Le point donc de départ et d'arrivée est l'homme. La musique étant un message (véhiculé par la matière) entre la nature et l'homme ou entre les hommes entre eux, elle doit être apte à parler à toute la gamme humaine(...)
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Pour définir le sens de la musique, il faudrait revenir aux notions simples de sens, de messages-signaux à ces sens, et de pensées véhiculées par ces signaux. Le point donc de départ et d'arrivée est l'homme. La musique étant un message (véhiculé par la matière) entre la nature et l'homme ou entre les hommes entre eux, elle doit être apte à parler à toute la gamme humaine(...)
Title:
Kéleütha
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Pour définir le sens de la musique, il faudrait revenir aux notions simples de sens, de messages-signaux à ces sens, et de pensées véhiculées par ces signaux. Le point donc de départ et d'arrivée est l'homme. La musique étant un message (véhiculé par la matière) entre la nature et l'homme ou entre les hommes entre eux, elle doit être apte à parler à toute la gamme humaine de perception et d'intelligence. De plus, l'homme aimera toujours chanter puisqu'il a une voix, et toujours danser puisqu'il a un corps en liberté. L'expansion prodigieuse du jazz, avec ses rythmes de danse puissants et ses mélodies brutales, qui contrastaient avec la somnolence des musiques légères ou folkloriques, en est une démonstration. Un courant constant entre la nature biologique de l'homme et les constructions de l'intelligence doit être établi, sinon les prolongements abstraits de la musique actuelle risquent de s'égarer dans un désert de stérilité.
Kéleütha
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Pour définir le sens de la musique, il faudrait revenir aux notions simples de sens, de messages-signaux à ces sens, et de pensées véhiculées par ces signaux. Le point donc de départ et d'arrivée est l'homme. La musique étant un message (véhiculé par la matière) entre la nature et l'homme ou entre les hommes entre eux, elle doit être apte à parler à toute la gamme humaine de perception et d'intelligence. De plus, l'homme aimera toujours chanter puisqu'il a une voix, et toujours danser puisqu'il a un corps en liberté. L'expansion prodigieuse du jazz, avec ses rythmes de danse puissants et ses mélodies brutales, qui contrastaient avec la somnolence des musiques légères ou folkloriques, en est une démonstration. Un courant constant entre la nature biologique de l'homme et les constructions de l'intelligence doit être établi, sinon les prolongements abstraits de la musique actuelle risquent de s'égarer dans un désert de stérilité.
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books
books
Publication:
May 1997
May 1997
Subject:
Acoustics
Acoustics
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books
books
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Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used(...)
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Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used(...)
Title:
Sonic warfare: sound, affect and the ecology of fear
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Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.
Sonic warfare: sound, affect and the ecology of fear
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Sound can be deployed to produce discomfort, express a threat, or create an ambiance of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms over the Gaza Strip, and high-frequency rat repellents used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.
Form:
books
books
Publication:
February 2010
February 2010
Subject:
Acoustics
Acoustics
Form:
books
books
Title:
Performing Xenakis
Performing Xenakis
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This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only(...)
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This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only(...)
Title:
Performing Xenakis
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This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only attested to by those close to the composer during his lifetime, but also by the younger generation that continues to be drawn to it. Each essay gives a new perspective: on what the composer was really looking for, on tricks of the trade for negotiating treacherously technical prowess, or on the attainment of an enhanced sense of self through the performance of this music. Following an extensive preface by Kanach, who collaborated closely with Xenakis from the late 1970s until his death in 2001, the book is divided into chapters organized by family of instruments. Every instrument of the orchestra is discussed by its practitioner; issues unique to the voice, as well as ensemble and orchestral works are explored, and two contributions concern the performance of Xenakis pioneering electronic works.
Performing Xenakis
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$44.95
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Summary:
This volume is a collection of essays by thirty contributors, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his very difficult writing, not only attested to by those close to the composer during his lifetime, but also by the younger generation that continues to be drawn to it. Each essay gives a new perspective: on what the composer was really looking for, on tricks of the trade for negotiating treacherously technical prowess, or on the attainment of an enhanced sense of self through the performance of this music. Following an extensive preface by Kanach, who collaborated closely with Xenakis from the late 1970s until his death in 2001, the book is divided into chapters organized by family of instruments. Every instrument of the orchestra is discussed by its practitioner; issues unique to the voice, as well as ensemble and orchestral works are explored, and two contributions concern the performance of Xenakis pioneering electronic works.
Form:
books
books
Publication:
May 2010
May 2010
Subject:
Acoustics
Acoustics
Form:
books
books
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$55.00
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Summary:
This second volume in the "See this Sound" series offers in-depth studies of the historical development and theoretical foundations of the overlap between visual and aural culture. The essays are gathered into two sections. The first section opens with Simon Shaw-Miller's history of the field, from 1800 to the present; Christian Holler discusses "artistic approaches to(...)
