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| music for body and soul |______________________|| |
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|| release infos |
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| |
| + artist ........... David Tudor |
| + album ............ Three Works For Live Electronics |
| + label ............ Lovely Music |
| + cat .............. 1601 |
| + year ............. 1996 |
| + genre ............ Electronic |
| + source ........... CDDA |
| + quality .......... VBRkbps / 44,1Khz / Joint-Stereo |
| + release date ..... 21.05.2005 |
| + size ............. 102,2 MB |
| + link ............. http://www.lovely.com |
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|| tracklist |
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| |
| 01.Pulsers 20:33 |
| 02.Untitled 19:44 |
| 03.Phonemes 31:56 |
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| |
| (t!) total 72:13 min |
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|| release notes |
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| |
| "Pulsers" (1976) explores the world of rhythms created |
| electronically by analog, rather than digital, circuitry. With |
| analog circuitry, the time-base common to the rhythms can be |
| varied in many different ways by a performer, and can eventually |
| become unstable. |
| |
| This recording of "Pulsers" incorporates an improvised tape by |
| Takehisa Kosugi, with his "electronic violin", made in |
| collaboration with this work. |
| |
| The core component used to produce "Pulsers" is a complex |
| modulator designed by Gordon Mumma in conjuction with a sound |
| system proposed by me for the Pepsi Pavilion, at Expo '70 Japan (a |
| project of Experiments in Art and Technology Inc.). Alterations |
| were made by me to trigger mechanisms of the circuit, as well as |
| to its output ports, in order to enhance the variety of rhythms |
| possible, and to allow multiple outputs having different |
| characters. No primary input signal is used; rather, phase-shifted |
| feedback is the trigger source. |
| |
| Material for this record was assembled and mixed by David Tudor |
| and Nicolas Collins at Airshaft Studio, NYC. A |
| microcomputer-automated mixer of Collins' design was used to |
| cross-gate source tapes, live concert recordings, and finally the |
| resultant 8-track tape. |
| |
| |
| "Untitled" is a part of a series of works composed in the 1970s |
| that were developed through experiments in generating electronic |
| sound without the use of oscillators, tone generators, or recorded |
| natural sound materials. |
| |
| Composed in 1972, it was designed for simultaneous performance |
| with John Cage's vocalization of his Mesotics re Merce Cunningham. |
| The work was revived in 1982, and performed with improvised vocals |
| by Takehisa Kosugi. |
| |
| The generation of "Untitled" begins with two chains of components, |
| each chain linked together with multiple feedback loops having |
| variable gain and variable phase-shift characteristics. The |
| configuration of devices and their inter-connections, was |
| conceived of as a "giant oscillator", with random characteristics |
| variable by the performers response and consequent actions. The |
| number of controls to be simultaneously manipulated being very |
| large, the output of the two chains was recorded several times, |
| each time a live performance. |
| |
| The recorded tapes were then used at random in performance, |
| feeding them (as a stereo signal) to yet a third chain of |
| components, itself consisting of two chains similar to the first |
| two, but having variable feedback loops in common, and also the |
| capability of separating the outputs into different parts, |
| switching these amongst four channels in the performance space. |
| |
| The components used, mostly home-brew, were : amplifiers (fixed or |
| variable gain, fixed or variable phase-shift, tuned, saturating |
| types), attenuators, filters (several types) switches, and |
| modulators with variable side-band capability. No control |
| voltages, as such, were employed. |
| |
| |
| "Phonemes" was commissioned by the Merce Cunningham Dance Company |
| for Cunningham's dance "Channels/Inserts", a work made both as a |
| "filmdance" and for the stage. The first stage performance took |
| place at City Center Theatre on March 24, 1981. |
| |
| "Phonemes" employs two discrete processes which provide input |
| source material for an array of sound modifying electronics, thus |
| creating a multitude of outputs. It is difficult to recognize that |
| these outputs are derived from the same source, as each undergoes |
| a unique set of modifications. The first process utilizes a |
| customized percussion generator with the ability of extending |
| attacks up to several seconds in length. The second uses a vocoder |
| capable of chopping a sound into small pieces. In performance, |
| Tudor takes short sounds and lengthens them and in turn, long |
| sounds and shortens them, thus creating two processes which can |
| overlap and interplay with each other in time and space. |
| |
| During the piece's composition Tudor found the combinations |
| reminded him of speech... hence its name. |
| |
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|| group notes |
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| mbs is a new and free music lover association on the net. |
| we only share the music we love, with the people we like. |
| keep your mind, your body and your soul open. peace. |
| |
| _ _________________________\\\\
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