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[post_excerpt] => Titolo: Radiografia dell'anima - DocksDora raffaello.lazzaretto@tin.it materiale acc. :Oggetto: consenso al trattamento dei dati personali comuni e sensibili [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => radiografia-dellanima-d [to_ping] => [pinged] => [post_modified] => 2014-09-11 18:39:58 [post_modified_gmt] => 2014-09-11 16:39:58 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2340 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 40 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2373 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Contrattempi [post_excerpt] => Il lavoro, come ho scritto nel foglio allegato al materiale che vi ho inviato, è composta da 2 cd audio e 1 dvd video , Quando ho esposto l'installazione, nello spazio erano disposte 4 casse audio a cui erano collegati i 2 cd audio e su una parete andavano in loop le immagini del dvd. Quindi il dvd non ha audio perché l'audio esce già dai due cd. Il lavoro è principalmente un'installazione sonora, per quella occasione c'erano anche le immagini video mute che andavano in loop, ma l'installazione potrebbe funzionare anche solo con i 2 cd audio collegati alla 4 casse. Se non c'è la possibilità di esporlo come installazione i due cd possono anche essere ascoltati singolarmente. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => contrattempi [to_ping] => [pinged] => [post_modified] => 2019-06-29 19:29:16 [post_modified_gmt] => 2019-06-29 17:29:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2373 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 73 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 2406 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Romulus and Remus make another Ruckus [post_excerpt] => Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms. Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 100 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention. THE MAIN STORY With a fortuitous bang, he begins his musical journey (1965 in Rome) as co-founder of the radical music collective MUSICA ELETTRONICA VIVA, as a solo performer, and as a composer for Rome's avantgarde theater scene. In the 70's, he creates a poetic series of solo works for synthesizer, voice, taped sounds and found objects. Seeking to develop new musical spaces, and now considered one of the leading figures in making music outside of the concert halls -- he develops a series of concerts for lakes, ports, parks, buildings, quarries and caves -- his natural laboratories. In the 1980's, he extends the ideas of musical geography by creating simultaneous radio concerts for three, then six large ensembles performing together from many European Capitals. By connecting digital samplers to MIDI Grands (Diskklavier) and computers, since 1987, he produces an enriched body of work -- an ideal synthesis between the concert hall and all sounding phenomena in the world. In 1990, he begins a visually striking series of sound installations, in collaboration with Melissa Gould. Throughout these years he continues to write a significant amount of music for acoustic instruments. TEACHING From 1975-80 taught vocal improvisation at the Accademia Nazionale d'Arte Drammatica (Rome) and since 1991 has been the Milhaud Professor of Composition at Mills College in Oakland, California. FORMATIVE YEARS Born December 13, 1938, Providence, Rhode Island. From five years: piano lessons, trombone, marching bands, Synagogue chants, Jazz, and his father's dance bands. Becomes an artist at age 13 in an apple tree at the house of his lifelong friend, poet Clark Coolidge. Hears Spike Jones, the Rhode Island Philharmonic, Satchmo, The Boston Symphony Orcherstra, Art Tatum, Charlie Parker, The Band of America, Thelonius Monk, Gerry Mulligan, Miles Davis, Coltrane, Bartok and Christian Wolff. Studies composition with Ron Nelson (B.A. Brown University 1960) and with Elliott Carter and Mel Powell( M.Mus., Yale School of Music l963). During summer vacations, plays European crossings with the "Brunotes" on the Holland American Line, in a Greek Dance Band in the Catskills, and in the Dunes Hotel in Las Vegas. Continues studies and friendship with Carter in Berlin (1964 Ford Foundation Grant), meets Stravinsky, Xenakis, Berio, Yuji Takahashi, Andriessen, Remo Remotti, and above all Rzewski. Goes to Darmstadt, hangs with Babbitt and Earl Brown, hears Stockhausen and Ligeti. Goes to Rome with Joel Chadabe and plays piano in bars on via Veneto, meets Franco Evangelisti and Cornelius Cardew. In the MUSICA ELETTRONICA VIVA years (1966 -1971 in Rome), performs in over 200 concerts in Europe and the USA with Teitelbaum and Rzewski, Carol Plantamura, Ivan Vandor, Alan Bryant and Jon