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Computer Music Series 6 Import

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Détails sur le produit

1. Brush Canyon - Jon Appleton
2. Devices and Desires - Paul Moravec
3. Still Life in Wood and Metal - David Evan Jones/John Ferrari/Dan Kennedy
4. Degitaru Ongaku - Jon Appleton
5. Mayday Materials: Part 1
6. Mayday Materials: Part 2
7. Mayday Materials: Part 3
8. Mayday Materials: Part 4-6
9. Mayday Materials: Part 7
10. Mayday Materials: Part 8
11. Mayday Materials: Part 9
12. Still Life Dancing - David Evan Jones/Joel Bluestone/John Ferrari/Dan Kennedy/Steve Payson/Brad Lubman

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2 internautes sur 2 ont trouvé ce commentaire utile 
Nothing to set the world alight 6 août 2001
Par Un client - Publié sur Amazon.com
This sixth volume of computer music from CDCM features works from the Bregman Electronic Music Studio at Dartmouth College, Hanover, NH. Given that the Synclavier Digital Music System was pioneered and developed at Dartmouth, it is not surprising that this disc features mostly music realised using that system. The majority of the works presented are by the Studio's co-directors, Jon Appleton and David Evan Jones, with additional contributions from Paul Moravec and Christian Wolff, both of whom were Professors at Dartmouth at the time the disc was released (1990).
The disc opens with Jon Appleton's 1986 piece, "Brush Canyon" (12:50). Like much of Appleton's music, this work was composed for live performance on the Synclavier. It combines synthetic sound elements with real-world samples, although most prominent in the piece is an innocent, almost folk-like organ melody, played over a fairly minimalist rhythmic pulse. This quite simplistic music emerges from a wandering series of clicks, derived from cricket sounds. The result is a work typical of much of Jon Appleton's Synclavier output, providing an odd mix of melodic and harmonic simplicity combined with an almost radiophonic approach to story telling.
Appleton's second work on the disc has a similar feel to it. Meaning "digital song" in Japanese, "Degitaru Ongaku" (14:37) dates from 1983 and uses simple electronic and synthesised sounds, each manipulated in real time by the performer using the Synclavier. Unlike the natural and man-made world portrayed in "Brush Canyon", this work is more concerned with a purely synthetic - indeed purely abstract and imaginary - world. Much of this piece may remind many listeners of 1960's Sci Fi movie soundtracks, with its clearly electronic tones, as well as the simple electronic organ melodies. There are times too when the work feels more improvised than through composed, given the way that it wanders from idea to idea, with no apparent aim in mind. The work is perhaps a little overlong at 14:37, but it is not at all unpleasant and may well be deemed a classic one day!
"Still Life in Wood and Metal" (9:17) by David Evan Jones and its companion piece "Still Life Dancing" (9:53) both date from the late 1980s. They also both use a tape component - synthesised vocal sounds produced by the composer using the CHANT synthesis system at IRCAM - edited together on the Synclavier to accompany a live percussion ensemble. The vocal samples result from mixing computer models of percussion sounds with models of vowel sound production, resulting in voices that seem to emanate from percussion instruments but with the resonant behaviour of the vocal tract. Both works come across as rather unstructured, although to my ears "Still Life Dancing" integrates the CHANT-generated materials a little better than does its partner.
The remainder of the material on the disc uses similar approaches to music-making to those displayed by the major works presented. Paul Moravec's "Devices and Desires" (2:34) users samples of everyday objects - cars starting up, telephones ringing, etc - as well as more musical sound sources to construct a short, almost acousmatic, study.
Finally, Christian Wolff's "Mayday Materials" (18:00) is a series of nine short items, commissioned by Lucinda Childs for her 1989 dance performance, "Mayday". This is a tape work, realised using Roland and Synclavier digital music systems, consisting of minimally processed samples of acoustic instruments (percussion, horn and flute). The series of short studies, or tableaux, probably work better with the dance component than they do here, without it. In isolation, they come across (like much of the rest of the music on this disc) as somewhat unstructured and... well, just a little tame.
Overall then, lovers of more adventurous electronic and computer music may find this disc both uninspired and uninspiring. But, if you like most 20th century American classical music, especially that of the more avant-garde schools, or are looking for something away from the mainstream, then there could be much to interest you here. As always with CDCM releases, you may wish to sample before committing, though.
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