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Category: improvisation

Live Stage: Quartet Without Pyramid Scheme [us NYC]

qwops-flyer.jpgQuartet Without Pyramid SchemeJordan Topiel Paul, Reed Evan Rosenberg, Eric Laska, Richard F. Kamerman :: September 5-26, 2009; 2:00 – 8:00 pm :: Diapason Gallery, 882 Third Avenue, 10th Floor (between 32 & 33 Sts.), Industry City, Brooklyn, NY.

Quartet without Pyramid Scheme is a collaborative sound installation inhabiting the gallery and lounge spaces at Diapason. Its sound is the sum of a rotating collection of sound samples which loop continuously in unpredictable variations. Through its duration, the four artists successively alter this sound by recording and integrating new samples to be looped, some of which replace old ones. The sound content heard at any point in the piece will be the product of this collaboration. Continue reading


Sep 3, 2009
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Live Stage: Chris Brown [us San Francisco]

image_resizeashx.jpgAn unusual solo performance by Chris Brown :: August 27, 2009; 6:00 – 7:00 pm :: Yerba Buena Center for the Arts, 701 Mission St., San Francisco, CA :: Tickets here.

Chris will be playing piano solo with interactive electronics — first an improvisation with live signal processing, like an “alap”, without pulse, then a newly restored old rhythm piece called “invention#7 — branches”, in which he interacts with his “ritmos” polyrhythm software.

It’s part of YBCA’s “new frequencies” series — Chris will be playing in the galleries in front of pieces that are part of their “wallworks” show. Continue reading


Aug 25, 2009
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Storage in Collaborative Networked Art

networked.jpgRead | Write Storage in Collaborative Networked Art by Jason Freeman — in Networked: a (networked_book) about (networked_art):

ABSTRACT: This chapter explores the role of storage in media art and, more specifically, its role in collaborative creativity within the field of networked music. Through a series of paired analyses of works that differentially emphasize transmission and storage or which employ different approaches to storage, the chapter discusses different opportunities, challenges, and issues related to storage in collaborative, networked art. Music by the Rova Saxophone Quartet and by Nick Collins frames a discussion of composition and improvisation; two works by The Hub initiate an analysis of the influence of technology on network design and on collaborative models of shared material and shared control; broadcast works by Max Neuhaus introduce the concept of active storage systems; the online sites WebDrum and Jamglue raise questions about network latency and the persistency of storage; and Bicycle Built for 2,000 and Graph Theory manipulate the level of awareness of storage mechanisms by various participants.


Jul 31, 2009
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CALL: Papers on Improvisation for LMJ

leo.jpgThe next issue of Leonardo Music Journal is on improvisation :: LMJ welcome papers on aspects of improvisation in music, art and the general realm of decision-making – especially texts addressing the interplay of improvisation and technology :: Deadline rough proposal and queries October 15, 2009; finished articles January 1, 2010: Address all inquiries to Nicolas Collins, Editor-in-Chief, at ncollins [at] saic.edu.

Improvisation gas been a critical component in many forms of music around the world throughout most of history, and is an essential quality of human intelligence that extends far beyond the borders of art. It remains, nonetheless, a controversial subject in contemporary Western music: detested and denounced by such titans as Pierre Boulez and John Cage, embraced with equal fervor by others, and seriously misunderstood by many. For Volume 20 of the Leonardo Music Journal papers are welcomed on aspects of improvisation in music, art and the general realm of decision-making – especially texts addressing the interplay of improvisation and technology.


Jul 31, 2009
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Net_Music_Weekly: PUBCODE2 [uk London]

toplap.jpgTOPLAP presents PUBCODE2 — Featuring: chr15m (making machines that make machines that make music); MCLD (beatboxing + livecoding, is it possible?); Yee-King + Click Nilson (algorithmic choreography); openSlub (crowdsourced livecoding) :: August 5, 2009; 7:00 – 11:00 pm :: The Roebuck, 50 Great Dover Street, London.

