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Cecilia di Roma. Dal 1986 al 1996 è impeganto come percussionista in complessi sinfonici e lirici, compiendo tournées in Italia e all'estero. Da qualche anno è interessato alla musica elettronica e al trattamento digitale delle fonti sonore. Nel dic.'99 ha realizzato musiche per il programma radiofonico "L'occhio magico" (Radio Rai3) dedicato a Anselm Kiefer.Ha pubblicato musiche pianistiche per la ed. musicali Domani Musica e scritto per la rivista di musica contemporanea Konsequenz aderendo a un'iniziativa promossa da Giuseppe Chiari. Ha collaborato alla realizzazione di installazioni sonore con alcuni dei più autorevoli istituti italiani di ricerca di musica elettronica come l'Istituto Gramma de L'Aquila e il CRM di Roma. Dopo gli studi in lettere, in qualità di storico dell'arte contemporanea, si è spesso interesato allo studio dei fenomeni musicali nell'ambito dell'arte contemporanea. Original music by Mino Freda; produced by Freda editing, sound engineer, mastering and mixed: Mino Freda Interventi solistici: trombone: Sergio Battista, violino: Monica Castorina, percussioni: Francesco Mendolia. Auto produzione a tiratura limitata: es. ristampa seconda serie in vendita con il catalogo della mostra da Silenzio-Distribuzione (www.silenzio-distribuzione.it) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => notte-fonda [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=2338 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 38 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 2371 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Swinging Sings [post_excerpt] => Ellen Band Sound Artist ~ Composer "...her 'sound art' ...is celestial in its implications and down to earth in its reverence for everyday noises." Kyle Gann, Village Voice PHOTO BY BOB RAYMOND Ellen Band creates sound and music pieces for performance and concert settings, installation, sculpture, and tape. Deeply inspired by the infinitely complex textures, rhythms, and colours within the so-called ordinary sounds of everyday life, she uses the time-honoured technique of field recording to collect the source material she uses for her pieces. She then fashions works which reflect the imagistic, mnemonic (memory), and psychoacoustic properties of sound. Having a strong background in both the 20th Century experimental music and sound art traditions, she crafts sound works which transform familiar sounds into new contexts and forms for listening to, perceiving, and experiencing sound. Since the mid ‘70s, she has constructed sound works for performance which include instrumentation, projections, video, and live performance. In addition to her solo work, she has collaborated with sound artist Ed Osborn, percussionist Brian Johnson, visual artist Leila Daw, dancer and choreographer Susan Osberg, and performance artist Nancy Adams. Her compositions and intermedia pieces have been performed by percussionists Tom Goldstein and Brian Johnson, bassoonist Janet Underhill, and violinist Adele Armin. Her work has been presented at venues such as: The Stadtgarten, Cologne, Germany; Experimental Intermedia, NYC; Lotus Music and Dance, NYC; The Music Gallery, Toronto; Real Art Ways, Hartford, CT; Mills College Center for Contemporary Music, Oakland, CA; Mex, Dortmund, Germany; Schwarzenberg’schen Meierie, Austria; NonSequitur Foundation, Albuquerque, NM; Sound Symposium 2000, St.John’s, Newfoundland, Canada; SubTropics Festival of Experimental Music, Miami, FL; Mobius and The Institute for Contemporary Art, Boston, MA. Her first solo CD, 90% Post Consumer Sound, was released February 2001 on XI, the label of Experimental Intermedia, NYC. It has received numerous rave reviews and airplay worldwide including a review in the July 2001 issue of Playboy Magazine. The Wire: Adventures in Modern Music (London, England), January 2002 issue ranked it at the top of its category Modern Composition. Her May 2002 concert in Cologne was recorded and broadcast nationally by German radio WDR (West Deutsche Rundfunk). Her work in sound installation and sound sculpture began in the 1990s with her psychoacoustic sound installation Acoustic Mirage. This work investigates and simulates the perceptual phenomenon known as 'aural hallucinations' often experienced as voices or music 'heard' within dense fields of pink noise. Acoustic Mirage has been featured at SoundCulture’96 in the San Francisco Bay Area; Studio Five Beekman in New York City, 1999, the Sound Symposium 2000, St. John’s, Nfld., Canada; and Mobius, Boston, MA. In 