Pink Noises

Women on Electronic Music and Sound

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Author: Tara Rodgers

Publisher: Duke University Press

ISBN: 0822394154

Category: Music

Page: 336

View: 5967

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns. Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

Pink Noises

Women on Electronic Music and Sound

DOWNLOAD NOW »

Author: Tara Rodgers

Publisher: Duke University Press Books

ISBN: 9780822346739

Category: Music

Page: 336

View: 4165

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns. Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

Pink noises

women on electronic music and sound

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Author: Tara Rodgers

Publisher: Duke University Press Books

ISBN: N.A

Category: Music

Page: 322

View: 4137

Collection of interviews with women DJs, electronic musicians, and sound artists.

The San Francisco Tape Music Center

1960s Counterculture and the Avant-Garde

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Author: David W. Bernstein

Publisher: Univ of California Press

ISBN: 0520256174

Category: Music

Page: 322

View: 5210

DVD, entitled Wow and flutter, contains recordings of concerts at the festival, held Oct. 1-2. 2004, RPI Playhouse, Rensselaer Polytechnic Institute, Troy, N.Y.

Deep Listening

A Composer's Sound Practice

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Author: Pauline Oliveros

Publisher: iUniverse

ISBN: 0595343651

Category: Music

Page: 101

View: 9534

Deep Listening: A Composer's Sound Practice offers an exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, mediators and anyone interested in how consciousness may be effected by profound attention to the sonic environment. Deep Listeningr is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats. Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web.

Virtual Music

Computer Synthesis of Musical Style

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Author: David Cope

Publisher: MIT Press

ISBN: 9780262532617

Category: Computers

Page: 565

View: 8819

An exploration of Cope's experimentation in artificial musical creativity; includes a CD containing performances of music discussed in the text.

Sounding the Margins

Collected Writings 1992-2009

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Author: Pauline Oliveros

Publisher: Lulu.com

ISBN: 188947116X

Category: Art

Page: 287

View: 638

Sounding the Margins: Collected Writings 1992-2009 by composer, performer, humanitarian, and Deep Listening founder Pauline Oliveros document her activity over this period and the many recent advances that have taken place in the fields of electronic and telematic musical performance, improvisation, artificial intelligence, and the role of women in contemporary music. Featuring contributions by John Luther Adams, Monique Buzzarte, and Stuart Dempster.

Earth Sound Earth Signal

Energies and Earth Magnitude in the Arts

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Author: Douglas Kahn

Publisher: Univ of California Press

ISBN: 0520257553

Category: Art

Page: 330

View: 7798

Earth Sound Earth Signal is a study of energies in aesthetics and the arts, from the birth of modern communications in the nineteenth century to the global transmissions of the present day. Grounded in the Aeolian sphere music that Henry David Thoreau heard blowing in telegraph lines and in the Aelectrosonic sounds of natural radio that Thomas Watson heard in telephone lines, the book moves through the histories of science, media, music, and the arts to the 1960s, when the composer Alvin Lucier worked with the ""natural electromagnetic sounds"" present from ""brainwaves to outer.

Minimalism--origins

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Author: Edward Strickland

Publisher: Indiana University Press

ISBN: 9780253213884

Category: Art

Page: 312

View: 8125

The term Minimalism appeared in the mid-1960s, primarily with reference to the stripped down sculpture of artists like Donald Judd. This volume investigates the origins of Minimalism in post-war American culture. The author redefines it as a movement that developed reductive stylistic innovations.

Daphne Oram

An Individual Note of Music, Sound and Electronics

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Author: Daphne Oram

Publisher: Anomie Academic

ISBN: 9781910221112

Category:

