VoidoidSurrealist: Thanx for listening. They do sound better with the input of real performers. They're a bit out of place on an 'electronic' site but i am now determined to work on a form of serialism which incorporates the wide range of controllors on many a VST (as discussed above).
soulata: Schoenberg's 'sprechgesang' in both Pierrot Lunaire and Erwartung (a must listen to piece of his) is, as you say frightening and disconcerting - but works perfectly in the setting he has used it. Also, Stravinsky dabbled with serialism during his later years so not really ot there. My fave Stravinsky piece has got to be Symphony of Psalms - written I believe in the octotonic scale based on E and switches between that and e minor to produce a very unique tonality.
Thanks again to all that have listened to my pieces. Much appreciated. Yes, it was Edirol Orchestral but not a very good mix - too much reverb. I may do a cleaner, clearer one if I get the time.
Are there any serialists out there?
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- KVRist
- 142 posts since 23 Sep, 2003 from Location: Location:
aienn : This is great music. I very much like the two vesna pieces.
I think a great way forward for electronic and orchestral music is in combination - with the advent of quick and easy realtime control over synthetic sound the things i dreamed of at uni are now possible - imagine the power and elegance and raw feeling of 120 musicians working in conjunction with a pc/mac capable of manipulating every/any parameter of a sound/group of sounds in real time.
I think a great way forward for electronic and orchestral music is in combination - with the advent of quick and easy realtime control over synthetic sound the things i dreamed of at uni are now possible - imagine the power and elegance and raw feeling of 120 musicians working in conjunction with a pc/mac capable of manipulating every/any parameter of a sound/group of sounds in real time.
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- KVRAF
- 4216 posts since 10 Oct, 2002 from Nashville, TN USA
Thank your sir!herodotus wrote:Shane, I will buy The Jelly Fish Emperor as soon as my wife tells me I can. (I am listening to the mp3 as I write this.) It reminds me of Wourinen, but it is recorded much better. Really interesting stuff. Lots of life in it for something so obviously synthetic. Well done.
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- KVRAF
- 4216 posts since 10 Oct, 2002 from Nashville, TN USA
Thanks for these fine pieces. I'll be enjoying these for some time to come.TechNoiZ wrote: Not really typical KVR material - but there ya go anyway
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- KVRAF
- 3066 posts since 31 May, 2002 from My chair
Used to do a lot of twelve-tone experiments while I was at university. Not so much anymore: guess it was mainly a phase to get me out of a rut.
However, here are my somewhat-recent Two of Twelve and (unimaginitively titled) Cello Trio. They're my take on Ron Jarzombek's Twelve-Tone-Lite(TM) technique (see this)
- m
However, here are my somewhat-recent Two of Twelve and (unimaginitively titled) Cello Trio. They're my take on Ron Jarzombek's Twelve-Tone-Lite(TM) technique (see this)
- m
Markleford's band, The James Rocket: http://www.TheJamesRocket.com/
Markleford's tracks: http://www.markleford.com/music/
Markleford's free MFX, DXi2, DR-008 modules: http://www.TenCrazy.com/
Markleford's tracks: http://www.markleford.com/music/
Markleford's free MFX, DXi2, DR-008 modules: http://www.TenCrazy.com/
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- KVRAF
- Topic Starter
- 5703 posts since 8 Dec, 2004 from The Twin Cities
You know, when I started this thread I thought I would get maybe three relevant responses and a couple of cracks. But here we are with four pages and growing. KVR never ceases to amaze me.
It is good to know that the strange, the obscure, and the idiosyncratically gifted have a home here.
It is also good to know that the poor sad giants of early 20th century music are still being appreciated by creative and intelligent people.
"The present day composer refuses to die"
Edgard Varese
It is good to know that the strange, the obscure, and the idiosyncratically gifted have a home here.
It is also good to know that the poor sad giants of early 20th century music are still being appreciated by creative and intelligent people.
"The present day composer refuses to die"
Edgard Varese
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- KVRist
- 90 posts since 24 Apr, 2001 from Clinton, ME
BTW, I propose that the catchiest twelve-tone row ever written is the instrumental melody from "Don't You Ever Learn?" by Todd Rundgren, on his "Todd" album. Check it out some time! Todd can even turn serialism into haunting pop!
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- KVRist
- 142 posts since 23 Sep, 2003 from Location: Location:
Markleford : the brass reminds me of Charles Ives - with two or three orchestras missing - and the strings of Gorecki.
The sheer variety of pieces that such a seemingly simple technique to employ can generate is truly amazing. Although history shows us that it was indeed others, such as Schoenberg's pupils(and the term is used in its broadest sense) Webern and Berg, in addition to the likes of Josef Hauer and the American Charles Ives, that actually used the technique first, it was Schoenberg's genius that identified the immense possibilities in the system. He formalised the rules and allowed music to move on to a new era without abandoning the legacy of the giants of tonal music up to that point. That it is still alive and kicking today should be no surprise. That it is probably the one technique that can handle all the new possibilities that vst technology gives us is a credit to not only Schoenberg, but also many of the composers named already in this thread who have adopted, and adapted the basic tenet to include more than just pitch structure.
Anybody wanna talk about Fibonnacci at this stage ....
- and the strings of Gorecki.The sheer variety of pieces that such a seemingly simple technique to employ can generate is truly amazing. Although history shows us that it was indeed others, such as Schoenberg's pupils(and the term is used in its broadest sense) Webern and Berg, in addition to the likes of Josef Hauer and the American Charles Ives, that actually used the technique first, it was Schoenberg's genius that identified the immense possibilities in the system. He formalised the rules and allowed music to move on to a new era without abandoning the legacy of the giants of tonal music up to that point. That it is still alive and kicking today should be no surprise. That it is probably the one technique that can handle all the new possibilities that vst technology gives us is a credit to not only Schoenberg, but also many of the composers named already in this thread who have adopted, and adapted the basic tenet to include more than just pitch structure.
Anybody wanna talk about Fibonnacci at this stage ....
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- KVRist
- 211 posts since 12 Jul, 2004
I never thought I would find a thread so vibrant on here about dodecaphonics/serialism.
Just for the record, no one seems to have mentioned Valen.
I just wonder that instead of classing the ages of music as baroque, romantic, classical, modern, etc...we should be interpreting the evolution as diatonic and dodecaphonic (serial).
Just for the record, no one seems to have mentioned Valen.
I just wonder that instead of classing the ages of music as baroque, romantic, classical, modern, etc...we should be interpreting the evolution as diatonic and dodecaphonic (serial).
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- KVRer
- 3 posts since 7 Sep, 2004 from moskova, RU
you know, erstwhile records released some impressive stuff with chamber/electronic setups, "hands of caravaggio" for example. my recent fav. disc from denmark is "tripper" by efterklang, some chamber setup with two or three powerbooks, chamber music meets idm or so. very beautiful and inspiringTechNoiZ wrote:I think a great way forward for electronic and orchestral music is in combination - with the advent of quick and easy realtime control over synthetic sound the things i dreamed of at uni are now possible - imagine the power and elegance and raw feeling of 120 musicians working in conjunction with a pc/mac capable of manipulating every/any parameter of a sound/group of sounds in real time.