#electroacoustic music

[sibyl-of-space]

A cover of Kaepora Gaebora's theme from OoT that I had altogether way too much fun with. Wait for the repeat, trust me.

arrangement, cello, mix: me | clarinet: Lucas Bere | visualizer: musicvid.org

[paulodafonseca]

Hone nami

[franchar-ideas]

Proyecto nuevooo

En base a los diferentes elementos grabados se puede encontrar con 3 grandes tipos de sonidos, voces claras, multitudes y comun vivir ,y por ultimo la musica de caracter docto u grabaciones de piano.

Con estos 3 conceptos se a de buscar la forma de poder crear una pieza que pueda convinar todo esto desde el imaginario y la tecnica que conlleva la misma obra. El tiempo estimado va a rondar los 8 min por lo que se debe de tener presente el desarrollo de la obra.

Clasificacion de material:

-Voces: conversaciones, monologos y notas de voz

-Diario vivir: Ruido ambiente de ciudad, espacios publicos, maquinaria, señales de radio y sobremesas

-Musica armonica: (teniendo en cuenta que el termino se da ante el uso de material grabado que contiene un caracter de melodia, armonia y estructura mas conocida e incluso identificable) Orquesta en vivo, Improvizaciones, ensayos, piano en general.

Conección de un gran concepto: "Rutina y Vivir"

Dentro de la gran variedad de material acumulado desde Julio de 2023 hasta Diciembre del mismo año se establece que todas estas muestras fueron tomadas por un fin en comun, el registro de algo que en el momento llamó la atencion de mi cabeza o el simple hecho de querer guardar material para usarlo luego en alguna compocicion ya sea de caracter Pianistico u Electroacustico. Como ir apuntando de manera auditiva aquellas ideas del momento que muchas veces al registrarlas en papel luego es mas complejo volver a recordar para que estaban. Estas grabaciones muestran un momento de la vida en donde el registro tiene un mismo proposito, Recuerdo, reescucha y como si de un diario se tratase, registrar un momento de la rutina que muchas veces pasa por alto.

Espacios como el salon de la casa de mis padres, sobremesas familiares, espacios de trabajo frecuentados y llenos de maquinas, pequeñas notas de voz en aquellos momentos donde solo se quiere hablar pero no hay quien lo escuche, la ciudad en donde se vive aquel agetriado dia a dia y aquello que e intentado dar forma con improvisaciones de ideas que quedan en el aire.

Dentro de las grabaciones se encuentra una serie de pistas las cuales fueron tomadas en la capital de Chile, Santiago. Lo que es bastante inusual por mi parte de visitar por la distancia que hay desde donde vivo. Estos sonidos se grabaron durante el viaje que realicé para presentar una obra llamada "Sueño de alma" en el centro GAM.

El resto de las grabaciones como se menciona anteriormente se situan en un ambiente hogareño, que es donde estoy la mayor parte del tiempo. Ya sea en casa de mis padres u en Valdivia.

Se estima de que, al mismo tiempo de la variedad y naturaleza de cada grabación, estas puedan crear un pequeño viaje durante el desarrollo de la misma pieza en donde sea reflejado lo cotidiano e incluso una mirada desde el mismo autor.

[amadeusgame]

It's BandCamp Friday!

I have received really incredible (and heartwearming) feedback from people who played the Amadeus demo, who praised the soundtrack and sound design in particular with really kind words. I've embedded the soundtrack album release above - give it a listen if "music inspired by Umineko and Professor Layton" sounds up your alley.

Also, if there are any other music artists you follow on BandCamp, consider purchasing their stuff - today August 4 is BandCamp Friday, which means the artist keeps 100% of the funds from the sale!

(More info on Amadeus/stay up-to-date here)

[dustedmagazine]

Lea Bertucci — Of Shadow and Substance (Self-released)

More so than any of my other music, I don’t feel that these works belong to me,” Bertucci writes. “There is something about them that is beyond myself as an individual and provides, if anything, a brief glimpse into what it is to be human in what feels like these waning days of the Anthropocene.”   

