soundscapes-n-drones

[soundscapes-n-drones]

A soundscape collage from three cities in Italy: Rome, Naples and Palermo.

[soundscapes-n-drones]

A sounscape collage from three cities in Italy: Rome, Naples and Palermo.

[soundscapes-n-drones]

It’s taken a while, but the Sorbonne University’s Publication MusiqueS & Interdisciplinarité is finally out. A huge resource, my article on the mobile musician is page 345.

Cela a pris du temps, mais la publication MusiqueS & Interdisciplinarité de l'Université de la Sorbonne est enfin sortie. Mon article sur le musicien mobile se trouve à la page 345.

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An oneiric drone ambient experimental soundwork based on transformation and mix of field recordings taken in Bologna and Palermo, in search for the genius loci of contemporary urban daily life

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Adventures in sound •••••••••••••••••••

David Whitmer - Gibbons At Kalaweit (2015)

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World Listening Day

Mount Rainier ​National Park is a park full of sounds. Park researchers are constantly listening to the mountain using soundscape stations. Audio recording is a good way to track animal populations as well as geologic sounds like glacial movements and seasonal debris flows. Sometimes the animals even listen to us. On World Listening Day we invite you to listen with us and tell us what you hear.

Recordings from our listening stations are available on our website at https://go.nps.gov/1v7ltk.

  NPS Photo of two deer next to the Trail of Shadows walkway, large ears splayed and listening. ~mmm

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a #research on the #psychological, #social and #cultural drivers of #soundscape #perception, #quality and #development in the city of Rome:

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Open call for forest sounds

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Noise tales from my first compositions with the roland mc505 groovebox

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the #soundmap of #sounds of #woodlands and #forests from all around the world:

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the Yellowstone soundlibrary, where you can immerse yourself in the aurallandscape of America's first national park:

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The Sound Ecology Series will kick off today for the very first time at 5PM (UTC+1) on @Sphere Radio Leipzig ! Cool ! To listen to 15 minutes of (binaural) Field Recording & fragmented ideas about the ecological relevance of listening practices in episode #1, check out sphere-radio.net.

From now on the series air the first sunday of each month at 5:30 PM @sphere.radio, which is great, as is their program in general.

Many thanks to @sphere.radio for having me & to @fdschn, @melryke and @nataliariverariffo for contributing to SES and inspiring the show ♡ Thanks as well to @collectif.drums in whose atmosphere the series was initiated.

If the subject inspires you or relates to your practice or to your profession, please do not hesitate contact me in order to collaborate on one of the future episodes !!

#soundscape #composition #acoustic #ecology #media-art #radioplay #soundart #research #sound #soundrecording #possiblefutures #listening #listeningpractices #listeningacrossdisciplines https://www.instagram.com/p/CK_h9plB24G/?igshid=1rzbho51simia

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My vision of music

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Listen/purchase: Sequence A by Mario D'Andreta

