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10 ) [2] => WP_Post Object ( [ID] => 3041 [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] => Jaruchas' monolog [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] => jaruchas-monolog [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:47 [post_modified_gmt] => 2014-09-25 10:35:47 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3041 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 749 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 3104 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Creature sottomarine [post_excerpt] => Studia chitarra brasiliana e chitarra flamenco. Dopo il diploma al liceo classico studia architetura alla Sapienza e pianoforte classico con il maestro Emilio Rabaglino. Quindi frequenta la scuola popolare di musica di testaccio (composizione e pianoforte jazz), e partecipa ai seminari estivi della Berklee ad Umbria Jazz e a quelli di Siena Jazz. Suona a Jeddah (Arabia Saudita) per uno scambio culturale, sia come solista che come accompagnatore. Compone una sonorizzazione per una performance teatrale di Filippo Garrone. Suona con la Moinor Funk Orchestra diretta da Angelo Schiavi. Nel 1998 si trasferisce a New York dove studia alla Mannes Jazz School of Music ed all'Istitute of Audio Research diplomandosi in ingegneria del suono. In questo periodo suona in diversi locali di NY e NJ. Compone la colonna sonora per il cortometraggio "taken..." di Bartek Rainski (vincitore al RIFF come miglior corto straniero), scrive e co-produce con lo stesso Rainski il cortometraggio "CONFINI". Nel 2002 lavora a Ouagadougou in Burkina Faso per l'avviamento di uno studio di registrazione (basato sul sistema digitale Soundscape), insegnando ad uno stagista Burkinabé le tecniche di regisrtazione e post produzione, e registrando diversi gruppi locali (verranno prodotti due dischi). Tornato in Italia, finisce insieme a Bartek Rainski la post-produzione del cortometraggio "Confini", e ne compone la colonna sonora. Composizione/sonorizzazzione per la performance video/teatrale "Narciso violento" e "Evian" di Caroline Freddi. Compone musiche per pubblicità, cartoni animati e programmi tv. In questo periodo lavora anche ad una raccolta di brani di carattere minimalista per pianoforte solo intitolata 'gocce', registrata poi nel Giugno 2005 e pubblicata in Ottobre. Insegna pianoforte moderno alla scuola "Officine Musicali". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => creature-sottomarine [to_ping] => [pinged] => [post_modified] => 2019-06-11 15:09:59 [post_modified_gmt] => 2019-06-11 13:09:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3104 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 813 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 3136 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => The Liverpool Song Lines. From S to T [post_excerpt] => Benjamin (Ben) Patterson (born 1934 in Pittsburgh, PA.) graduated 1956, University of Michigan, Bachelor of Music. According to an old biography he was "proficient on the double-bass, knowledgeable in music theory and history and acquainted with the crafts of composition and conducting." After a brief career as a double-bassist with symphony orchestras in Canada he settled in Cologne in 1960. There, he was active in the contemporary music scene, performing in festivals in Cologne, Paris, Venice, Vienna and elsewhere. During this pre-Fluxus period he created and performed some of his early seminal works: - "Paper Piece", "Lemons" and "Variations for Double-Bass". Late in 1961 Patterson moved to Paris, where he collaborated with Robert Filliou ("puzzle poems") and where he published his "Methods and Processes". Commuting between Paris and West Germany, Patterson assisted George Maciunas in organizing the historic 1962 Fluxus Festival in Wiesbaden. His interview with Emmett Williams - for the opening of this festival - became the first article ever about Fluxus. Similarly, the first film documentation of Fluxus - news coverage by German Television - featured Patterson's performance of his "Variations for Double-Bass." After Wiesbaden Patterson and his works continued to be an important presence at Fluxus events around the world. In 1963 Patterson moved to New York, where he participated in Fluxus manifestations until the late 1960's - when he returned to pursue "an ordinary life". During the next two decades he successfully pursued a career in arts administration - managing a variety of music, theater and dance companies and serving as administrator or consultant to municipal, state and federal arts funding agencies. Although he remained outside the Fluxus scene during this period, he did occasionally surface with performances and new works for such events as the 20th Anniversary Fluxus Festival in Wiesbaden in 1982 and the 1983 Bienal de Sao Paulo, Brazil, and has been well represented in the various exhibitions throughout the USA of the Silverman Collection. In September 1988 Patterson returned from retirement with a solo exhibition of new assemblages and constructions at the Emily Harvey Gallery in New York. Since then, he has exhibited or performed widely in major or minor venues from Brisbane, Australia, to Prague, Czechoslovakia and from Winnipeg, Canada to Tusa, Sicily. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-liverpool-song-lines-from-s-to-t [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=3136 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 845 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3168 [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. 