TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music


Rec.name :  " Three Minute Pattern "
credit : 
Morton Feldman

date : re-upload 2025

PLEASE VISIT OUR MAIN PAGE :

trampelfad.bandcamp.com
and
maxelzholz.bandcamp.com

https://en.wikipedia.org/wiki/Morton_Feldman

Transform Feldman Why Patterns

The Parisians

迷い石（glacial erratic）

誰が置いたか迷い石
どこから来たかわからない
白い砂地に影おいて
いつも黙ってそこにいる
誰が置いたか迷い石
自分が誰かわからない
白い膚に走る傷
いつか黙っていなくなる

Who placed this boulder here?
A boulder whose origin is unknown.
It casts a black shadow upon the white sand.
The boulder always stands there silently.
Its white surface bears countless scratches.
Will the boulder vanish one day?


迷い石（glacial erratic）

Refrain

night prayer no. 3

NightMan - Civic Rob

Studio Composing in the  21st Century

ER WAR HIER

THE  MICROTONAL  PIANO    4

Session found in the folder: audio exam, contains several files that I am (finally) examining from a backup disc scan.
There is a lot of interesting material in my opinion.
The first few minutes suggested the title of the track (the original file name was 10.04.23.112023_04_10 11_49_41 2).
I'm not sure if it's really material from 2023, and I haven't yet checked if I have a folder containing this session.
The only editing done so far has been mid panning of the tracks and a cut of equal length, as it was about 17 minutes long.
Listening to it, I can assume that I used AAS's Chromaphone software, probably triggered by Mooges software via MIDI.
Chromaphone is an excellent physical emulation tool, very interesting for creating timbres and samples.

Further refinements may be made in the future.

Translated with DeepL.com (free version)

morse code *pay attention to your hears

anacreon knights

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

Studio Composing in the 21st Century

Anthony Cutrera Morales