Live coding is a new direction in electronic music and video, and is starting to get somewhere interesting. Live coders expose and rewire the innards of software while it generates improvised music and/or visuals. All code manipulation is projected for your pleasure. Continue reading


Jul 26, 2009
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Live Stage: High Zero Festival [us Baltimore, MD]

high.jpgHigh Zero Festival of Experimental Improvised Music :: September 10 – 13, 2009 :: Theatre Project, 45 W. Preston Street, Baltimore, MD.

Baltimore’s High Zero Festival — one of the longest running and most successful festivals of experimental improvised music in the country and what City Paper called “one of Baltimore’s great cultural treasures” is entering its eleventh year.The High Zero Festival gathers avant-garde musicians and artists each year from around the world for a series of concerts featuring startlingly new ad hoc collaborations, virtually taking over the city that Rolling Stone cites as having the “Best Music Scene” in the USA. Continue reading


Jul 22, 2009
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Structure, Process and Perception of a River

residency.jpgBinauralmedia and Nodar Artist Residency Center announce: Paivascapes #1 Structure, Process and Perception of a River :: February – October 2010 :: International Open Call for Art Projects — Deadline: September 30, 2009.

The Nodar Artist Residency Program for 2010 will have a single aggregating subject: the Paiva River. Throughout the year, from winter to autumn, several multidisciplinary art projects (having sound as a central element) will be developed in a context-specific perspective, interacting with the river’s different geographical areas, from its spring to its mouth. A tribute to a small river that is a symbol of a region that (still) can live in a well-balanced interaction with nature. Continue reading


Jun 22, 2009
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Live Stage: ELSA 2009 [uk London]

elsa.jpgELSA 2009 :: Performances: June 2, 2009 9:00 pm :: Café OTO, 18 – 22 Ashwin Street, Dalston, London E8 3DL.

Café OTO and Elevator Gallery in East London will be the temporary home for ELSA 2009, the graduation showcase for the BA Sound Arts & Design course at the London College of Communication, featuring work from over 20 emerging sound artists. As a prequel to the exhibition, Café OTO presents live performances including composed, improvised, interactive, and surround sound works.

Exhibition: Elevator Gallery hosts non-performance based sound works including audio-visual installations, interactive works and sound design for film and animation :: June 4-7, 2009 :: Elevator Gallery, Mother Studios, Queen’s Yard, White Post Lane, Hackney Wick, London E9 5EN.


Jun 1, 2009
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Interview: Natasha Barrett

Natasha BarrettNatasha Barrett is a freelance composer, performer, and installation artist. The composition and manipulation of space is a central element in much of her work, and it is the focus of this interview. Barrett completed her Master’s Degree at the University of Birmingham, where she studied with Jonty Harrison and became practiced in the art of live sound diffusion using Birmingham’s renowned BEAST (Birmingham Electroacoustic Sound Theatre) system. She completed a Doctoral degree in composition at City University in London in 1998, studying with Denis Smalley. Her body of work includes large architectural installations, electroacoustic concert pieces, works for instruments and performers, and live improvisation. Barrett’s works have won international acclaim and numerous awards, including the Nordic Council Music Prize in 2006, a first prize at the Bourges International Electroacoustic Music Competition (1998 and 2001), and most recently, a commission from the 2008 Giga-Hertz Award. Barrett was born in the UK, but currently lives in Oslo, Norway. She has released numerous CDs, available through her website. Continue reading


Apr 19, 2009
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Mobile Music: Band Geeks Play iPhones…

st_iphoneorch_f.jpgOnce upon a time, orchestras required instruments. Then computers reproduced the sounds of symphonies. Now, band geeks are playing iPhones.

Stanford University’s newest ensemble is called (MoPhO), short for Mobile Phone Orchestra. Its conductor, Ge Wang, is a veteran of Princeton’s Laptop Orchestra (see issue 14.04) and is obsessed with making electronic music as mobile as possible. “The iPhone holds a lot of potential for what kind of music can be made and how it can be made,” Wang says. Continue reading


Apr 15, 2009
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Interviews

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What is this?

Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

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