Doctor Who ‘Sequence A’ (Idroscalo d'Autore 2005) Doctor Who non è un pivello, agitato agitatore con la sua etichetta Idroscalo D'Autore ha dato alle stampe la pregevole compilation "Disco Compatto Numero Uno" che metteva in fila bei nomi come Justin Bennett, Maurizio Martusciello; Anton Nikkilä e molti altri esponenti noti e meno noti di certa elettronica espressionista che la dicono lunga sugli ipotetici punti di riferimento del curatore (...) Quindi a dispetto del nome è chiaro che non ci troviamo al cospetto di lounge o incredible strange music. Per la sua prima uscita il Doctor si esibisce in un lungo numero che si muove circospetto ed acquatico fra derive di chiara matrice isolazionista (Köner e Lull dietro l'angolo ma con maggiore esibizione di muscoli), derive più prettamente industriali a mezza strada fra Zoviet France e Cranioclast ad inasprire il tutto ed un taglio post techno che per umoralità può essere facilmente accostabile al lavoro di Ikeda e Pan Sonic. Materiali urticanti dunque che in questi (quasi) venti minuti si accendono ad intermittenza generando fin dall'inizio notevoli ammassi di nubi venefiche a solcare l'orizzonte, nella prima fase l'approccio è notevolmente fisico, ci si imbatte in scansioni digitali che sembrano voler essere sempre sul punto di tramutarsi in ritmiche squadrate ed invece annegano nella loro stessa eco, si incontrano muri di suono come folate di vento gelido che all'improvviso spazza tutto; scricchiolamenti e concretismi crudeli che sbilanciano ferocemente la materia verso una sorta di implosione neurale di notevole fascinazione. Poi il bianco torpore si insinua in ogni dove, stiracchiamenti, forse voci lontane, tutto sfuma in profondità oceaniche gelide dove la calma apparente è continuamente interrotta dal passaggio di strani ed enormi pesci luminosi; bellissimo letteralmente. Come guardare un piccolo fiore spuntare dalla parte delle radici. Benvenuto... Doctor Who is not a newbie, frantic agitator with his label Idroscalo D'Autore he has published the valuable compilation "Disco Compatto Numero Uno" which lined up beautiful names like Justin Bennett, Maurizio Martusciello; Anton Nikkilä and many other well-known and lesser-known exponents of certain expressionist electronics who say a lot about the curator's hypothetical points of reference (...) So despite the name it is clear that we are not in the presence of lounge or incredible strange music. For his first outing the Doctor performs in a long number that moves circumspectly and aquatically between drifts of clear isolationist matrix (Köner and Lull around the corner but with greater display of muscles), more typically industrial drifts halfway between Zoviet France and Cranioclast to tighten it all up and a post techno cut that for humor can be easily combined with the work of Ikeda and Pan Sonic. Stinging materials, therefore, that in these (almost) twenty minutes light up intermittently generating from the beginning considerable clusters of poisonous clouds to cross the horizon, in the first phase the approach is remarkably physical, one comes across digital scans that seem to want always being on the point of turning into square rhythms and instead drowning in their own echo, you encounter walls of sound like gusts of freezing wind that suddenly sweeps everything; creaks and cruel concretisms that fiercely unbalance the matter towards a sort of neural implosion of considerable fascination. Then the white torpor insinuates itself everywhere, stretching, perhaps distant voices, everything fades into icy ocean depths where the apparent calm is continually interrupted by the passage of strange and huge bright fish; beautiful literally. How to watch a small flower sprout from the roots. Welcome... June 2nd 2005 Recensore: Marco Carcasi

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La Monte Young - Composition 1960 No.7

Incredible piece of La Monte Young, La Monte Young is an American avant-garde composer and artist. He is considered one of the founders of minimal music and has had a significant influence on the development of drone music.

“Composition 1960 No.7″ is considered an early example of minimal music, and is one of Young’s most famous compositions. It is a simple and repetitive piece, consisting of a single sustained chord, played on a piano or other keyboard instrument. The chord is held for an extended period of time, typically lasting several hours.

The piece is usually performed in a concert setting, with the performer seated at a piano or other keyboard instrument, and the audience is free to come and go as they please. It is often accompanied by a light installation created by Young’s wife and collaborator, artist Marian Zazeela, which is designed to create a specific ambiance and enhance the listening experience.

Young’s “Composition 1960 No. 7” is considered an important piece of minimal music and has had a significant influence on the development of drone music and ambient music. It is considered as a pioneer work in the field of long-duration music and its repetitive nature is seen as a way of creating a meditative state for the listener.

The piece is performed on a Fostex M80 playing 8 tracks, one note each (half played with doublebass, half with sopran sax, half B, half F#). Uher SG561 is playng the chord with Spitfire Audio’s LAB (Strings Flautando), processed with Ciat Lonbarde’s Cocoquantus.