The Great Hanshin-Awaji

Fūjin (feat. Quentin Lê)

Les Cendres de Kagutsuchi

Miraijin (A Few Years From Now...)

WHALE  REQUIEM

Démarche Inachevée

Thought I'd upload some older pieces here, and this is one of them:
This piece was written in at the height of the war in Iraq, during the presidency of George W. Bush. The original program notes are thus out of date, but still relevant: 

It is difficult to define the role of a piece of art that attempts to convey a specific message.  Is it a reflection of the mind of its creator, an attempt to work through issues of personal relevance?  Or is it an attempt to influence the perspectives of those who experience it? The latter runs the risk of deteriorating into propaganda, neither inspiring those who already share the perspective, nor swaying the minds of detractors.  And propaganda can make for intensely mediocre art. In this, as in most things, a balance between the two may prove most effective.  Of course this is a personal exploration of issues so often on our minds these days- the war in Iraq, the behavior of the current administration, and so on. It seems especially important to emphasize right now: if you share these perspectives, you are not alone.  

During the buildup to the war in Iraq, a group of composers at the University of Texas at Austin staged a protest. For this demonstration we stood at a busy intersection and held signs requesting that drivers honk for peace.  It is the resulting honks, as well as several shouts from passers-by, that make up the second half of Wondrous Delight. The first half is largely concerned with the juxtaposition of synthesized sounds and recorded sounds.  Among the recorded sounds are samples of various instruments such as acoustic bass, piano and oboe, as well as recordings of crowds at several larger anti-war protests.  All the sounds used are modified in some way from the original.  The most common, and perhaps the most interesting form of modification can be described as windowing: a particular sound may evolve continuously and gradually, but we are only allowed to hear short windows of this evolution.  Thus a long gradually changing sound is converted into many short, choppy, discontinuous ones.  For example, a sound might last for 30 seconds, begin with a very low pitch, and sweep steadily up to a very high pitch.  We, however, only hear several windows of this progression.

Wondrous Delight won first prize in the ASCAP/SEAMUS Student Commission Competition, grand prize in the Digital Art Awards, Digital Music Category in Tokyo, Japan, and was a finalist in the Pierre Schaeffer International Competition of Computer Music.

The Wondrous Delight of Profound Ineptitute

Poharak: képzőművészet/fine art
Suno AI: emberi hang/ human voice

alkotások/works of art:

Kővágó Tamara: Hipnózis
Szathmáry Judit: Monokróm ovális
Szigeti Károly: Tájkép lángokkal
Száraz Tivadar: Hommage
Erdős Béla: In memoriam

Kiállítás

World Power: Chaos

“The saddest aspect of life right now is that science gathers knowledge faster than society gathers wisdom.”  ― Isaac Asimov

Track list and start times:
00:00  Doris Dennison – Earth Interval: II. Air Tide
03:10  Francesco Bosa – Preludio notturno al silenzio, Parte 2
06:15  Mark Harris ‎– I Am a Long Way from Home
11:00  Ivons & Senglar – Strings Attached
13:35  Ed Mundio – By the Light Of The Milky-Way (NaviarHaiku 601)
17:38  Megalophobe – Solenoid
25:18  Pink Lemonade – Radioactive
33:29  Anne-James Chaton, Andy Moor & Yannis Kyriakides – Ecrire Un Phrase
38:19  Plague Clock – Jacob's Ladder
40:34  Rumblin Cynth Rampo – Hiatus rescinded
49:35  Strange Relish & 27 other SC artists – 28 (2011)
57:11  TimHeld - Hospital Waiting Room Revisited
59:35  Francesco Bosa – Preludio notturno al silenzio, Parte 1
1:03:24  Dead Lincoln – glow tone
1:07:14  Stan Magendanz – Power without the suit_02
1:12:25  tourmaline hum – Vacant Possession
1:18:30  Voidborn Horde – Milky Way Calling (naviarhaiku601)
1:24:18  wellenhafen – Stories
1:29:00  Snoqualmie Falls ‎– Dream Sequence (excerpt)
1:41:20  Walter Marchetti ‎– De Musicorum Infelicitate (Variazione V)
1:47:00  Tuonela – The unknowing of all things
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Image: Lexica.art



Eclectic current – The unknowing of all things

CLOSE  TO  THE  HEART

Polymicrotonal_Study_5

Imagine being in the jungles of myanmar and coming across the rare saber-toothed tiger of the jungles near the Naf River

poly etude 19

Microtonal Computer Music Etude w drums #20

Moo Binga::::https://soundcloud.com/computersfromyemen

Photo By Ivons

Senglar & Moo Binga - Untamed Waves

Involves some Metasynth, and GRM Tools. Logic Pro.

Backwood Brake

Sound Alchemist from Paris.
1/2 @ZabulonBrothers

Zenei portrék Poharakkal/ Music portraits with Poharak

Per Bloland is a composer of acoustic and electroacoustic music whose works have been praised by the New York Times as “lush, caustic,” and “irresistible.” His compositions range from intimate solo pieces to works for large orchestra, and incorporate video, dance, and custom-built electronics. He has received awards and recognition from organizations including IRCAM, ICMA, SEAMUS/ASCAP, the Ohio Arts Council, Digital Art Awards of Tokyo, ISCM, the Martirano Competition, and SCI/ASCAP. His first opera, Pedr Solis, commissioned and premiered by Guerilla Opera in 2015, received rave reviews from the Boston Globe and the Boston Classical Review. He has received commissions from loadbang, Keith Kirchoff, Wild Rumpus, the Ecce Ensemble, Ensemble Pi, the Callithumpian Consort, Stanford’s CCRMA, SEAMUS/ASCAP, the Kenners, Michael Straus and Patti Cudd. His music can be heard on the TauKay (Italy), Capstone, Spektral, and SEAMUS labels, and through the MIT Press. A portrait CD of his work, performed by Ecce Ensemble, was recently released on Tzadik.

Bloland is the co-creator of the Electromagnetically-Prepared Piano, about which he has given numerous lecture/demonstrations and published a paper. He is an Assistant Professor of Composition and Technology at Miami University, Ohio, and in 2013 completed a five-month Musical Research Residency at IRCAM in Paris. He received his D.M.A. in composition from Stanford University and his M.M. from the University of Texas at Austin.

Scores may be purchased at www.babelscores.com/perbloland
For more information visit: www.perbloland.com


Latest Albums :
https://senglarbraille.bandcamp.com/album/jt-chapman-senglar-susurrus
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https://elmuellerecords.bandcamp.com/album/hum
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https://martinhoogeboom.bandcamp.com/track/fearless-senglar-version-a

Acousmatic composer, sound designer and game dev. Make stuff with passion.

To all concerned: 
I am announcing publication of my new book, NOW AVAILABLE:
https://www.routledge.com/Maqam-Melodies-Pitches-Patterns-and-Developments-of-Music-in-the-Middle-East-and-other-Microtonal-Writings/Thoegersen/p/book/9789815129052
My book, Polytempic Polymicrotonal Music, is available on Amazon. 
https://www.routledge.com/Polytempic-Polymicrotonal-Music-The-Road-Less-Traveled/Thoegersen/p/book/9789814968294

I have a new album out through Magic&Unique Group Records on Spotify and other digital streaming platforms:
https://open.spotify.com/album/5qWHmcvyAemvVn2TJH1bio?si=OD5TmPptQ-ypr8WOI0EZKA&nd=1

https://whitecentipedenoise.com/products/peter-thoegersen-facebook-cantos-cdr-flea
My CD via Flea label has been out since April, 2021, featuring the wonderful Lore Lixenberg singing over my microtonal piano accompaniment
Hope you enjoy it!

https://www.newworldrecords.org/collections/vendors?q=Peter%20Thoegersen

From the liner notes on my CD now available on AMAZON and New World Records:
"The author of these notes has spent his life explaining radical music, and the music on this disc may be the most radical I've ever written about. Peter Thoegersen (b. 1967) is not yet a name known to the music world; not for any lack of connection to other famous musicians, but because he came to composition late, and because his artistic aims are so broad and complex that they have taken years to evolve. His aesthetic is well defined, and he is upfront about having a name for it: "Polytempic Polymicrotonal Music." That means he has musical layers simultaneously moving in different tempos, plus, even more radically, that he has different microtonal scales playing at the same time. Few composers have aimed at such fervent and heterogeneous multidimensionality. And yet, while Thoegersen's music can seem overwhelming at first, running through it is a level of charm and simplicity that belies the initial impression.

In total, these three pieces emphasize a particular side of Thoegersen's output. The image his music creates of ornately mathematical structures filled with intuitively friendly melodies maps on to the personality of the man himself: outspoken and acerbically ruthless in his musical opinions, Thoegersen is also marked by a jolly sense of humor and an inexhaustible love of cats and other animals that make him ultimately less imposing and more personable than he might seem at first. The same can be said for his music. And by going further than anyone else has gone in terms of this particularly American concept of fusing the polytempic with the polymicrotonal - extending and combining the conceptual worlds of Ives, Cowell, Nancarrow, Partch, Carter, even Frank Zappa and many others - he has created a special place for himself within American music."                                                             

-Kyle Gann (from the liner notes)

UK creatives should listen to this: https://www.youtube.com/watch?v=yK4wBWiozyM

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

https://www.youtube.com/user/DRORELIMELECH120V

https://www.facebook.com/dror.elimelech.338/


ACOUSTIC AND   ELECTRO-ACOUSTIC  COMPOSER .
STUDIED  COMPOSITION WITH  SERGIU  NATRA .
ELECTRONIC AND  ELECTROACOUSTIC  MUSIC  WITH YIZHAK  SADAI .
PIANO  --  WITH  PNINA  SALZMAN  , BART  BERMAN  , AVI  SCHONFELD .
CONTEMPORARY CLASSIC  COMPOSER , ACOUSTIC ,
ELECTRONIC AND  ELECTROACOUSTIC   MUSIC , 
EXPERIMENTAL  MUSIC . SOUND  ARTIST .
IMPROVISATION AND INTUITIVE MUSIC .
PIANIST .
ACCORDION AND  RECORDER  PLAYER .
FOUNDED  AND  CURATED    2  SERIES  OF  CONTEMPORARY  CLASSIC  MUSIC   IN TEL AVIV  ,  ISRAEL  -- 
 " NIGHT  HAPPENING -  FORUM FOR EXPERIMENTAL MUSIC "    1986  -  2007
" OTHER  ISRAELI  MUSIC "      1985   -  1987
MANY COLLABORATIONS  WITH  POETS , ACTORS , DANCERS ,  PAINTERS ,
 VIDEO ARTISTS , PERFORMANCE  ARTISTS .
MORE THAN  120  PREMIERS  OF  NEW  CONTEMPORARY  CLASSIC MUSIC - 
ACOUSTIC , ELECTROACOUSTIC , MULTI-MEDIA  --  WERE  PRESENTED
IN  HIS  SERIES DURING  23  YEARS OF ACTIVITY .
HIS  MUSIC WAS  PERFORMED  IN  EUROPE , CANADA , USA .
WON  VARIOUS GRANTS AND PRIZES .

New tracks tagged #ACOUSMATIC