Page: 160

View: 4159

Daphne Oram (1925-2003) was one of the central figures in the development of British experimental electronic music. Having declined a place at the Royal College of Music to become a music balancer at the BBC, she went on to become the co-founder and first director of the BBC Radiophonic Workshop. Oram left the BBC in 1959 to pursue commercial work in television, advertising, film, and theater, to make her own music for recording and performance, and to continue her personal research into sound technology - a passion she had had since her childhood in rural Wiltshire. Her home, a former oasthouse in Kent, became an unorthodox studio and workshop in which, mostly on a shoestring budget, she developed her pioneering equipment, sounds, and ideas. A significant part of her personal research was the invention of a machine that offered a new form of sound synthesis - the Oramics machine. Oram's contribution to electronic music is receiving considerable attention from new generations of composers, sound engineers, musicians, musicologists, and music lovers around the world. Following her death, the Daphne Oram Trust was established to preserve and promote her work, life, and legacy, and an archive created in the Special Collections Library at Goldsmiths, University of London. One of the Trust's ambitions has been to publish a new edition of Oram's one and only book, 'An Individual Note of Music, Sound and Electronics', which was originally published in 1972. With support from the Daphne Oram Archive, the Trust has now been able to realize this ambition.'An Individual Note' is both curious and remarkable. When commissioned to write a book, she was keen to avoid it becoming a manual or how-to guide, preferring instead to use the opportunity to muse on the subjects of music, sound, and electronics, and the relationships between them. At a time when the world was just starting to engage with electronic music and the technology was still primarily in the hands of music studios, universities, and corporations, her approach was both innovative and inspiring, encouraging anyone with an interest in music to think about the nature, capabilities, and possibilities that the new sounds could bring. And her thinking was not limited to just the future of the orchestra, synthesizer, computer, and home studio, but ventured, with great spirit and wit, into other realms of science, technology, culture, and thought. 'An Individual Note' is a playful yet compelling manifesto for the dawn of electronic music and for our individual capacity to use, experience, and enjoy it.This new edition of 'An Individual Note' features a specially commissioned introduction from the British composer, performer, roboticist, and sound historian Sarah Angliss.

Beyond the Dance Floor

Female DJs, Technology, and Electronic Dance Music Culture

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Author: Rebekah Farrugia

Publisher: Intellect Books

ISBN: 1841505668

Category: Music

Page: 171

View: 7481

A pathbreaking study of the women who create electronic dance music, Beyond the Dance Floor focuses on the largely neglected relationship between these women and the conceptions of gender and technology that continue to inform the male-dominated culture surrounding electronic music. In this volume, Rebekah Farrugia explores a number of important issues, including the politics of identity and representation, the bonds formed by women within the DJ community, and the role female DJs and producers play in this dance music culture as well as in the larger public sphere. Though Farrugia primarily focuses on women's relationship to music-related technologies—including vinyl, mp3s, and digital production software—she also deftly extends her argument to the strategic use of the Internet and web design skills for purposes tied to publicity, networking, and music distribution.

Noise Music

A History

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Author: Paul Hegarty

Publisher: Bloomsbury Academic

ISBN: 9780826417275

Category: Music

Page: 232

View: 5216

Noise/Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today. It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde. While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

Handmade Electronic Music

The Art of Hardware Hacking

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Author: Nicolas Collins

Publisher: Routledge

ISBN: 1317721403

Category: Music

Page: 264

View: 7052

Handmade Electronic Music: The Art of Hardware Hacking provides a long-needed, practical, and engaging introduction for students of electronic music, installation and sound-art to the craft of making--as well as creatively cannibalizing--electronic circuits for artistic purposes. Designed for practioners and students of electronic art, it provides a guided tour through the world of electronics, encouraging artists to get to know the inner workings of basic electronic devices so they can creatively use them for their own ends. Handmade Electronic Music introduces the basic of practical circuitry while instructing the student in basic electronic principles, always from the practical point of view of an artist. It teaches a style of intuitive and sensual experimentation that has been lost in this day of prefabricated electronic musical instruments whose inner workings are not open to experimentation. It encourages artists to transcend their fear of electronic technology to launch themselves into the pleasure of working creatively with all kinds of analog circuitry.

Negotiated Moments

Improvisation, Sound, and Subjectivity

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Author: Gillian Siddall,Ellen Waterman

Publisher: Duke University Press

ISBN: 0822374498

Category: Music

Page: 376

View: 2488

The contributors to Negotiated Moments explore how subjectivity is formed and expressed through musical improvisation, tracing the ways the transmission and reception of sound occur within and between bodies in real and virtual time and across memory, history, and space. They place the gendered, sexed, raced, classed, disabled, and technologized body at the center of critical improvisation studies and move beyond the field's tendency toward celebrating improvisation's utopian and democratic ideals by highlighting the improvisation of marginalized subjects. Rejecting a singular theory of improvisational agency, the contributors show how improvisation helps people gain hard-won and highly contingent agency. Essays include analyses of the role of the body and technology in performance, improvisation's ability to disrupt power relations, Pauline Oliveros's ideas about listening, flautist Nicole Mitchell's compositions based on Octavia Butler's science fiction, and an interview with Judith Butler about the relationship between her work and improvisation. The contributors' close attention to improvisation provides a touchstone for examining subjectivities and offers ways to hear the full spectrum of ideas that sound out from and resonate within and across bodies. Contributors. George Blake, David Borgo, Judith Butler, Rebecca Caines, Louise Campbell, Illa Carrillo Rodríguez, Berenice Corti, Andrew Raffo Dewar, Nina Eidsheim, Tomie Hahn, Jaclyn Heyen, Christine Sun Kim, Catherine Lee, Andra McCartney, Tracy McMullen, Kevin McNeilly, Leaf Miller, Jovana Milovic, François Mouillot, Pauline Oliveros, Jason Robinson, Neil Rolnick, Simon Rose, Gillian Siddall, Julie Dawn Smith, Jesse Stewart, Clara Tomaz, Sherrie Tucker, Lindsay Vogt, Zachary Wallmark, Ellen Waterman, David Whalen, Pete Williams, Deborah Wong, Mandy-Suzanne Wong

