Music for Puppet Theatre of Hitomi-Za
This is volume 2 of Omega Point's Obscure Tape Music of Japan series. Hitomi-Za is an experimental puppet theater group that still exists today in Japan. This recorded performance took place from February 13-17th in 1962 at Sogetsu Kaikan Hall. The program consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each part. This CD consists of two works made from magnetic tape from among the performances. This is the world premiere release of b…
Dix Portraits / Douze Mélodies Acousmatiques
In an allusion to Michel Chion’s ‘Dix études de musique concrète’, this collection of acousmatic moments represents a meditative opportunity for Denis Dufour. Sorting through his repertoire, it aims to seek out and identify characteristics and easily recognizable expressive habits whose clarity brings them close to the art of melody in an approach borne of entomological specimen classification and playful staging at the same time. Neither text nor theatrical contexts. Twelve short pieces; melodi…
Chrysalide
In Bocalises, Denis Dufour explored with virtuosity the sound possibilities of a sole sound source, glass jars broken, crushed and mixed to themselves to infinity. Fifteen years later, he takes up the material and, with digital tools, presents a retouched and recoloured version to give a new power and poetic richness to the initial energy.
Wave train
"double lp reprint of the famous david behrman wave train compact disc issued a couple of years ago. experimental music from 1959-68: 'canons' featuring david tudor on piano and christoph caskel on percussion; 'ricecar' a prepared piece performed by david behrman in the early 1960s; 'wave train' a powerful feedback piece performed live with gordon mumma; 'players with circuits' a combination of live electronics and amplified acoustic sound; 'sounds for a film by bob watts' for outdoor environmen…
Oramics
Tip! Comes with 16 page booklet. Daphne Oram is best-known for the design of her Oramics system, and also for co-founding the BBC Radiophonic Workshop in 1957, but until the release of this material, the only easily-available piece of music by her on CD was the 8-minute long "Four Aspects." There was also a 7" EP from 1962 on HMV, released as part of the Listen, Move and Dance series that was specifically designed to help children dance. Although the short pieces on this record are very basic, i…
Sphæra
In Daniel Teruggi's own words: Between 1984 and 1989, my acousmatic work was focused on processing and merging the four fundamental substances. Each « element » gradually became articulated with the others, thus crystallizing my subjective perception of their materiality. Over the years, helped by the enthusiasm of a Greek friend who propelled me into the Socratic universe, what started out as an exploratory path has become a circular, spherical unity, in which each occurrence simultaneously bel…
Musica Mundana / L'Estran
'Musica Mundana': Mixed, fusion and root music, work on 'harmonisation' of various music and vocals. A genuine alchemy! 'L'Estran': What a beautiful metaphor is this piece of coastline. It conveys an impression of in-between, uncertainty, contraries. After studying music in the French National Music School, a decisive encounter with Ivo Malec, Guy Reibel, Jacques Lejeune and Jean Schwarz at the GRM will introduce him to electroacoustic music which he will afterwards focus on. He has composed aro…
Time drops
2000 release. This mini-CD follows on from Akemi Ishijima's previous electroacoustic composition on Variations 2 -- A London Compilation. It includes one new piece and a reissue of "Ab Ovo," previously released on 5 Composers Second Coming on Fylkingen. The two pieces explore a broad range of traditional electronic techniques, both subtle and powerful. "Time Drops" (2000) -- a single stroke of a bell, in its decay, sometimes evokes a sense of infinity in our mind. "Time Drops" is an attempt to e…
Sintesi da un diario
Angelo Petronella is an avowed devotee of acousmatics, a musique concrete practice that encourages as much disassociation as possible between the sound on record and the source it was taken from. And though many of Sintesi da un diario's sounds are culled from such well-worn locales as children's playgrounds, country landscapes, and factory floors, repeated exposure reveals a composer intent on draining any familiarity in the pursuit of a total removal of all convention. Birdsong is pulled taut,…