$55.00
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Summary:
This second volume in the "See this Sound" series offers in-depth studies of the historical development and theoretical foundations of the overlap between visual and aural culture. The essays are gathered into two sections. The first section opens with Simon Shaw-Miller's history of the field, from 1800 to the present; Christian Holler discusses "artistic approaches to(...)
Title:
See this sound : audiovisuology 2 (essays)
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This second volume in the "See this Sound" series offers in-depth studies of the historical development and theoretical foundations of the overlap between visual and aural culture. The essays are gathered into two sections. The first section opens with Simon Shaw-Miller's history of the field, from 1800 to the present; Christian Holler discusses "artistic approaches to image/sound relationships in pop culture"; and Sandra Naumann looks at "the musicalization of the visual arts in the twentieth century." The second section, "Sound & Image," includes Hans Beller on film scoring; Diedrich Diederichsen on visual traditions in pop music; Katja Kwastek on music devices and art machines; Birgit Schneider on "Hearing Eyes and Seeing Ears"; and Chris Salter on the neuroscience and aesthetics of immersion, absorption and dissolution in audiovisual art. An epilogue by Michel Chion explores the cognitive conditions of audio experience
See this sound : audiovisuology 2 (essays)
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$55.00
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Summary:
This second volume in the "See this Sound" series offers in-depth studies of the historical development and theoretical foundations of the overlap between visual and aural culture. The essays are gathered into two sections. The first section opens with Simon Shaw-Miller's history of the field, from 1800 to the present; Christian Holler discusses "artistic approaches to image/sound relationships in pop culture"; and Sandra Naumann looks at "the musicalization of the visual arts in the twentieth century." The second section, "Sound & Image," includes Hans Beller on film scoring; Diedrich Diederichsen on visual traditions in pop music; Katja Kwastek on music devices and art machines; Birgit Schneider on "Hearing Eyes and Seeing Ears"; and Chris Salter on the neuroscience and aesthetics of immersion, absorption and dissolution in audiovisual art. An epilogue by Michel Chion explores the cognitive conditions of audio experience
Form:
books
books
Publication:
July 2011
July 2011
Subject:
Acoustics
Acoustics
Form:
books
books
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Summary:
Cette musique déroule le temps lentement, se déplie et se déploie, mais ne se feuillette pas à la légère. Et elle est essentiellement un exercice de solitaire, ou en tout cas une musique que l’on écoute à la maison le plus souvent seul et lorsque l’on voudrait voir la nuit tomber très vite. Impossible de la faire tenir dans un ipod, impossible non plus d’en parler dans(...)
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Summary:
Cette musique déroule le temps lentement, se déplie et se déploie, mais ne se feuillette pas à la légère. Et elle est essentiellement un exercice de solitaire, ou en tout cas une musique que l’on écoute à la maison le plus souvent seul et lorsque l’on voudrait voir la nuit tomber très vite. Impossible de la faire tenir dans un ipod, impossible non plus d’en parler dans(...)
Title:
La Monte Young : une biographie suivie d'une discographie sélective sur le minimalisme
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Cette musique déroule le temps lentement, se déplie et se déploie, mais ne se feuillette pas à la légère. Et elle est essentiellement un exercice de solitaire, ou en tout cas une musique que l’on écoute à la maison le plus souvent seul et lorsque l’on voudrait voir la nuit tomber très vite. Impossible de la faire tenir dans un ipod, impossible non plus d’en parler dans les dîners mondains. Essayez d’expliquer à votre voisin de table ou de bureau que vous écoutez un disque de La Monte Young, il commencera par ne pas vous comprendre, vous demander de répéter ce nom étrange, pour finir par se dire que vous n’êtes sans doute pas tout à fait normal. Ce qu’il ignore, c’est qu’au-delà de La Monte Young, existe un univers foisonnant de musiciens anxieux et avides de créer une musique suspendue, tenue longtemps, lentement, qui prend son temps.
La Monte Young : une biographie suivie d'une discographie sélective sur le minimalisme
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Summary:
Cette musique déroule le temps lentement, se déplie et se déploie, mais ne se feuillette pas à la légère. Et elle est essentiellement un exercice de solitaire, ou en tout cas une musique que l’on écoute à la maison le plus souvent seul et lorsque l’on voudrait voir la nuit tomber très vite. Impossible de la faire tenir dans un ipod, impossible non plus d’en parler dans les dîners mondains. Essayez d’expliquer à votre voisin de table ou de bureau que vous écoutez un disque de La Monte Young, il commencera par ne pas vous comprendre, vous demander de répéter ce nom étrange, pour finir par se dire que vous n’êtes sans doute pas tout à fait normal. Ce qu’il ignore, c’est qu’au-delà de La Monte Young, existe un univers foisonnant de musiciens anxieux et avides de créer une musique suspendue, tenue longtemps, lentement, qui prend son temps.