Based in New York, Lea Bertucci is a multi-talented artist, using electronics with live instruments in performances and installations. She specializes in multi-channel audio work in active acoustic spaces. Bertucci’s latest LP, Of Shadow and Substance, uses live instruments — strings, harp and percussion — expanded with electronics. The album’s motto is: “dissonance, drone, and dynamics.” It’s a perfect summation, but digging deeper, there’s much to be revealed.

The sense of surround is limited by stereo reproduction, but Bertucci renders the music as close as one can get with reverberant atmosphere and swooping lines. Both of the pieces are tuned in just intonation with sweet thirds but a limited amount of in tune fifths. The first track, “Vapours,” is performed by Quartetto Maurice: Alina and Georgia Privitiera, Francesco Vernero, and Laura Bertolino. It is quasi-improvisational, and the quartet was encouraged to visualize two senses of the word “vapors:” vapor appearing in the air, and the hysterics of women (an archaic expression). The outer sections focus on the first idea, with a hectic portrayal of the second in the middle sections. The hardening and elsewhere expansion of sounds with electronics never makes the acoustic nature of the instruments seem indistinct.

“Of Shadow and Substance,” the recording’s second piece, is a reference to an episode from the TV series The Twilight Zone. It was commissioned by the ARS Nova Workshop in Philadelphia. A different ensemble performs here — double bassist Henry Fraser, cellist Lester St. Louis, harpist Lucia Stravros, and percussionist Matt Evans. Of the work, Bertucci says, “This piece measures the accumulation of events over glacial periods of time as a metaphor for social and environmental shifts. It is a meditation on time travel, asking the listener to consider the way events from the past propel themselves into the future.”

The way these disparate strands are united involves the telescoping of motives. The strings move through full multi-stops to harmonics and scordatura. The reappearance of each of these textures gives one the sense of aforementioned time travel. Halfway through, bass octaves in the strings accompany bleeps that could populate another early TV series, Star Trek. Aphoristic harp phrases and periodic percussion provide another layer. Upper register harmonics, bowing behind the bridge, and electronics are accompanied by rustling harp and percussion. The juxtaposition of this high selection of sounds and the imposition of low bass notes and reemergence of regular bass drum beats has brought the piece around to a jigsaw puzzle of a recapitulation. Percussion moves to eighth notes and a pure fifth appears above the bass, reframing the verticals to shimmer with overtones. High harp pizzicatos and morse code electronic sounds move to the foreground. A just flatted seventh in the cello provides still another trajectory through the overtones and delicious dissonances against the drone bass. The last section reestablishes pure fifth and octave in the strings while sine tones accentuate the resulting harmonics. A long denouement ensues, moving towards an inexorable niente.

Bertucci’s work continues to develop. Of Shadow and Substance presents two facets of “drone, dissonance, and dynamics” that speak with eloquence, treading lightly but palpably on extra-musical concerns.

Christian Carey

[michaelgogins]

More Notes on the Computer Music Playpen

I have finished maintenance on the VST3 plugin opcodes for Csound, Csound for Android, and some other things, and am re-focusing in composition.

One thing that happened as I was cleaning up the VST3 opcodes is that I discovered a very important thing. There are computer music programs that function as VST3 plugins and that significantly exceed the quality or power what Csound has so far done on it own, just for examples that I am using or plan to use:

The Valhalla reverbs by Sean Costello -- I think these actually derive from a reverb design that Sean did in the 1990s when he and I both were attending the Woof meetings at Columbia University. Sean's reverb design was ported first to Csound orchestra code, and then to C as a built-in opcode. It's the best and most widely used reverb in Csound, but it's not as good as the Valhalla reverbs, partly because the Valhalla reverbs can do a good job of preserving stereo.

Cardinal -- This is a fairly complete port of the VCV Rack "virtual Eurorack" patchable modular synthesiser not only to a VST3 plugin, but also to a WebAssembly module. This is exactly like sticking a very good Eurorack synthesizer right into Csound.

plugdata -- This is most of Pure Data, but with a slightly different and somewhat smoother user interface, as a VST3 plugin.

