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Environnement, paysages et arts sonores - Dégourdissez vous l'oreille !
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Desarts Sonnants
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Scooped by Desarts Sonnants onto DES ARTS SONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART |
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A clarinetist ventures forth to make music with the white whales of the White Sea Delete the scoop?
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UPDATE 16/03/10. "Music from a Bonsai" : ) http://vimeo.com/10198497 In the garden of my house there's a tree with lots of randomly grown twigs. It looks odd and… Delete the scoop?
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Sound designer and composer Diego Stocco created his original compositions "Music from a Tree" and "Music from Nature" by "playing" with natural elements. Delete the scoop?
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Rescooped by Desarts Sonnants from Ecoute et paysage sonore |
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City Life est une œuvre de musique contemporaine de Steve Reich composée pour ensemble musical et sons pré-enregistrés en 1995.
Via Patrick Bléron
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Nikolaus Gansterer, Artist, lives and works in Vienna...
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Sound Scapes : Music Of The Mountains...
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Cette petite technologie créée en 1994 avait déjà fait sa place en publicité, que ce soit dans la mode vestimentaire, le milieu touristique, ou encore dans les jeux vidéos. Aujourd’hui,...
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A BUILDING THAT PLAYS MUSIC WHEN IT RAINS !!!!
This building is located in Dresden, Germany. It's called Neustadt Kunsth of passage. And when it rains it starts to play music
I saw this on a friends wall... How amazing
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Making music with technology
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Desarts Sonnants's insight:
The pioneering work of the World Soundscape Project (WSP) at Simon Fraser University (SFU), although primarily intended as educational and archival, nevertheless fostered the development of a style of electroacoustic music which I have termed "soundscape composition" (Truax, 1984, 1996, 2000). At first, the intent was to document and re-present recordings of various sonic environments to the listener in order to foster awareness of sounds that are often ignored, and hence to promote the importance of the soundscape in the life of the community. The first such systematic study was The Vancouver Soundscape, published in 1973, consisting of a booklet and two long-play records.
The studio techniques used at that time consisted mainly of transparent editing and mixing of untransformed original recordings, selected for their aural interest and representativeness of the soundscape in question. Of equal technical importance was the attention given to the recording technique, and today the tape archive which remains from those efforts, as recorded across both Canada and Europe between 1972 and 1975, is of excellent quality, having been recorded with a stereo Nagra IV-S and a pair of AKG condenser microphones. A complete catalogue and subject index, both in print form and on the studio website, make this collection accessible to users for a wide variety of purposes.
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