Form:
books
books
Publication:
June 2012
June 2012
Subject:
Acoustics
Acoustics
Form:
books
books
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$25.00
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Summary:
In Sonic Somatic, the sound artist and theorist Christof Migone looks at sound art's overlap with other disciplines through its particular uses of articulation. Articulation is explored here in all of its guises: its negation as silence, its interruption in stuttering and its somatic ramifications in the human body. Migone looks at French playwright and poet Antonin(...)
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Summary:
In Sonic Somatic, the sound artist and theorist Christof Migone looks at sound art's overlap with other disciplines through its particular uses of articulation. Articulation is explored here in all of its guises: its negation as silence, its interruption in stuttering and its somatic ramifications in the human body. Migone looks at French playwright and poet Antonin(...)
Title:
Sonic somatic: performances of the unsound body
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In Sonic Somatic, the sound artist and theorist Christof Migone looks at sound art's overlap with other disciplines through its particular uses of articulation. Articulation is explored here in all of its guises: its negation as silence, its interruption in stuttering and its somatic ramifications in the human body. Migone looks at French playwright and poet Antonin Artaud's writings, with their implications of strangled speech and glossolalia; American composer Alvin Lucier's groundbreaking 1969 recording “I Am Sitting in a Room”; Erik Satie's looped composition “Vexations”; Marina Abramovic's confrontational performance “Rhythm 0”; Adrian Piper's “Untitled Performance for Max's Kansas City”; Herman Melville's short story “Bartleby, the Scrivener”; Bob Connolly and Robin Anderson's documentary film First Contact; and of course the work that most looms over this topic: John Cage's paradigm-shifting 1952 composition “4'33” .”
Sonic somatic: performances of the unsound body
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$25.00
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Summary:
In Sonic Somatic, the sound artist and theorist Christof Migone looks at sound art's overlap with other disciplines through its particular uses of articulation. Articulation is explored here in all of its guises: its negation as silence, its interruption in stuttering and its somatic ramifications in the human body. Migone looks at French playwright and poet Antonin Artaud's writings, with their implications of strangled speech and glossolalia; American composer Alvin Lucier's groundbreaking 1969 recording “I Am Sitting in a Room”; Erik Satie's looped composition “Vexations”; Marina Abramovic's confrontational performance “Rhythm 0”; Adrian Piper's “Untitled Performance for Max's Kansas City”; Herman Melville's short story “Bartleby, the Scrivener”; Bob Connolly and Robin Anderson's documentary film First Contact; and of course the work that most looms over this topic: John Cage's paradigm-shifting 1952 composition “4'33” .”
Form:
books
books
Publication:
June 2012
June 2012
Subject:
Acoustics
Acoustics
Form:
books
books
Title:
Ryoji Ikeda: dataphonics
Ryoji Ikeda: dataphonics
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$40.00
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Japan's leading electronic composer and sound artist Ryoji Ikeda (born 1966) focuses on the building blocks of sound and aural minutiae, often deploying frequencies at the very edges of human hearing. His albums +/- (1997) and Matrix (2001) spread this soundworld of sine waves and ambient glitchery to a wider audience; since then, he has exhibited and collaborated(...)
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Japan's leading electronic composer and sound artist Ryoji Ikeda (born 1966) focuses on the building blocks of sound and aural minutiae, often deploying frequencies at the very edges of human hearing. His albums +/- (1997) and Matrix (2001) spread this soundworld of sine waves and ambient glitchery to a wider audience; since then, he has exhibited and collaborated(...)
Title:
Ryoji Ikeda: dataphonics
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Japan's leading electronic composer and sound artist Ryoji Ikeda (born 1966) focuses on the building blocks of sound and aural minutiae, often deploying frequencies at the very edges of human hearing. His albums +/- (1997) and Matrix (2001) spread this soundworld of sine waves and ambient glitchery to a wider audience; since then, he has exhibited and collaborated (notably with Carsten Nicolai) across the world. A homage to Musique Concrète pioneer Pierre Schaeffer's Solfege de l'objet sonore, Dataphonics began as a monthly broadcast on France culture's Atelier de Création Radiophonique, in which Ikeda created a highly physical auditory experience based on the idea of binary-logic data made audible, “to materialize the invisible domain of ‘totally pure digital data.'” This book and CD includes spreads of graphic scores, codes, symbols and the composition itself, recomposed from the ten segments in which it was originally conceived.
