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Her recent commissions include Ghost Dance in collaboration with Boston-based choreographer Paula Josa Jones and commissioned by Lincoln Center 1995, music for the Mabou Mines production of Lear, and Contenders for the Susan Marshall Dance Co. (Bessie Award for the music from Dance Theater Workshop in 1991). She has performed at the John F. Kennedy Center for the Performing Arts in Washington, DC, New Music America Festivals, and in countless concert halls and performance spaces worldwide. Oliveros received a $25,000 award for her work in 1995 from the Foundation for Contemporary Performance - New York City. In 1985 she founded The Pauline Oliveros Foundation, Inc., to support all aspects of the creative process for a worldwide community of artists. The foundation, under her direction (along with Co-Artistic Director and playwright Ione) most recently produced a music theater work, Njinga the Queen King, with Pauline's original music and sound. Njinga had its premiere at the Brooklyn Academy of Music in December, 1993. The Foundation is now celebrating its tenth year with a series of concerts and readings in Kingston, NY. From her early years as the first Director of the Tape Music Center at Mills College to her fourteen year term as Professor of Music at the University of California of San Diego, and from Sonic Meditations to Deep Listening, her compositions, performances and innovations have already established her place in music history. This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => untitled-12 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:59 [post_modified_gmt] => 2014-09-25 10:34:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2811 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 516 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2845 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => All music composed by Alvin Curran, produced by Alvin Curran, executive producer John Zorn associate producer Kazunori Sugiyama mastered by Scott Hull at Hit Factory Mastering, NYC This CD is a compilation of first time releases including selected fragments of orchestral, choral, solo keyboard, electronic and installation works created beetween 1987-2003. I am known for this, that and the other-other, but behind my attempts to transform the earth's entire landscape into a concert hall, there is and always has been a steadfast composer of notes and bening anarchy. Lost Marbles is both an insider's guide and a crash-course intro to my music-music created mostly in prominent experimental back rooms for single occasions and never heard from again. So I decided do make my own musical sapler including fragments of significant musical events from the middle '80s to the present whichI felt would make coincise but essential exposé if not a self-portrait, bringing myself and my public up to date with musics that toured briefly with world-class dance companies or theater groups, or resided in complex and expensive installation that lasted the length of a festival. True, most of these pieces had durations spanning aminimum of thirty minutes to over five hours, but here the chosen snippets arepresented as the antipasti and the main course all in one. Excepting four electronic and improvised pieces, all the music is conventionally written on paper with pen and ink - Alvin Curran (Rome, January 15, 2004). [post_title] => For MG [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). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => for-mg [to_ping] => [pinged] => [post_modified] => 2019-07-01 18:05:50 [post_modified_gmt] => 2019-07-01 16:05:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2845 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 551 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 2877 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Platinum Segments [post_excerpt] => Ted Apel is a sound artist whose sculptures and installations focus on the audio transducing element as the source of visual and sonic material. He has exhibited his work at sound art festivals and exhibits including the SoundCulture 96 festival in San Francisco; the Ussachevsky Festival in Claremont, California; the EarArt Sound exhibit in Chico, California; the Sinusoidal Sound Art Show at SFSU; the Audio Art Festival in Krakow, Poland; and the Sound Symposium in St. John's Newfoundland. He was twice a prizewinner at the Bourges International Electroacoustic Music Competition for his sound installations. And his sound installation received an honorary mention at the Prix Ars Electronica 2001. Ted Apel studied electroacoustic music at Dartmouth College with Jon Appleton, Larry Polansky and Christian Wolff. He is currently teaching computer music as adjunct faculty at the Boise State University Department of Music. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => platinum-segments [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:06 [post_modified_gmt] => 2014-09-25 10:35:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2877 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 583 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 2909 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Perpetual Dizziness [post_excerpt] => I am a modernist but mostly I am an audiophile - albeit with peculiar and often eccentric taste. Consequently, in my artistic practice I am interested in examining, locating or commemorating collective culturl experiences in historic moments of creative transition. I attemp a marriage of art history and black history within the realm of the abstract languages they constructed. This notion is manifested through multi-disciplinary pieces that incorporate sound, works on paper, and site based projects all focusing on music, specifically the aage of modern music-the more avant-garde or Be Bopera, aperiosd with intense social and cultural implications. Complimenting today's deluge of hip hop culture as defining black culture, the audio pieces transform the gallery space into concert hall via speakers or private listening zones vie headsets. Assembling fresh pieces by means of jazz concepts like "call and response", tempo chanes, "stop-time" and counter melody, I build variations on the original compositions themselves, not unlike a musician riffing on a "standars" tune. Future project ideas range from the transcription of sheet music (scores) into large-scale drawings, collaborating with musicians to then "play" those works - to site related projects in and around Harlem. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => perpetual-dizziness [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:09 [post_modified_gmt] => 2014-09-25 10:35:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2909 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 616 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 2941 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Terminal [post_excerpt] => "Thank for flying american" is a richly diverse anthology of audio art compositions by media, performance and visual artist, write audio composer, producer, and internationally broadcast radio art innovator Jaci Apple. Travelling a thematic path, this 17 cut compilation, selected from six of her major performance, installation, video and radio works from 1980-1991, is a journey accross the American landscape spanning three decades. Filled with a pervasive sense of loss, this series of aural snapshots gazes bacward into the past from different vantage points as it speeds forward into a precarious and sometimes ominous future. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => terminal [to_ping] => [pinged] => [post_modified] => 2019-06-14 15:16:53 [post_modified_gmt] => 2019-06-14 13:16:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2941 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 648 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 2973 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Senza titolo [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => senza-titolo-2 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:41 [post_modified_gmt] => 2014-09-25 10:35:41 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2973 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 680 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3013 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => unglove [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => unglove [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:45 [post_modified_gmt] => 2014-09-25 10:35:45 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3013 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 720 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3046 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => dates: Twilight of Peryn - 1972, Street Music - 1966, Signals - 1992, String Play - 1980. And previous pieces: Little Music .. - 1999, Little Litany - 2002, Little Chronicles - 2005. [post_title] => The guile of the Prince [post_excerpt] => ZBIGNIEW PENHERSKI, composer, born January 26, 1935 in Warsaw, Poland. Studied composition with B. Poradowski at the State Academy of Music [PWSM] in Poznan (1955-56), followed by studies with Tadeusz Szeligowski in Warsaw (1956-59). Penherski has also studied conducting under Bohdan Wodiczko (1960-63). Holder of a Dutch government scholarship, studied at the Institute of Sonology in Utrecht (1969). Prize winner of composition competition such as: Grzegorz Fitelberg Competition (1964) for Musica humana; Artur Malawski Competition (1976) for Masurian Chronicles [Kroniki Mazurskie]; Composing Competition in Gdansk (1992) for Cantus; Polish Radio Competition (1995) for Genesis. Honorary citizen of Kragujevac in Yugoslavia, Russe in Bulgaria, and Ho-Chi-Minh in Vietnam. Awarded the Silver Cross of Merit (1975) and the Award of the Prime Minister of Poland, for works for children and youth (1982). Member of Stage Artist and Composers' Association [ZAIKS] since 1961, Polish Composers' Union [ZKP] since 1963, Polish Contemporary Music Association [PTMW], Warsaw Music Society [WTM]. Honorary member of the Scottish Society of Composers (1987). Penherski's music has been performed in Poland and abroad, including Austria, Belgium, Denmark, France, Germany, Great Britain, Italy, Korea, Mexico, the Netherlands, Norway, the Soviet Union and USA. LITERATURE: - Polish Opera and Ballet of the Twentieth Century, PWM, Kraków 1986 - Who is Who in Poland, Interpress, Warszawa 1989 - Chomiński Józef The Music of Polish People’s Republic [Muzyka Polski Ludowej], PWN, Warszawa 1968 - Hanuszewska Mieczysława, Schaeffer Bogusław Almanac of Present Polish Composers [Almanach polskich kompozytorów współczesnych], PWM, Kraków 1982 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-guile-of-the-prince [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:48 [post_modified_gmt] => 2014-09-25 10:35:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3046 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 754 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3109 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Vox (track 4 ) [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => vox-track-4 [to_ping] => [pinged] => [post_modified] => 2019-07-04 14:32:18 [post_modified_gmt] => 2019-07-04 12:32:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3109 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 818 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3141 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. nn. Arch. 183.28, 184.33, 185.23 [post_title] => Blue 14 [post_excerpt] => MARTIN e GREIL (Dornbirn, Austria) Martin e Greil is a composer, sound artist/musician. He has performed throughout Europe and worked with artists including Colin Fallows and Keith Rowe. In 1999, he was artistic director of the Austrian millennium project The Millennium, and in 2000, his solo CD Spheres was released. He also appears on Audio Research Editions collections. He is equally active in multi-media arts, designing various Internet web sites, videos and digital animations. He was a sound Research Assistant and Lecturer at Liverpool School of Art and Design, Liverpool John Moores University (1999-2001) and a Design Lecturer at LIPA. He co-founded the ASPARA Company in 2001, and his own record label M’para. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => blue-14 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:16 [post_modified_gmt] => 2014-09-25 10:36:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3141 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 850 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2811 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Untitled [post_excerpt] => Pauline Oliveros, composer, performer, author and philosopher has influenced American music extensively through her works with improvisation, electronic music, teaching, myth, ritual and meditation. Her recent commissions include Ghost Dance in collaboration with Boston-based choreographer Paula Josa Jones and commissioned by Lincoln Center 1995, music for the Mabou Mines production of Lear, and Contenders for the Susan Marshall Dance Co. (Bessie Award for the music from Dance Theater Workshop in 1991). She has performed at the John F. Kennedy Center for the Performing Arts in Washington, DC, New Music America Festivals, and in countless concert halls and performance spaces worldwide. Oliveros received a $25,000 award for her work in 1995 from the Foundation for Contemporary Performance - New York City. In 1985 she founded The Pauline Oliveros Foundation, Inc., to support all aspects of the creative process for a worldwide community of artists. The foundation, under her direction (along with Co-Artistic Director and playwright Ione) most recently produced a music theater work, Njinga the Queen King, with Pauline's original music and sound. Njinga had its premiere at the Brooklyn Academy of Music in December, 1993. The Foundation is now celebrating its tenth year with a series of concerts and readings in Kingston, NY. From her early years as the first Director of the Tape Music Center at Mills College to her fourteen year term as Professor of Music at the University of California of San Diego, and from Sonic Meditations to Deep Listening, her compositions, performances and innovations have already established her place in music history. This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => untitled-12 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:59 [post_modified_gmt] => 2014-09-25 10:34:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2811 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 516 [post_it] => 10 ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 1122 [max_num_pages] => 113 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => 1 [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => 1 [is_search] => [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_privacy_policy] => [is_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_favicon] => [is_posts_page] => [is_post_type_archive] => 1 [query_vars_hash:WP_Query:private] => 4c63090b2072983167095d6e1cab81a9 [query_vars_changed:WP_Query:private] => [thumbnails_cached] => [stopwords:WP_Query:private] => [compat_fields:WP_Query:private] => Array ( [0] => query_vars_hash [1] => query_vars_changed ) [compat_methods:WP_Query:private] => Array ( [0] => init_query_flags [1] => parse_tax_query ) )