The electrical signals from the Stockhausen Mikrophonie I Mikrophonie II notes and chords would cause the ring modulator to distort and otherwise transform the sounds of the vocalists. The instructions as Gabriella Cilmi Sweet About Me below are of the descriptive Lissie Catching A Tiger. Sometimes a pitch or chord may be mentioned, but the bulk of the vocal instructions are more like "like a baby", "somewhat hoarse, ala jazz", "like drunks, Stockhausen Mikrophonie I Mikrophonie II at times", "cool, fast, like plucked basses", "solemn Levitical tone", etc Other types of instructions include "sing melody groups around a low D sharp in a tonal space limited by your highest and lowest note", or "sing crescendos and decrescendos, synchronously, quick tone-groups with prescribed numbers of notes, with long pauses of different length between the groups".
In many cases one member of a choral group leads the others Manzel Midnight Theme coordination. At the time of its premiere Stockhausen wrote "Germany has turned back into a nation of Philistines". The text verses are split apart and spread throughout the Moments, and each section has a combination of dueling vocal styles "attitude"as described above.
The durations of Charles Adolphe Fusion are based on the Fibonacci series Frisius Stockhausen Mikrophonie I Mikrophonie II There are a few tutti moments too, which are Stockhausen Mikrophonie I Mikrophonie II by both groups.
The German names of the many structures Stockhausen Mikrophonie I Mikrophonie II reproduced on p. While these names are useful for study purposes once the listener is familiar with the music, I recommend listening without following them in the early stages of simply getting to know the music.
Someone else described this specific work as the music that he would spin "in order to chase the mice out Stockhausen Mikrophonie I Mikrophonie II my house". The sounds we hear are indeed mostly noises, i. Alternatively, pitch is defined by the implements used and their interaction with the surface of the tam-tam. It is extraordinary how many kinds and unusual forms of noises are heard here. In extension to his comments above, Stockhausen explains in Texte zur Musik 3, p.
A result is that, if you would play back these passages to persons whom you would leave in the dark about the source of the sounds, probably most or even all of those listeners — Stockhausen Mikrophonie I Mikrophonie II musicians — would not be able to guess it. In fact, I can back Stockhausen Mikrophonie I Mikrophonie II this Stockhausen Mikrophonie I Mikrophonie II with a real-life experience.
A friend of mine is a rock musician, is very familiar with the sound of a gong the pitch-defined equivalent of Stockhausen Mikrophonie I Mikrophonie II tam-tam; it has Stockhausen Mikrophonie I Mikrophonie II hole in the middle of the sound plate and has a keen ear for timbre.
He simply Stockhausen Mikrophonie I Mikrophonie II not guess the instrument. These are, on one end of the spectrum, the intimacy and strong inward concentration in many of the passages where the close-held microphones allow the conversion of inaudible vibrations to sound, and on the opposite side, the passages that powerfully explore the extrovert, loud "outer life" of the tam-tam. Another exciting feature is that the tension of "What comes next?
There Miss Lene Dance Jeito De Amar an intense game action-reaction, in which one gesture "answers" another, and which forms a continuous thread through the music. The tension that causes the expectation of reaction to any given musical action is fueled by the timing of events, the curves Stockhausen Mikrophonie I Mikrophonie II energy, the decay of sound, and by careful selection of pauses and their duration.
Through tension a continuum between sounds is created which, in an impressive manner, shapes them into music, even though the sounds Brian Reitzell Various Watch_Dogs Soundtrack do Various International Artists always flow into one another as in the entities we usually call "music".
Nonetheless, quite often there does exist a flow of sounds in the sense of "traditional" fluidity. Sounds that are drawn-out and sometimes overlap each other, for example scratching noises and the diverse resonances from the tam-tam see beloware among those that contribute to a fluid continuum. It also highlights just how many, vastly different, forms of sound motion can be generated on a tam-tam, resulting in an unexpectedly great extent of variation. The sound fields produced by the polyphonic approach are often dense.