Ryoji Ikeda: dataphonics
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Japan's leading electronic composer and sound artist Ryoji Ikeda (born 1966) focuses on the building blocks of sound and aural minutiae, often deploying frequencies at the very edges of human hearing. His albums +/- (1997) and Matrix (2001) spread this soundworld of sine waves and ambient glitchery to a wider audience; since then, he has exhibited and collaborated (notably with Carsten Nicolai) across the world. A homage to Musique Concrète pioneer Pierre Schaeffer's Solfege de l'objet sonore, Dataphonics began as a monthly broadcast on France culture's Atelier de Création Radiophonique, in which Ikeda created a highly physical auditory experience based on the idea of binary-logic data made audible, “to materialize the invisible domain of ‘totally pure digital data.'” This book and CD includes spreads of graphic scores, codes, symbols and the composition itself, recomposed from the ten segments in which it was originally conceived.
Form:
books
books
Publication:
July 2012
July 2012
Subject:
Acoustics
Acoustics
Form:
books
books
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$32.95
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Summary:
MP3: The Meaning of a Format recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through(...)
$32.95
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MP3: The Meaning of a Format recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through(...)
Title:
Jonathan Sterne : MP3, the meaning of a format
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MP3: The Meaning of a Format recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through the mid-century development of perceptual coding (the technology underlying the MP3), to the format's promiscuous social life since the mid 1990s.
Jonathan Sterne : MP3, the meaning of a format
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$32.95
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MP3: The Meaning of a Format recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through the mid-century development of perceptual coding (the technology underlying the MP3), to the format's promiscuous social life since the mid 1990s.
Form:
books
books
Publication:
August 2012
August 2012
Subject:
Acoustics
Acoustics
Form:
books
books
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$27.50
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Sun Ra was a controversial and prolific jazz composer, bandleader, piano player, poet and philosopher known for his cosmic philosophy, musical compositions and performances. 1972 was a pivotal year for Sun Ra, he had signed a multi-album deal, recorded what would be his most well-known song, Space is the Place and was hard at work scripting and acting in a hilarious(...)
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Sun Ra was a controversial and prolific jazz composer, bandleader, piano player, poet and philosopher known for his cosmic philosophy, musical compositions and performances. 1972 was a pivotal year for Sun Ra, he had signed a multi-album deal, recorded what would be his most well-known song, Space is the Place and was hard at work scripting and acting in a hilarious(...)
Title:
Sun Ra + Ayé Aton: space, interiors and exteriors, 1972
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Sun Ra was a controversial and prolific jazz composer, bandleader, piano player, poet and philosopher known for his cosmic philosophy, musical compositions and performances. 1972 was a pivotal year for Sun Ra, he had signed a multi-album deal, recorded what would be his most well-known song, Space is the Place and was hard at work scripting and acting in a hilarious auto-biopic movie by the same name. This is a collection of unseen on set and backstage photos as well as pictures of murals created by band member Aye Aton.
Sun Ra + Ayé Aton: space, interiors and exteriors, 1972
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Sun Ra was a controversial and prolific jazz composer, bandleader, piano player, poet and philosopher known for his cosmic philosophy, musical compositions and performances. 1972 was a pivotal year for Sun Ra, he had signed a multi-album deal, recorded what would be his most well-known song, Space is the Place and was hard at work scripting and acting in a hilarious auto-biopic movie by the same name. This is a collection of unseen on set and backstage photos as well as pictures of murals created by band member Aye Aton.
Form:
books
books
Publication:
April 2013
April 2013
Subject:
Acoustics
Acoustics
Form:
books
books
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$32.00
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Summary:
Le troisième numéro du livre-revue annuel de recherche dédié aux arts sonores (au croisement des approches artistiques, musicales et musicologiques, esthétiques, philosophiques, politiques et socioculturelles au sens large), consacré à la question de l'espace sonore : articles de fond, textes de réflexion, documents, recensions critiques, comptes-rendus...
$32.00
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Summary:
Le troisième numéro du livre-revue annuel de recherche dédié aux arts sonores (au croisement des approches artistiques, musicales et musicologiques, esthétiques, philosophiques, politiques et socioculturelles au sens large), consacré à la question de l'espace sonore : articles de fond, textes de réflexion, documents, recensions critiques, comptes-rendus...
Title:
Tacet 03 : de l'espace sonore
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Le troisième numéro du livre-revue annuel de recherche dédié aux arts sonores (au croisement des approches artistiques, musicales et musicologiques, esthétiques, philosophiques, politiques et socioculturelles au sens large), consacré à la question de l'espace sonore : articles de fond, textes de réflexion, documents, recensions critiques, comptes-rendus...
Tacet 03 : de l'espace sonore
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$32.00
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Le troisième numéro du livre-revue annuel de recherche dédié aux arts sonores (au croisement des approches artistiques, musicales et musicologiques, esthétiques, philosophiques, politiques et socioculturelles au sens large), consacré à la question de l'espace sonore : articles de fond, textes de réflexion, documents, recensions critiques, comptes-rendus...
Form:
books
books
Publication:
August 2014
August 2014
Subject:
Acoustics
Acoustics
