{"id":9419,"date":"2017-12-23T12:24:45","date_gmt":"2017-12-23T12:24:45","guid":{"rendered":"http:\/\/ima.or.at\/?page_id=9419"},"modified":"2017-12-23T15:17:02","modified_gmt":"2017-12-23T15:17:02","slug":"klangmaschinen-speichermusik","status":"publish","type":"page","link":"https:\/\/archiv.ima.or.at\/en\/klangmaschinen-speichermusik\/","title":{"rendered":"Sound Machines Stored Music"},"content":{"rendered":"

19 04 09 17:00<\/strong><\/p>\n

Stored music | works for punched paper rolls, cylinders, discs, tapes, and digital memories<\/h3>\n

Speichermusik<\/p>\n

Program<\/p>\n

JOSEPH HAYDN 1792\/93
\nKompositionen f\u00fcr Fl\u00f6tenuhren<\/strong><\/p>\n

Friedrich II of Prussia especially supported the clockmaking trade in Berlin. From 1765 musical clocks were also manufactured in Dresden, Augsburg, Breslau, Prague, Paris and Vienna. Joseph Haydn\u2019s compositions for clocks with fute organs were written for the clocks of one of his students, Pater Primitivus Nemec. Nemec\u2019s mechanical clocks are documented for the years 1792-93, although he may have constructed another one as early as 1789. That composers like Haydn, Mozart an Beethoven wrote works for mechanical organs proves that they were not only acquainted with the potential and characteristics of these instruments.<\/p>\n

CONLON NANCARROW
\nNo. 3 a-e 1949\/50
\nF\u00fcnfs\u00e4tzige Boogie-Woogie-Suite<\/strong><\/p>\n

3a is probably Conlon Nancarrow\u00b4s frst composition for Player Piano, 1949\/50. 3a: Up to seven musical layers are built up at incredible speed over a boogie-woogie bass line. 3b: Blues. A 12 measure ostinato in the bass line is repeated ten times and overlapped by different melodic lines. 3c: Vigorous blues with canonical sequences. 3d: Easygoing jazz piece. 3e: Fast boogie-woogie, similar to 3a.<\/p>\n

NO. 21 1961
\nCanon X<\/strong><\/p>\n

A strict two-voice canon, in which the voices move at different speeds. The bass voice begins a twelve-tone line slowly at approximately four notes per second. Shortly after, the treble voice enters at a speed of 39 notes per second. The bass voice accelerates continuously, while the treble simultaneously slows down until by the middle of the composition, they reach the same speed. The bass then overtakes the treble and the piece ends in a whirlwind of sound from the bass voice: 120 notes per second.<\/p>\n

PIERRE SCHAEFFER
\nCinq \u00e9tudes de bruits 1948<\/a><\/strong><\/p>\n

G\u00dcNTHER RABL<\/a>
\nMugl entsteigt I 1975\/76<\/strong><\/p>\n

eine Komposition mit lebenden Kl\u00e4ngen
\nOriginal: 1\/4\u201c, 15ips, mono
\nRealisation am Institut f\u00fcr Elektroakustik der Musikhochschule Wien (bis 1975), im eigenen Studio Neup\u00f6lla, Waldviertel (ab 1976)
\nUA 1977 Theatre Recamier Paris, Klangregie Francois Bayle<\/em><\/p>\n

\u201cJacques Lonchampt, Le Monde 1977
\n\u201cPeople always talk about the infnity of sound in the electroacoustic universe \u2013 but only a few composers are able to free themselves from conventional methods and sound principles and establish their own particular style. One single work is a true original: the composition \u201cMugl Entsteigt\u201d by the Austrian composer G\u00fcnther Rabl. A tape, which perhaps because it is created with his own material, awakens your ears with its new, talking sounds: lines over brilliant patterns, clusters of silvery sounds, like an organ of supple forms, a colourful ostinato of opulent structures. All this is combined with humour and liveliness in a real attempt at symphonic developments \u2013 something which electroacoustic musicians rarely achieve.\u201d<\/p>\n

GERHARD ECKEL<\/a>
\nDer Zufall geht … 1986<\/strong><\/p>\n

Computergenerierte Tonbandkomposition. Realisiert mit dem Musikcomputersystem AKA 2000
\nam Institut f\u00fcr Komposition und Elektroakustik [ELAK] an der Hochschule f\u00fcr Musik und
\ndarstellende Kunst Wien.<\/em><\/p>\n

The only sound material used to realize this piece is the clicking sound of two colliding billiard balls lasting for a few milliseconds. Derivates of the original sound were produced by various sound transformation techniques and the resulting sounds were grouped in families. Markov processes were used to form \u201eclouds of sound\u201c of different density and texture. On the formal level of the piece, an articulation of macro and micro time structure was attempted throught the use of (abstract) models of excitations and resonance. <\/p>\n

DIETER KAUFMANN<\/a>
\nLe voyage du paradis 1987\/88<\/a><\/strong><\/p>\n

ANDREA SODOMKA<\/a>
\nMinimal Revolution 2009 UA
\nSuite f\u00fcr Ariston und Live Electronic<\/strong><\/p>\n

The Ariston was possibly the first high-tech product for domestic use. A mass-manufactured product, it was relatively simply built, easy to handle and small enough to carry \u2013 comparable to today\u00b4s laptops and sound programmes. A combination of these two sound worlds \u2013 our present day \u201ccomputer music making\u201d and the traditional salon music of the 19th and the beginning of the 20th century, is one of the main ideas behind \u201cminimal revolution\u201d. Two
\nhigh-tech instruments, the first of which had its heyday at the beginning of the 20th century, and the second at the beginning of the 21st century, enter into a dialogue. A mechanical-<\/p>\n

USHI REITER<\/a> \/ MARKUS DECKER<\/a> 2009 UA
\nTNETAP<\/strong><\/p>\n

In our exploration of the magical phonograph, we dive into the world of the crackling and groaning sounds of history. A sound experiment that will show whether it will write history. The cylinders that are produced will be auctioned off after the concert as art objects. The proceeds will be donated to the free European software foundation. A project which Edison Thomas Alva, the champion of patents, would definitely dislike. <\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

19 04 09 17:00 Stored music | works for punched paper rolls, cylinders, discs, tapes, and digital memories Program JOSEPH HAYDN 1792\/93 Kompositionen f\u00fcr Fl\u00f6tenuhren Friedrich II of Prussia especially supported the clockmaking trade in Berlin. From 1765 musical clocks were also manufactured in Dresden, Augsburg, Breslau, Prague, Paris and Vienna. Joseph Haydn\u2019s compositions for […]<\/p>\n","protected":false},"author":10,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/pages\/9419"}],"collection":[{"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/comments?post=9419"}],"version-history":[{"count":24,"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/pages\/9419\/revisions"}],"predecessor-version":[{"id":9463,"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/pages\/9419\/revisions\/9463"}],"wp:attachment":[{"href":"https:\/\/archiv.ima.or.at\/en\/wp-json\/wp\/v2\/media?parent=9419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}