Name: Don Preston - Filters, Oscillators & Envelopes 1967-75 - Analog Heaven #4(sub rosa) by pdis_inpartmaint in N>L
Duration: 2 min 28 s
Description: [p*dis] distribution sampler for May 2012

Alwin Nikolais
Choreosonic Music Of The New Dance Theatre Of Alwin Nikolais
10CACK
Choreosonics was the name of the music for the choreography of Alwin Nikolais - a unique theatre exposition that was described in the late 50s as “the new theatre of shape, motion, light and sound.” In 1953 Nikolais attracted people interested in new art to his dance concerts at the Henry Street Playhouse in New York City. In these concerts dancers became colourful motivating sources for sculptural shapes; moving in changing atmospheres of light and sound their relationship carefully integrated into a new kind of audiovisual abstract theatre art. The sounds created for this were not conceived from traditional music points of view but were designed to share and support the total visual dynamics.

Such a creation was possible because of Nikolais’ background as a musician as well as choreographer. At sixteen he was playing piano and organ for the then disappearing silent films, improvising and coordinating music four to six hours daily to the dramatic content of the movie. With this profession obsolete, he turned his skill into accompaniment for dance. Through this his interests led to his study of percussion accompaniment and exploration of new sounds. These ideas were stimulated by the kind of dance accompaniment introduced by the famous German dancer, Mary Wigman. This, in turn, induced Nikolais to study dance and ultimately to switch his career from musician to dancer and choreographer.

Nikolais was soon heralded as one of the leading figures in modern concert dance, he is credited with bringing about revolutionary ideas opening up new vistas for dance and theatre. Nikolais' activities were centered at the Henry Street Playhouse in New York. His work was created there with his assistant Murray Louis; sound engineer David S. Berlin; artist George Constant and members of his Playhouse Dance Company. All of whom had a hand in the final productions. Performances with names like Prism, Cantos and Totem were met with positive critical view for their multidisciplinary achieve- ments. While his collaboration with Harry Partch on The Bewitched established his name alongside another true maverick of American sound design and forward-thinking composition.

Some of Nikolais' dancers were also trained as percussionists who improvised on a curious assortment of sound producing instruments and objects while other dancers worked through the choreography. David Berlin, who assembled and constructed the sound recording equipment, would operate from the sound booth from a window overlooking the stage. Nikolais would direct the experiments and improvising.

Within any performance there would be numerous tests of the original sound and their possible electronic conditioning, including many playbacks of short phrases tested to the dancers’ motion. When the sound phrase proved satisfactory the next cut was started. Sounds were cut down, enlarged, replaced and then the whole piece would be linked together and given final editing much the same as a filming process. Nikolais generally tried to avoid any identification of the sound sources, thus inviting the ear to perceive the sound itself divorced from its initial derivation. This, however, was by no means a final criterion, the ultimate one being the value of the sound to the theatre idea at hand whatever its source or manner of conditioning was. The objects used to pro- duce these sounds were without limit except for practical material size. Within the collection many percussion instruments were used: drums of all kinds, rattles, bells, gongs, cymbals, wooden blocks, etc. Also whistles, tubes, pipes, pieces of wood, alu- minum, steel and tin containers were utilised alongs-ide glasses, elastic bands, coils of wire, etc. The back of an upright piano in addition to a grand piano were also often at hand. The human voice would be used freely, hand clapping, foot stomping and any sound producing device whatsoever that might served a purpose.

Lythic - Alwin Nikolais

LUTTO LENTO VENGO

Pre-order the Psychic 9-5 Club LP in The Ghostly Store:
http://www.theghostlystore.com/products/htrk-psychic-9-5-club

HTRK - Give It Up

22年的第一张原创专辑，有New Age, Fushion, Easy-listening, Cross-Over, Hip-Hop风格融合其中。

献给近半年陪伴我的特别的人《Miss W》，来自泰戈尔诗集《飞鸟集》《新月集》灵感的《我梦中的城堡》《流放的地方》《纸船》，结合嘻哈跨界的柴可夫斯基《糖梅仙子之舞》，用生日快乐个做爵士基调即兴的《0221》，Fusion Jazz风格的《Long Journey》《一线新月》，极简空灵的《台阶万心茫然》，讲述盗火故事的《被遗忘的火》，极短篇幅的华尔兹《Wind of Return》。

04 纸船

Guzheng 518

Dreams

Prelude - 00: "I saw that I can't make any hype music so the best option for me is calm genres. It feels like you're chained up when you can't explore all the genres of music by creating them. I hope one day I'd be able to make more music" he said.

Mirage

Nightfall

Andata

わたしの卒業制作（その１）です。

渡り鳥より「飛翔」

MY GIRLS (LE MIE RAGAZZE)

O Girassol Mecânico

Romance

Tunnel of Wind, Emerald Light

Intentions is a journey through the deep love and unbreakable bond I shared with my dad. It reflects the paths we traveled together — his intentions in shaping my life, my intentions in caring for him in his declining years, and the lasting legacy he leaves behind.

This project is rich with personal meaning, infused not only with music but also with my father's voice.
Many audio samples throughout the album come from tapes and recordings he made throughout my life - drawn from voicemails, videotapes, and even a 1998 Manchester Craftsmen's Guild interview with Dwayne Dolphin. Some of these samples are obvious, while others are purposefully subtle - Easter eggs for those who listen closely. This album is filled with treasures from the Heid archives, preserving his presence, and making him an active part of this work.

The word intentions holds many meanings, each offering a profound connection to the heart of this project. My father's intentions were clear from the start: to raise me as a musician and composer and to give me the tools to create and express myself. He was the cornerstone of my musical foundation, shaping not just my skills but also my understanding of music's deeper purpose. He believed in me completely, planting seeds of passion that continue to grow.

In my father's later years, as his health declined, my focus shifted to caring for him with the same love and devotion he had always shown me. Those years taught me a hard but valuable truth: even the purest intentions don't always lead to the outcomes we wish for.

Heid Studios was his dream, a place where his intentions extended far beyond our family, inspiring creativity in others. That dream was itself a continuation of a legacy passed down from his father, George H. Heid, who founded the first recording studio in Pittsburgh - a studio that captured the brilliance of Pittsburgh jazz legends like Billy Strayhorn and Erroll Garner. This album's cover artwork, by Michael Crampton, depicts the house and recording studio my father and I built together over the course of my entire lifetime - our home and creative sanctuary, immortalized as part of this musical journey.

This album is my way of speaking to my dad again.
It's a tribute to his bravery, his sacrifices, and the bond we shared as kindred spirits — two lives deeply intertwined through love and music. Intentions is the story of our journey together, the foundation of his legacy, and the future that lives on in me.

Not a day passes that I don't think of my dad, my heart heavy with both love and loss. He often reflected on memories with his own father and their great relationship, wistfully asking, "Were they only dreams?" — a question that now echoes in my own memories of him. When I was a child, whenever we were apart, he would soothe me with the comforting words, "See you in dreamland."

Thank you, Dad, for your wisdom, your unwavering belief in me, your endless love, and the countless memories and adventures we shared together. Until we meet again - see you in dreamland.

- George Heid III 

I Sing The Body Electric

[p*dis] distribution sampler for May 2012

Don Preston - Filters, Oscillators & Envelopes 1967-75 -  Analog Heaven #4(sub rosa)

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Don Preston - Filters, Oscillators & Envelopes 1967-75 - Analog Heaven #4(sub rosa)

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