PUBLIC MARKS from Emaux with tag acousmatique

Welcome to Sounds of Europe, a platform for field recording. The blog of the website will travel to a different European country every month where a local organisation or artist will be responsible for maintaining it. Each country´s particular context and practices with regards to field recording will be explored and presented in a personal way.

Site du compositeur Jean-Claude Eloy

Avec l'ensemble de ses activités situées à un niveau international, Création, Recherche, Diffusion, Formation/Enseignement, Editions bibliographiques et phonographiques, Archivage/Etude et Pérennité des musiques électroacoustiques, l’Institut de Bourges est aujourd'hui l'un des principaux Centres de Création Musicale et sa notoriété est largement reconnue internationalement.

The Computer Music Center at Columbia University is an innovative and exciting music and arts technology facility with a long history of creative excellence

CDeMUSIC is the materials distribution program of Electronic Music Foundation. The scope of CDeMUSIC, however, extends far beyond electronic music to include all genres and styles of non-commercial new music

En investissant des sites prestigieux du patrimoine architectural, en associant programmations musicales et visuelles, et en offrant à des artistes d’horizons multiples un espace de travail commun, l’association Elektrophonie cherche à favoriser l’émergence de nouvelles formes de spectacles conjuguant créativité, rencontres et expérimentations. Depuis 2001, ce projet se concrétise à travers l’organisation de la Nuit Bleue, de concerts acousmatiques et électroniques, de conférences, de tables rondes, de résidences d’artistes et d’actions pédagogiques autour des musiques électroacoustiques.

Panorama des musiques électroniques

Jean Piché (1951) is a composer who has develloped into a video artist over the past few years. His practice meshes moving images and music in a new hybrid form he calls videomusic. In his beginnings as an electroacoustic composer in the 1970s, he was one of the very first Canadians to employ the then emerging digital audio technologies. He has produced works in every genre of electroacoustics for mixed and acousmatic to live-electronics. His work aims for poetic expression beyond any sort of formalism. The work has been alternately described as confounding, colorful and virtuosistic. He has contributed to the presence and development of Canadian music here and abroad while working at the Canada Council where he defended the legitimacy of many alternative contemporary music practices. This inclusivist approach was highlighted when he directed the Montréal Musiques Actuelle – New Music America festival in 1990. As a teacher at the Université de Montréal since the late 1980s, he has nurtured a number of young into diverse careers in new media and music. He keeps a hand in software development and some of his programs, notably Cecilia, are used by composers the world over.

Welcome to the University of Iowa Electronic Music Studios. You'll find in our site updates of our facilities to 5.1, 9.1, and 16.2 sound. Our Musical Instrument Samples Database now includes strings, more winds and brass, and a Steinway piano. Our history and archive pages show how the studios have developed over the years and include a wonderful set of Moog Demo mp3s by Peter Tod Lewis. Our visitors page lists composers who have come to Iowa over the years to work with students, including alumnus Charles Dodge, James Dashow, Denis Smalley, and synthesizer pioneer, Don Buchla. The upcoming year brings Kevin Blechdom, Elizabeth McNutt, Andrew May, and Terry Riley. In the spring of 2002, the studios hosted SEAMUS, the National Conference of the Society for Electro-Acoustic Music in the US, bringing over 240 participants for three days of concert and paper sessions.

Ce site n'est pas consacré à "l'espace en musique électroacoustique" (voir les sites dans la section Liens). Ce qui est présenté et discuté dans ces pages n'a pas la prétention de pouvoir s'appliquer aux domaines du faire et de l'écoute du son en général. Son propos concerne exclusivement ses développements et applications dans le domaine du "son fixé/projeté", son intégration en tant que critère des sons tel qu'il est perçu et composé en acousmatique. Et ce n'est déjà pas rien, si je puis me permettre cette expression... Libre à chacun, selon son parcours et son domaine, d'en tirer des éléments exploitables ou non

Ensemble de ressources relatives à la musique et à l'informatique musicale, logiciels, etc