I also discovered that some popular digital audio workstations (DAWs), the workhorses of the popular music production industry, can embed algorithmic composition code written in a scripting language. For example, Reaper can host scripts written in Lua or Python, both of which are entirely capable of sophisticated algorithmic composition, and both of which have Csound APIs. And of course any of these DAWs can host Csound in the form of a Cabbage plugin.

All of this raises for me the question: What's the playpen? What's the most productive environment for me to compose in? Is it a DAW that now embeds my algorithms and my Csound instruments, or is it just code?

Right now the answer is not simply code, but specifically HTML5 code. And here is my experience and my reasons for not jumping to a DAW.

I don't want my pieces to break. I want my pieces to run in 20 years (assuming I am still around) just as they run today. Both HTML5 and Csound are "versionless" in the sense that they intend, and mostly succeed, in preserving complete backwards compatibility. There are Csound pieces from before 1990 that run just fine today -- that's over 33 years. But DAWs, so far, don't have such a good record in this department. I think many people find they have to keep porting older pieces to keep then running in newer software.

I'm always using a lot of resources, a lot of software, a lot of libraries. The HTML5 environment just makes this a great deal easier. Any piece of software that either is written in JavaScript or WebAssembly, or provides a JavaScript interface, can be used in a piece with a little but of JavaScript glue code. That includes Csound itself, my algorithmic composition software CsoundAC, the live coding system Strudel, and now Cardinal.

The Web browser itself contains a fantastic panoply of software, notably WebGL and WebAudio, so it's very easy to do visual music in the HTML5 environment.

[amorphous-materia]

EVOKE THE ISOLATION | Glaufx Garland - ΓΛΑΥΚΩΨ | DARK AMBIENT | WITCH HO...

[asiajaco]

◆Contemporary Computer Music Concert 2024 (CCMC)◆

Ayako’s piece "T-P-T" (2023) will be performed at the Contemporary Computer Music Concert 2024 (CCMC) at Institut Français de Tokyo on March 24.  2024年3月23日−24日に東京日仏学院エスパス・イマージュで開催されるアクースモニウム・コンサートCCMCで、電子音響音楽作品《T-P-T》(2023) を上演します。佐藤の出演は24日。作曲家本人による演奏です。

・Contemporary Computer Music Concert 2024(CCMC)

[korhanerel]

Panel on Networking and Two Concerts in Berlin

I’m going to be a panelist at “#1 Get connected! Networking in Berlin’s creative and cultural scene” event organized by Kreativ Kultur Berlin on 6.7. at 17:00 (CET). If you know people who’ve just arrived in Berlin and could use some help, please share this event with them. The event is free, but requires registration (and commitment). There will be a Q&A session after the panel as well as a…

[nktmc]

[sibyl-of-space]

All right! Sorry for no post in a while, I've been in the process of moving... but now that I'm all set up, I'm ready to start WORKING ON STUFF.

Here's my latest demo reel, featuring - among other things - gameplay from Amadeus, my solo dev mystery visual novel! All sound in this reel is my work.

The demo for Amadeus will be publicly available at the end of this month!

[paulodafonseca]

woodwork for slow organ and feedback.

[franchar-ideas]

Proyecto verano (3)

Al reescuchar un montón de veces los 3 minutos en donde creo que esta descante siento que estaría genial dejarlo en esos 3 minutos solamente, siendo que tengo material para seguir hasta los 8 minutos he incluso las ideas de cómo se estructurarían esos minutos por lo que tiendo a vacilar entre ambas ideas. Parar u Seguir lo planeado. Siempre es una incognita que está en la mente de uno como creador, que puede dar un buen(? resultado independiente de cuál sea la decisión. Creo que lo mejor será preguntar a mi profesor acerca de la obra ya que tengo planeado subir el demo de este proyecto junto a un par de dibujos que representarían lo que se está escuchando.

Dejaré una foto de la sección, ya que me encanta ver los colores resaltando en el fondo uniforme.

Muchos colores

[adailycloud]

Elaine Radigue - Musique de notre temps

https://open.spotify.com/track/5DYIgLCC1p2kLseAlrmTyh?si=qSOsq83JQP-lY_jm-XNdnw