Live Wires

A History of Electronic Music

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Author: Dan Warner

Publisher: N.A

ISBN: 9781780238241

Category:

Page: 224

View: 2084

Sit through any live stage production these days and you're bound to hear the sing-song twerping of a cell phone. We live in an electronic world, saturated with electronic sounds. Yet, electronic sounds aren't a new phenomenon; they have long permeated our sonic landscape. In Live Wires, Daniel Warner explores how five key electronic technologies--the tape recorder, circuit, computer, microphone, and turntable--have revolutionized musical thought. Electronic music began as the otherworldly sounds of the film score for the 1956 film Forbidden Planet and the rarefied, new timbres of Stockhausen's Kontakte a few years later, and is now a common soundscape in technology, media, and an array of music genres. The rise of a new audio culture has enabled more people than ever before to produce and listen to electronic music, from isolated experimenters, classical musicians, and jazz musicians to rock musicians, sound recordists, and newer generations of electronic musicians making hiphop, house, techno, and ambient music. Even the electrosonic debris of the world--glitches, bursts of amplitude and frequency modulated radio transmissions, fragments of media speech, and noise--find their way into our musical lives. Warner argues that the prevalence of electronic music means we are not only listening to electronic sounds, but thinking about them, finding new meanings in them, experimenting with them, and rehearing them as listeners and makers. The book is peppered throughout with engaging anecdotes from the artists, engineers, and creators involved in the production of electronic music. It features the work of major figures in electronic music, including Schaeffer, Oliveros, Xenakis, Eno, Grandmaster Flash, Francisco L�pez, and Juan Atkins. Live Wires is an arresting discussion of the powerful musical ideas that are being recycled, rethought, and remixed by the most interesting electronic composers and musicians today.

Anthology of Text Scores

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Author: Pauline Oliveros

Publisher: Lulu.com

ISBN: 1889471224

Category: Aleatory music

Page: 211

View: 7076

Contains over one hundred pieces that span four decades of creative work.

Eight Lectures on Experimental Music

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Author: Alvin Lucier

Publisher: Wesleyan University Press

ISBN: 0819577642

Category: Music

Page: 160

View: 9991

In this brilliant collection, path-breaking figures of American experimental music discuss the meaning of their work at the turn of the twenty-first century. Presented between 1989 and 2002 at Wesleyan University, these captivating lectures provide rare insights by composers whose work has shaped our understanding of what it means to be experimental: Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Steve Reich, James Tenney, Christian Wolff, and La Monte Young. Collected here for the first time, together these lectures tell the story of twentieth-century American experimental music, covering such topics as repetition, phase, drone, duration, collaboration, and technological innovation. Containing introductory comments by Lucier and the original question and answer sessions between the students and the composers, this book makes the theory and practice of experimental music available and accessible to a new generation of students, artists, and scholars.

Where the Heart Beats

John Cage, Zen Buddhism, and the Inner Life of Artists

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Author: Kay Larson

Publisher: Penguin

ISBN: 0143123475

Category: Art

Page: 474

View: 8826

A first book by a Zen Buddhist practitioner and leading art critic assesses the influence of Zen Buddhism on the work of composer John Cage, exploring the ways in which Zen transformed Cage's troubled psyche, his relationship with partner Merce Cunningham and his often indefinable music. 20,000 first printing.

Sonic Warfare

Sound, Affect, and the Ecology of Fear

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Author: Steve Goodman

Publisher: MIT Press

ISBN: 0262266334

Category: Music

Page: 296

View: 600

Sound can be deployed to produce discomfort, express a threat, or create an ambience 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 (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants 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. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard--the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths