Welcome

Yes! A new composition. Hear it here. Well, new, yes. An exposure of and a kind of answer to "...hidden agendas, with love.", revealing the travesty of secret plans and intentions. By way of a conclusion to my previous work; a new path beckons, as does a new year. The track is available for FREE DOWNLOAD with a newsletter subscription. 

I've been circumnavigating the periphery of popular culture for a number of years. Don't ask how many. My observations are the essence of my 'music'. I'm thrilled to be collaborating with Aleksandr Khovanov, a video artist based in Tyumen, Russia. The first fruit of this collaboration, 'gentle-not', can be found below. 

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Heightened awareness of surrounding tension and stress.

Uncomfortable presence somewhere you don't want to be. 
 

 

 

Electroacoustic music originated in Western art music around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de Recherches Musicales at the ORTF in Paris, the home of musique concrète, the Nordwestdeutscher Rundfunk (NWDR) studio in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 1900s, and "electronic sounds" were also produced using animation techniques by such artists as Norman McLaren. 

In Cologne, elektronische Musik, pioneered in 1949–51 by the composer Herbert Eimert and the physicist Werner Meyer-Eppler, was based solely on electronically generated (synthetic) sounds, particularly sine waves (Eimert 1957, 2; Morawska-Büngeler 1988, 11–13; Ungeheuer 1992, 13). The beginning of the development of electronic music has been traced back to "the invention of the valve [vacuum tube] in 1906" (Eimert 1957, 2). The precise control afforded by the studio allowed for what Eimert considered to be the subjection of everything, "to the last element of the single note", to serial permutation, "resulting in a completely new way of composing sound" (Eimert 1957, 8); in the studio, serial operations could be applied to elements such as timbre and dynamics. The common link between the two schools is that the music is recorded and performed through loudspeakers, without a human performer. The majority of electroacoustic pieces use a combination of recorded sound and synthesized or processed sounds, and the schism between Schaeffer's and Eimert's approaches has been overcome, the first major example being Karlheinz Stockhausen's Gesang der Jünglinge of 1955–56.

So what of a current definition of 'sound art'? Try this one: It is an artistic discipline in which sound is utilised as a medium, just as clay is by a potter. Like many genres of contemporary art, sound art is often interdisciplinary in nature, or takes on hybrid forms. Sound art can engage with subjects such as acoustics, electronics, noise music, audio media, found or environmental sound, explorations of the human body, sculpture, film or video and an ever-expanding set of subjects that are part of the current discourse of contemporary art. 

Phew.


 

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