If you have never user CSound, this software is a great introduction to a huge universe of sounds.
Download the Software Here: Cecilia
Cecilia is an audio signal processing environment using Csound as its audio engine. Cecilia lets you create your own GUI (grapher, sliders, toggles, popup menus) using a simple syntax. Cecilia comes with many original builtin modules for sound effects and synthesis. Previously written in tcl/tk, Cecilia was entirely rewritten in Python/wxPython and uses the Csound API for communicating between the interface and the audio engine. Version 4.2 beta is the current release.
Press Here For The Video: Electric Independence
“Morton Subotnick (born April 14, 1933 in Los Angeles, California) is an American composer of electronic music, best known for his Silver Apples of the Moon, the first electronic work commissioned by a record company, Nonesuch. He has taught for many years in the Music School at CalArts.
Subotnick has also worked extensively with interactive electronics and multi-media, co-founding the San Francisco Tape Music Center with Ramon Sender, and often collaborating with his wife Joan La Barbara. His children are animator Steven Subotnick, sound designer Jacob Subotnick and social worker Tamara Winer. His notable students include Ingram Marshall, Mark Coniglio, and Lois V Vierk.
Silver Apples of the Moon was notable for more than being an answer to a record-biz trivia question. Early electronic music was made using wave generators and tape-manipulated sounds. Subotnick was among the first composers to work with electronic instrument designer Don Buchla. Buchla’s modular voltage-controlled synthesizer, which he called the Electric Music Box and which was constructed partly based on suggestions by Subotnick and Sender, was both more flexible and easier to use, and its sequencing ability was integral to Subotnick’s music.
At a time when electronic music was highly abstract, largely concerned with pitch and timbre, with rhythm an afterthought or of no consequence and patterns largely avoided, Subotnick broke with the academic avant-gardists by including sections with regular rhythms. Its rhythmic energy perhaps has something to do with Silver Apples and 1968’s The Wild Bull (another Nonesuch-commissioned work for tape; they have since been combined on a Wergo CD) being subsequently choreographed by dance companies around the world.
Where previous electronic music had used non-traditional structures, Subotnick’s electronic compositions are structured more like the classical music for acoustic instruments that audiences are familiar with, but with the added benefit of untraditional timbres and pitch manipulations no orchestra could produce. He has, in fact, written for acoustic instruments, and studied with Darius Milhaud and Leon Kirchner at Mills College in Oakland, California.”
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NEG-ALE (1960) (8:08)
, horn, cello
, and percussion
with the film “Vasarely”
In 1960, Xenakis composed the music NEG-ALE for P. Kassovitz’s “Vasarely”, an abstract film on the artwork of Op-Art master Victor Vasarely, documenting an exhibition of that painter’s work at the Denise Renée Gallery. Xenakis provided music in the form of a piece entitled NEG-ALE for piccolo, horn, cello and percussion, but later withdrew the work from his catalogue.
The Museum Site Is Here: MET
“New York City and nearby New Jersey, Long Island, and Westchester County have been home to a vibrant Italian American population since the late nineteenth century. Within this community, a remarkable tradition of lutherie (stringed-instrument making) has flourished. Italian American craftsmen have produced an enormous variety of musical instruments, from traditional European-style violins, mandolins, and guitars to newer American instruments such as archtop guitars and mandolins and even electric guitars. Since the 1930s, makers from this tradition in the New York region have become especially well known for their extraordinary archtop guitars. This exhibition examines the work of three remarkable craftsmen from this heritage—John D’Angelico, James D’Aquisto, and John Monteleone—their place in the extended context of Italian and Italian American instrument making, and the inspiration of the sights and sounds of New York City.”
Entering Philippe Manoury‘s studio is understanding the persistence of continual research on the interaction between musicians and computer systems. This film seizes a few instants of conversations between the composer and computer scientists, researchers, and musicians leading up to the premiere of his string quartet where the real and synthesized quartets share musical figures and blur frontiers.
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Mixxx Is Available Here: Mixxx
We’re completely overwhelmed by the response – I don’t think anyone saw this coming. We wanted to be in the Mac App Store
to reach more users, and now we’re reaching far more than we ever expected!
I’d like to thank our entire community of DJs
, artists, and developers for their dedication and cooperation that have brought Mixxx this far. Without the devotion of many individuals
, Mixxx would not be the software it is today.”