Phetteplace; and makes significant artistic encounters with: Giuseppe Chiari, Edith Schloss, AMM, Cardew, Steve Lacy, Michelangelo Pistoletto, Steve ben Israel, Anthony Braxton, Simone Forti, Steve Reich, Joan LaBarbara, Michael Nyman, La Monte Young, Trisha Brown, Ashley, Behrman, Gordon Mumma, Alvin Lucier, Larry Austin, Bill Smith, Ketoff, Robert Moog, Nuova Consonanza, MEV2, Meme Perlini, Mario Ricci, Maria Monti, Prima Materia, Ron Bunzl, Phil Glass, Charlemagne Palestine, Terry Riley, George Lewis, Evan Parker, Gregory Reeves, Serge Tcherepnin, Kosugi, Pulsa, Maryanne Amacher, John Cage, David Tudor, Morton Feldman. Scelsi becomes his friend and mentor. PRIZES AND AWARDS Bearns Prize, BMI award, National Endowment for the Arts (twice), DAAD (Berlin residencies 1963-4 and 1986-7), Ars Acoustica International (WDR), Prix Italia (special award l988), Premio Novecento (city of Pisa), Fromm Foundation (Harvard University), Hass Family Award (San Francisco), Meet the Composer (assistance to many concerts), Leonardo Award for Excellence (1995), Guggenheim Foundation (2004). 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[post_title] => An Auspicious one [post_excerpt] => Producer: Harold Verbakel [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => [to_ping] => [pinged] => [post_modified] => 2014-08-22 10:38:39 [post_modified_gmt] => 2014-08-22 10:38:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2470 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 171 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 2502 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Chaotic Morning [post_excerpt] => Heath Hanlin is an Associate Professor of Art Media Studies|Computer Art at Syracuse University in the US teaching studio and theory classes in virtuality, computer animation and digital audio. He received his BFA in sculpture from the University of Iowa and his MFA in Art and Technology at the Ohio State University. His recent work is concerned with paradoxes in virtual space, the virtual subversion of the laws of physics, and aesthetic/procedural interpretation of natural motion. Hanlin's works have shown in galleries, film festivals, conferences, bars, and parties in New York, Los Angeles, Toronto, Tokyo, Kobe and many other places. His work has also been nationally broadcast on television in the US and Europe. Dynakit is a beacon for the dry ones. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => [to_ping] => [pinged] => [post_modified] => 2014-08-22 10:38:39 [post_modified_gmt] => 2014-08-22 10:38:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2502 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 205 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 2615 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => do odle [post_excerpt] => Aaron Acosta is a graduate from the College of Santa Fe with a BA in Sound Design in Media in 2002. This is a Self Designed major that consists of studies in Theatre, Film, and Music. He enjoys designing soundscapes for theatre and film and he has many skills as far as theatre and film production. What he loves most is sound. Sound helps us interpret the world in a unique way with frequency, amplitude and time: he chooses to explore these realms. He is involved with electro acoustic composition as well as more traditional composition. He is currently working as Technical Director/ Resident Designer for Santa Fe Performing Arts. FESTIVALS. - Wave under 60, Vox Novus, New York, november 2004. - Traffic, Lunel (France) June 6th 2004, The Electrolune performance. - Traffic under 60, 60x60 concert, Vox Novus, New York, november 2003. - Reflection on "Eye of God", (2002) featured in 2003 Electric Rainbow Coalition Festival and Sixth Annual Santa Fe International Festival of Electro-Acoustic Music. - Traffic and Nebulous, performed at a special tape music reception on sept. 25 at the Santa Cruz Cayuga Vault for local audience and members of the Woodstockhausen Staff. Music copyright Aaron Acosta; all artwork + design herein is the copyright of Leona Graham: www.home.earthlink.net/~leonamae/leona.html R.G.: Aaron Acosta “frequency, amplitude and time” – archivio SAM n. 124/b,13 tracce, compl. 59’18” Lavoro musicale. Fasce elettroniche, che spesso risolvono in ritmo. Timbriche interessanti ma un po’ datate. Uso di strumenti e voci campionate, afferenti soprattutto al mondo della musica indiana (sitar, tablas, solfeggio sillabico), ma anche pianoforte acustico, zampogna, ecc. Lavoro piuttosto vario, lungo, vagamente noioso e non particolarmente innovativo, eppure non privo di un suo fascinaccio: in particolare nei momenti più estatici e “immobili” (vedi traccia 11). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => do-odle [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:18 [post_modified_gmt] => 2014-09-25 10:34:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2615 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 318 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 2647 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Track 9 del CD "Canoni Pitagorici"; T. T.: 49' 41" [post_title] => Canone pitagorico ø8 [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canone-pitagorico-o8 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:21 [post_modified_gmt] => 2014-09-25 10:34:21 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2647 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 352 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 2680 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => MEDIATIC SEA [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => mediatic-sea [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:24 [post_modified_gmt] => 2014-09-25 10:34:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2680 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 385 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 2712 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => The concept of multiples and doubles (the theme of this CD's) and the re-cycling of the works sometimes from many years ago is a process that began in the early nineties and co-incided with three artist colony sojourns. First at Mac dowell Colony, then at Yaddo Colony and last at the Headlands center. The reflective look over an entire oeuvre became a mechanism that accelerated. At first it consisted of the Cageian gloss of playing entire works with other works, either simoultaneously on top of each other or sequentially in parts or sections. Then with digital network musics and the home computer came the text-radio works, creating new sound designs, playing them with old often ambient analog tape works. Finally the process became quite complex using simulation and photo-real aural sound soundscape in creating sonic atmospheres and doubles of all kinds. This De Chirico-like aping of former material has became quite developed and culminates in the Wave Fugue. [post_title] => Deconstructed Fountain from Ravel with Derrida Watching [post_excerpt] => Rocco Di Pietro was born in Buffalo, New York in 1949. He studied composition and piano with Hans Hagen and Lukas Foss in Buffalo and at the Berkshire Music Center, Tanglewood. He studied in New York and Darmstadt with Bruno Maderna and was a freelance composer for twenty years before earning degrees from SUNY Buffalo and Vermont College. He became an interdisciplinary adjunct professor teaching in prisons and on many college campuses throughout New York, Ohio, and California. He toured California prisons as artist-in-residence and conducted four years of interviews in Chicago with Pierre Boulez. The resulting book, DIALOGUES WITH BOULEZ, was recently published by Scarecrow Press. He composed Prison Dirges I for the Kronos String Quartet. Di Pietro's music has been performed by many musicians in venues throughout the world. These include: Christiane Edinger, Christobal Halffter, Lukas Foss, Julius Eastman, Bruno Maderna, Frances Marie Uitti, Yvar Mikhasoff, Jan Williams, Anthony Miranda, Gunther Schuller, Dennis Russell Davies, the Buffalo Philharmonic Chamber Orchestra, The Brooklyn Philharmonic, the Bavarian Radio Orchestra, Pro Musica Chamber Orchestra, CETA Orchestra, Ojai Ensemble Sonor, St. Paul Chamber Orchestra, Columbus Wind Orchestra, Earlham String Orchestra, the Avant Collective, and the Madd Lab Orchestra. Venues include: The Kitchen, La Mama, Bang On A Can Festival, in New York, Contemporary Music Society of Seoul, South Korea and American Academy in Rome among others. Recent performances of LOST have been featured at Dartmouth College and Stanford University. Recently, his work has developed on several fronts. Sound text radio works have developed simultaneously with his teaching at Columbus State College of electronic music and other courses in the Humanities. These works have been broadcast on radio stations in Seattle, Chicago, Baltimore, Detroit, New York and in Europe, in Naples, Rome, Vienna, Prague, Budapest etc. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => deconstructed-fountain-from-ravel-with-deridda-watching [to_ping] => [pinged] => [post_modified] => 2019-07-04 12:43:19 [post_modified_gmt] => 2019-07-04 10:43:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2712 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 417 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2340 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Radiografia dell'anima D…. 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