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Articles 31 - 60 of 65
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Master And Slave In The Music Of Coil, Drren Jorgensen
Master And Slave In The Music Of Coil, Drren Jorgensen
Sound Scripts
For Theodor Adorno, pop music perpetuates thedrudgery and alienation of working class existenceby providing a distraction from it. This paper turns toa similar critique of pop music, in the work of Coil.Born out of the UK industrial scene, Coil distort thepop song format, reproducing and appropriating itssounds with cynical manipulations. This cynicismshines through a mastery over the forms of popmusic and its sounds, that Coil configure withoutveering into pop's more explicit commercialism. Byestranging the familiarity of pop music, Coil point tohow listeners are enslaved by the industrial mode ofmusical alienation, by reproducing this alienation in anew way.
Third Totally Huge New Music Festival Conference Program
Third Totally Huge New Music Festival Conference Program
Sound Scripts
No abstract provided.
Inaugural Totally Huge New Music Festival Conference: Events List
Inaugural Totally Huge New Music Festival Conference: Events List
Sound Scripts
No abstract provided.
The Marvellous Surrealism Of Nurse With Wound And The Sylvie And Babs Hi-Fi Companion, Darren Jorgensen
The Marvellous Surrealism Of Nurse With Wound And The Sylvie And Babs Hi-Fi Companion, Darren Jorgensen
Sound Scripts
Composer’s Notes. My piece does not tell a story, but contains numerous possible stories. This also means that time may be standing still for one story, but race past for the other. In any case, time remains in an indissolvable dependence from the point of view of the individual listener. (The closer our gaze comes to the anthill, the more likely it is that we are able to trace the story of an individual insect.) All stories are reflections of our interests. To tell a certain story will always also emphasize the storyteller’s point of view. Only through manifold interpretation …
Contents Page, Tos Mahoney
Freezing The Music And Fetishising The Subject: The Audiovisual Dramaturgy Of Michel Van Der Aa, Jonathan W. Marshall
Freezing The Music And Fetishising The Subject: The Audiovisual Dramaturgy Of Michel Van Der Aa, Jonathan W. Marshall
Sound Scripts
When, with our eyes shut we run our hands along a surface, the rubbing of our fingers against the surface, and especially the varied play of our joints, provide a series of sensations, which differ only by their qualities and which exhibit a certain order in time. In this paper, I will explore the sonic relationship of sound to the development of new imaging technologies through Atomic Force Microscopes (AFM). In 2003, UCLA scientist, James Gimzewski, positioned a sensitive instrument called an atomic force microscope over a cell to try to detect its motion and the microscope picked up regular …
Flatness, Ornamentality And The Sonic Image: Puncturing Flânerie And Postcolonial Memorialisation In The Work Of David Chesworth And Sonia Leber, Jonathan W. Marshall
Flatness, Ornamentality And The Sonic Image: Puncturing Flânerie And Postcolonial Memorialisation In The Work Of David Chesworth And Sonia Leber, Jonathan W. Marshall
Sound Scripts
Much of the power of the cinema experience lies with the sound track, and the way it interacts with what happens on the screen. Soundtrack composition has become a complex art, where musical ideas are enhanced by sound reproduction technologies and complicated by sound effects demanded by the action. The effects of certain ranges of low frequency sound which are featured in the creation and presentation of both film music composition and cinematic sound effects can add an unique dimension to the experience of the soundtrack, and indeed the total cinematic experience. This paper discusses very low frequency sound features …
Surface Noise, Philip Samartzis
Surface Noise, Philip Samartzis
Sound Scripts
This paper seeks to trace the genealogy of surface noise as a tool of musical expression by surveying a range of artistic practices based around the record and turntable that privilege detritus, abrasion, repetition and decay as key compositional devices. The paper begins by examining the acoustic properties of the oldest playable recording (Frank Lambert's talking clock) in order to outline the numerous characteristics and flaws inherent in early models of mechanical reproduction and storage that vigorously conspired to interfere with the listening experience. This is followed by an examination of the way recording technology was converted from a tool …
Preface: Sound Scripts: A Word From Tura New Music, Tos Mahoney
Preface: Sound Scripts: A Word From Tura New Music, Tos Mahoney
Sound Scripts
The Inaugural Totally Huge New Music Festival Conference was a bold initiative by its partner presenters Tura New Music and the Faculty of Communications and Creative Industries, Edith Cowan University, Perth, including the Western Australian Academy of Performing Arts. In an arts milieu which is increasingly becoming “industrialised” and the dollar the bottom line criteria for success, it is reassuring to have the confirmation that there are those—in fact there is a strong cohort—who are dedicated to delving the depths of the meaning of their own and others’ practice.
Sound Art / Mobile Art, Cat Hope
Sound Art / Mobile Art, Cat Hope
Sound Scripts
This paper examines the role of sound installation and music composition practices in addressing the relationship between sound and telecommunications devices, in this case the mobile phone. The popularity of mobile phone artworks is rapidly increasing, with handsets readily available, artists excited about sponsorship opportunities, and the general push in electronic arts. This paper focuses primarily on work by Perth mobile phone Sound Art collective, Metaphonica, which explore many issues raised by this art form. "Phonebox" (2005) was a site specific sound installation where phones are called from a remote computer, presenting a synchronized composition featuring sounds created by the …
I.B.R. Variation 1, Miha Ciglar
I.B.R. Variation 1, Miha Ciglar
Sound Scripts
In this paper I would like to introduce my recent composition: "I.B.R. Variation 1" (a composition for computer, electrified guitar, mixing board and human body), which is derived from three different projects, - Illusions, Body Mix, Resistance -, fusing three different and already unusual interfaces for musical expression into a powerful new musical instrument. The piece is implemented by employing computers and common sound synthesis/processing techniques in combination with a rather primitive manipulation and misuse of low tech analogue equipment. The main idea was to assign unusual tasks to usual pieces of musical equipment, transforming a mixing board into an …
Modernist And Postmodernist Arts Of Noise, Part 2: From The Clifton Hill Mob To Chamber Made Opera’S Phobia, Linda Kouvaras
Modernist And Postmodernist Arts Of Noise, Part 2: From The Clifton Hill Mob To Chamber Made Opera’S Phobia, Linda Kouvaras
Sound Scripts
This paper will continue to trace negotiations outlined in Part 1 of the music/noise dichotomy as expressed in modernist and postmodernist works.1 Drawing connections with the trajectory of "glitch" in popular music since the 1970s. The paper will examine a number of key ways in which the music/noise dichotomy has been addressed as a borderline dispute between, for example, the embodied and the disembodied, the scored and the unscored, the accidental and the intentional, sense and nonsense, culture and nature. Two key figures from the highly influential group of sound artists who came together at Melbourne's Clifton Hill Community Centre …
Modernist And Postmodernist Arts Of Noise, Part 1: From The European Avant-Garde To Contemporary Australian Sound Art, David Bennett
Modernist And Postmodernist Arts Of Noise, Part 1: From The European Avant-Garde To Contemporary Australian Sound Art, David Bennett
Sound Scripts
The broad aim of the paper that follows is to test the claim of critics such as Miriam Fraser and Steve Connor that the modernist deconstruction of the music/noise dichotomy has entered a distinctively postmodern phase. The article below therefore traces the history and poetics of this dichotomy from the modernist avant-garde to contemporary Australian postmodernist Sound Art, moving from a discussion of the ideas of Russolo, Cage, Boulez and Schaeffer, to a close reading of Ros Bandt's "Stack" (2000- 01). These themes as expressed in contemporary Australian composition are then explored in Part Two.
Invisible Symmetries: A Retrospective Of The Work Of Lindsay Vickery, Jonathan Mustard
Invisible Symmetries: A Retrospective Of The Work Of Lindsay Vickery, Jonathan Mustard
Sound Scripts
The following is a retrospective of the work of Western Australian born composer Lindsay Vickery. The paper examines the composer's diverse output in composed and improvised instrumental and electronic music and multimedia works. A nine digit string of numbers that the composer calls a "cypher", ties together a significant portion of Vickery's output for almost two decades of compositional activity, but the sense in which these works are about something else is palpable in each and every one. Iconic pieces where a serial-like method is an anathema and cypher based pieces all seem to point to a structure the composer …
How To Prepare A Piano, Annea Lockwood
How To Prepare A Piano, Annea Lockwood
Sound Scripts
My original Piano Transplants (1969-72) were about relishing the shock of displacement: pianos planted in an English garden, sinking in a Texas cattle pond, pianos beached and aflame; observing their slow transformation through natural processing the five year decay. My relationship with the piano did not end with the Piano Transplants, though. I will also discus more recent works stemming from my fascination with the rich array of sounds which can be drawn from every part of the instrument once the keyboard is dethroned.
A “Hidden Centre”: Crossing Cultural Boundaries And Ecstatic Transformation, Liza Lim
A “Hidden Centre”: Crossing Cultural Boundaries And Ecstatic Transformation, Liza Lim
Sound Scripts
The following is an edited version of Liza Lim's keynote lecture presented for the Inaugural Totally Huge New Music Festival Conference (Perth: 8 Oct. 2005). It examines cross-cultural aesthetics and ethical questions arising from non-Indigenous Australian composers interacting with Australian Indigenous cultures. The paper begins in a formal and framed way and then moves towards more personal and speculative comments.
Introduction: A New Historicism? Sound, Music And Ruined Pianos., Cat Hope, Jonathan Marshall
Introduction: A New Historicism? Sound, Music And Ruined Pianos., Cat Hope, Jonathan Marshall
Sound Scripts
One of the highlights of every New Music festival which we attend is the banter that goes on between artists and audiences about what we have experienced together. The Inaugural Totally Huge New Music Festival Conference was a way to formalize these discussions for the 7th Totally Huge New Music Festival of 2005, and it was a privilege to have been able to attend a conference about New Music in the midst of it actually happening. The Conference was opened by the Executive Dean of the Faculty of Communications and Creative Industries, Edith Cowan University, Professor Robyn Quin, and it …