184.20, 185.15 [post_title] => Hope # 53 [post_excerpt] => Mostly Diledadafish are working as a duo. They explore new music and sounds by playing like kids who are playing with wooden cubes. First recording in 1984 - dadagraphy includes 3 cassettes, 1 LP, 32 CD's and participating in - or leading of - a lot of international projects (like "ReR Quarterly", "Pointof yucca", "Hope" CD, "Enhanced Gravity",…and many others). 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Arch. 183.14, 185.17 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Airborne (1909/1999) [post_excerpt] => Peter Cusack is a sound artist/recordist and musician with special interests in environmental sound and acoustic ecology. Current activities range from song writing, through improvised music, to research on how sound contributes to our sense(s) of place and recording projects which document areas of special sonic interest - most recently Lake Baikal, Siberia, and the Azerbaijan oil fields. He is particularly interested in global patterns of sonic change created by migrations of people who make and create them and by new technologies. In 1998 he initiated the on-going 'Your Favourite London Sound' project, which aims to find out what Londoners find positive in their city's soundscape. Currently he is involved in 'Sound & the City' the British Council's sound art project for Beijing, October 2005. Active as a performer he has played 100s of concerts at home and abroad. Musical collaborators include Clive Bell, Nic Collins, Alterations, Chris Cutler, Max Eastley, Evan Parker, Hugh Davies, Annette Krebs and Viv Corringham. He was a founder member, and director, of the London Musicians Collective and frequently collaborates with artists in other fields, especially film/video, installation and 'public art'. In collaboration with Isobel Clouter he produces 'Vermilion Sounds' , a monthly radio series on environmental sound for Resonance FM, London, now approaching 50 shows. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => airborne-19091999 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:46 [post_modified_gmt] => 2014-09-25 10:36:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3233 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 944 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3265 [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. 183.46,185.32 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Auto//:Stirling/.Trace [post_excerpt] => The enigmatic Longstone with their madcap array of musical trickery and odd instrumentation. Using a combination of synthesizers, bass clarinet and a revamped child’s Speak and Spell machine, the band produced a stunningly unique blend of electro-acoustic ambience - weird and unapologetically wonderful. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => autostirling-trace [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:48 [post_modified_gmt] => 2014-09-25 10:36:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3265 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 976 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3297 [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. 183.9, 184.12 ZERO is a limited edition collection of one-minute soundworks by international sound artists, experimental composers, noise makers and other audio creators. Contributors were invited to create an original recording of one-minute duration for the CD on the theme of ZERO - whether through their stripped-down, low-tech aesthetic or a focus on themes of absence, abstraction, distortion or a sense of thereshold between one state and another. The CD contains a broad variety of one-minute soundworks and presents the results of artists working thematically in chance juxtaposition. By bringing together this calibre and range of contributions, ZETRO aims to stimulate further interest in the artist work and practice, debate and dialogue surrounding sound art. The artists on ZERO range from well known world figures, to individuals and groups making their first wirks in this field. ZERO was commisioned by the Foundation for Art & Creative Technology (FACT) and was published with the support from Liverpool Art School. [post_title] => Between Times [post_excerpt] => John J. Campbell is an artist and musician whose work encompasses a number of disciplines including: site specific gallery installation, electronic soundworks and group performance. He has published work nationally and internationally under his own name and various group names including It’s Immaterial for over twenty-five years. He has produced gallery based installations such as: Baby 96 (1996) for the Live from the Vinyl Junkyard (1996-1997) group show at the Bluecoat Gallery Liverpool; and for Two Seconds Nine Months (1996) at the Bankside Gallery London. He has also contributed soundworks to the Audio Research Editions CDs: Hope (1998, ARE) as part of the ninth International Symposium on Electronic Art (ISEA98); Trace (1999, ARE) as part of the first Liverpool Biennial of Contemporary Art; and Zero (2000, ARE) as part of Video Positive 2000 festival. Mr. Campbell and Mr. Whitehead, both residents in Liverpool, are long time collaborators. Over the years and under the monicker of, It's Immaterial, producing an eclectic body of audiovisual work. Notedly the CD's "Life's Hard" and "Song". 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