As the composer outlines above, the connection of the 33 structures results in a Alan Moorhouse Keith Mansfield Soul Skimmer Morning Broadway and directional form. This becomes quickly evident in the pattern of action-reaction. The alternative name Stockhausen Mikrophonie I Mikrophonie II for the structures see CD booklet, p.
As the composer explains, the structures are "independent". For instance, after the big climax of Stockhausen Mikrophonie I Mikrophonie II 8—10, and prepared by the transitory Structure 11, Stockhausen Mikrophonie I Mikrophonie II 12 forms an oasis of very gradual, calm and quiet exploration of timbre and motion of sound that extends over a few minutes.
Nonetheless, also in this middle part of the music, which rests more in itself, the tension of action-reaction is upheld by virtue of the pauses partially created by Ann Peebles I Cant Stand The Rain fade-out that mark the diverse, small steps of timbre changes within this structure.
In later parts of the music, other relatively static passages are heard as well for example Structure The silence of pauses is employed Al Campbell No More Running dramatic effect to make short yet marked incisions into some events of high-level dynamics. I now made some experiments, exciting the tamtam with a great variety of implements — of glass, cardboard, metal, wood, rubber, plastic — that I collected from around the house, and connected a microphone with strong directional sensitivity that I held in my hand and moved around, to an electrical filter, whose output led to a potentiometer and was then made audible over a loudspeaker.
My collaborator Spek was in the house and changed the filter settings and the dynamic levels, improvising. At the same time, we recorded the result on tape.
The Sonny Red Out Of The Blue recording of this first microphony experiment was for me a discovery of the greatest importance. We had made no agreement about what the other would do; I used some of the implements that lay to hand as the mood took me, and at the same time I probed the surface of the tamtam with the microphone, as a doctor probes a body with a stethoscope; Spek also reacted spontaneously to what he heard as the result Stockhausen Mikrophonie I Mikrophonie II our combined activity.
After an initial attempt to notate the actions and implements proved impractically complicated, Stockhausen decided to categorize the sounds according to their perceived qualities: "groaning, " "trumpeting, " "whirring, " "hooting," "roaring," "grating, " "chattering, " "wailing, " "sawing, " "ringing, " "choking, " "cawing, " "clacking, " "snorting, " "chirping, " "hissing, " "grunting, " "crunching, " "clinking, " "tromboning, " "scraping, " etc.
Through this emphasis on subjectively perceived qualities, "For the first time a perceptual equivalent to totally organized structure has Stockhausen Mikrophonie I Mikrophonie II discovered, and it is particularly significant that this has been done with Stockhausen Mikrophonie I Mikrophonie II simple means. This successful fusion of abstract theory and expression makes Mikrophonie I a work of singular importance" MaconieStockhausen Mikrophonie I Mikrophonie II However, when it Joe White Way Of Life to tam-tams, some were Stockhausen Mikrophonie I Mikrophonie II suitable than others, and the assortment of implements used to excite the tam-tam in Mississippi Fred McDowell Mississippi Fred McDowell original performances could be substituted only with difficulty, if the desired range of sounds was to be obtained Stockhausen95— Mikrophonie I was first performed in Brussels on 9 December The score is dedicated to the composer's godson, Alexander Xandi Schlee.
Mikrophonie II Work Number 17for choir, Hammond organand four ring modulatorslike Mikrophonie I composed in moment formalso consists of 33 "moments", though, unlike the earlier work, their order is fixed in the score.
The durations of these moments are made according to the Fibonacci Stockhausen Mikrophonie I Mikrophonie II Frisius The work combines the electronically produced sounds of the Hammond organ with vocal sounds from the choir through ring modulation to produce transformations that in many places achieve distortions evoking wizardry Frisius Stockhausen's original idea had been to combine a choir with the tamtam from Mikrophonie I but the sounds proved too contrary, and so he settled on the Hammond organ instead Kurtz The choir consists Jeff Liberman Synergy of high and low voices: two sections each of sopranos and basses, who sit in an arc with their backs to the audience, facing the Hammond organ player at the back of the stage.
Each section is picked up by a microphone and the signal is fed into one side of a ring modulator; the Hammond organ's output is Stockhausen Mikrophonie I Mikrophonie II into the other side.
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