1,720,967 research outputs found
Ténébrisme
No full textA solo-authored acousmatic album released by Emprientes DIGITALes. It contains 6 acousmatic works:
1
Ctrl c (2016), 10:59
fixed medium
2
Metallurgic (2015), 8:16
fixed medium
3
Inam (2016), 10:58
fixed medium
4
Inja (2017), 10:16
fixed medium
5
Foundry Flux (2015), 12:13
fixed medium
6
Would be to Seek (2017), 9:4
Baltazar's Adventure through the Great Machine
No full textA solo acousmatic work, published on a collaborative album. The title of the collaborative album is CIME 2022. It is published by AudioMat, Poland
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Exchanges of Pace
No full textA mixed media work (composition) for live-electronics and live percussion
We are the Voices of the Wandering Wind
No full text“… which moan for rest and rest can never find…”
— Edwin Arnold, The Deva’s Song, 1879
I was inspired to write this piece whilst on the 2018 Klingler ElectroAcoustic Residency (KEARKlingler ElectroAcoustic Residency) (Ohio, USA). Each day, the endless wind blowing across the Ohio plains found its way through a tiny gap in the studio window, producing a high whistle, that I eventually managed to record. A few months later, in Lisbon (Portugal), I heard the wandering wind again. This time it was soft and low, and as I listened, half in sleep, it turned to song… a moan, a sigh, a sob, a storm, a strife!
We are the Voices of the Wandering Wind was realized in 2018 at the studio of Sydney Conservatorium (Australia), and premiered on October 26, 2018, as part of the festival L’Espace du son at Théâtre Marni in Brussels (Belgium). The piece was commissioned by the Worldwide Universities Network (WUN). Thanks to Damien Ricketson and Daniel Blinkhorn for their generous support and to Adrian Moore and Dale Jonathan Perkins for donating additional materials used in the piece. We are the Voices of the Wandering Wind was substantially recomposed in 2022 at the composer’s studio in Sheffield (England, UK)
Goodnight, Tin Hau
No full textBetween 2016 and ’20, I had the privilege of working in Hong Kong, as an examiner for one of the various universities. During my visits, which always lasted around a week, I stayed in the Causeway Bay area of the city where, jet-lagged and unable to sleep, I would spend hours wandering the balmy, midnight streets. Disorientated and exhausted, I witnessed something unforgettable — the moment when the Hong Kong day collapses into night. Although the humidity lingers well into the early hours, this moment produces something of a pause… a breath… a gathering of forces… This moment was never silent, however. The city crackled, as if an electrical charge arced through the sweaty streets.
Goodnight, Tin Hau uses recordings from my visits, along with an arch-form, in an attempt to re-live that moment. As I composed, however, I became increasingly aware of the changing political situation in Hong Kong, and I now reflect on those four years as part of a much more serious pause… a collapse… a gathering of forces…
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Goodnight, Tin Hau was realized in 2021 at the University of Sheffield Sound Studios (USSSUniversity of Sheffield Sound Studios) (UK) and premiered on October 21, 2021, during the concert Resonant Pasts, Sonic Futures at Theatr Bryn Terfel in Bangor (Wales, UK). The piece was commissioned by Ina-GRMGroupe de recherches musicales – Institut national de l’audiovisuel. Goodnight, Tin Hau was a finalist in the Musica Nova 2021 International Competition of Electroacoustic Music (Prague, Czech Republic)
To US.S..S...
No full textOver the past ten years, I have been constantly influenced and inspired by the works of my various students and colleagues in the University of Sheffield Sound Studios (USSSUniversity of Sheffield Sound Studios) (UK)… to the point that my musical ideas and interests have been profoundly shaped by the people that I have had the pleasure of working with. In early 2022, I left Sheffield’s music department, and this piece was my parting ‘gift’: an homage to my amazing colleagues, students, and friends that have been — and continue to be — such an inspiration. It contains references to around 30 of my students and their unique interests, but starts with a lengthy pastiche of Adrian Moore’s Counterattack.
To US.S..S… is, in a sense, my view on where acousmatic music is going; a blending, fusing, integration of ideas old and new, clichéd and novel, emerging and disappearing… In my postmodern ‘toast’ to the University of Sheffield Sound Studios (USSSUniversity of Sheffield Sound Studios), therefore, please raise your glasses ‘To Us…’ or rather, ‘To USSS…’ or rather, ‘To US.S..S…’
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Trust in Early Recordings: documents, performances and works
Full text linkOver the past few years, I have arrived at the conclusion that one should feel genuine sympathy for any researcher that is misfortunate enough to study early recordings. This is not because their area of research is so bewilderingly broad. Nor is it because researchers of early recordings are required to read so many different kinds of text. Rather, it is because no matter how far their scholarship advances, and no matter how significant their findings appear to be, scholars of early recordings are constantly questioned about the legitimacy of the very thing that they study. I have experienced this first-hand, since involving myself in a research project focussed on the production and analysis of mechanical recordings; even though the findings of this project were disseminated far and wide, involving both academic and public audiences, specialists and non-specialists, questions about the legitimacy of early recordings almost always dominated proceedings. The precise nature of the questions varied, of course, as did the terminology used. The overarching sentiment remained the same: to what extent can we really trust early recordings
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