1997 she was awarded an American Composers Forum Composers Commission Award to create a sound sculpture (not yet complete). Her sound sculpture, Portrait of Ruth Klein, was part of a large exhibit entitled Women Whose Lives Span the Century at the Starr Gallery, Newton, MA (1998). Most recently, The Institute for Contemporary Art, Boston, MA., has commissioned her to create a sound installation for the Vita Brevis program (scheduled to premiere fall 2003). A native of Toronto, Canada, she was fortunate to attend York University in the early to mid ‘70s during a period when both Toronto and York University had a thriving new music scene. After receiving a BA in Philosophy at York, she entered the music department and studied new music with Pauline Oliveros and David Rosenboom and south Indian classical vocal technique with Jon B. Higgins. In 1977 she moved to San Diego to resume studies with Oliveros. While in San Diego, 1977-1985, she worked and performed with composer David Dunn, poet Jerome Rothenberg, and performed in the Big Jewish Band, a performance art klezmer band. Most notable of these performances was the band’s collaboration with painter Robert Kushner and the performance at the Museum of Modern Art, New York City in 1981. In 1985 she moved to Boston where she received an M.Ed. from Tufts University in ‘88. During the summer of ‘91 she worked with composer James Tenney on specific compositions. She is often a visiting artist teaching sound art and electronic music at The School of the Museum of Fine Arts (2002, 1994-1997) and the Massachusetts College of Art both in Boston. Her artist residencies include Mills College, Center for Contemporary Music, and Schwarzenberg ‘ sche Meierei in Schrattenberg, Austria. In 1994, she founded Audible Visions, a performance space for new music and sound art at Brickbottom Artists’ Building in Somerville, MA. As a new music educator, beginning in 1974, she pioneered ‘sonic arts’ and interdisciplinary music curriculum preschool through high school. She has presented this curriculum in numerous educational settings in North America and since the late ‘80s she has trained teachers in the applications for this curriculum in school through the graduate school at Wheelock College, the Berklee College of Music, the City Of Somerville, and numerous workshops in the Boston area. Her articles on sound art curriculum are distributed through the Oliveros Foundations’ Deep Listening Publications. 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HO & T. MAHOVSKI, “New York New York” n. archivio 112 Due voci (una al canale destro e una al canale sinistro) descrivono i percorsi (forse tratti da una guida turistica che si concentra molto sull’architettura) che, da due diversi punti di partenza, arrivano a Queens, e al famoso plastico di Robert Moses che ricostruisce in scala tutta New York edificio per edificio, che è allestito nel Queens Museum. Le voci, che all’inizio divergono, nella seconda parte “convergono” e finiscono per descrivere la stessa cosa. [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=2500 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 202 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 2532 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Fa parte del CD "Ann"; T.T. 68' 34". Copyright: Kaffe Matthews 1997 R.G.: Kaffe Matthews “CD Ann” – archivio SAM n. 123/a 17 tracce, compl. 68’36” Musica elettroacustica di taglio ambient/minimal, sperimentale ma abbastanza “ascoltabile”. Suoni e rumori concreti, sostanzialmente rari e rarefatti. Musica predominante: con tastiere, campionamenti vari, archi, percussioni. Non male, nel complesso: però molto lungo, piuttosto omogeneo (leggi monotono) e in definitiva un po’ “già sentito”. [post_title] => To Manson 13 (track 13) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [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=2532 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 235 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 2564 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Fa parte del CD "Bea"; T.T. 69' 19". Copyright: Kaffe Matthews 1998 Remixed and produced by km at Annette Works, 47 Margetson House, Stamford Hill, London N16 5LE. R.G.: Kaffe Matthews “CD Bea” – archivio SAM n. 123/c 26 tracce, compl. 70’26” Lavoro strutturalmente molto simile al precedente (123.a), forse ancora più “musicale” che “concreto”. Stesso giudizio. [post_title] => The red Room [part one] (track 9) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. 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