Since the beginning of electroacoustic music at the end of the forties, there has been a continuous need for new machines. New machines meant and mean new possibilities and new trends for music. Machines tend to loose interest once they are

Rudolf Frisius »Do we need new ears to hear music made with (old and new) machines?«

Mar 22nd, 2013 44m 56s

Rudolf Frisius, geb. 1941, studierte Mathematik, Philosophie, Kunstgeschichte und Musikwissenschaft in Hamburg, Frankfurt und Göttingen, abschließend mit einer Dissertation zum Thema „Untersuchungen über den Akkordbegriff“. Spezialisierung au

Francois Bonnet »Composing with the Coupigny Synth: A Guest + a Host α«

Mar 22nd, 2013 30m 14s

This presentation is about a piece made in 2011 with a synth developed between 1967 and 1975 at GRM, named later after its main inventor : the „Coupigny“. Based on this example, this presentation tends to expose how using „old“ machines in t

Detlef Heusinger »A vintage instrument for a good vintage«

Mar 22nd, 2013 25m 35s

How to use the Publison Infernal Machine DHM 89.B2. Detlef Heusinger (*1956 in Frankfurt/Main) ist Komponist, Regisseur und Dirigent und leitet seit 2006 das EXPERIMENTALSTUDIO für akustische Kunst e. V. in Freiburg. Heusinger studierte von

Kees Tazelaar »The analogue studio for electronic music at the Institute of Sonology«

Mar 22nd, 2013 43m 20s

Although Sonology in Utrecht was very early when it came to the use of computers for sound synthesis, analogue production techniques still remained an important subject after the first PDP-15 computer had arrived by the end of 1970. Equipmen

Christoph von Blumröder, Michael Nicolas Schott und Leopoldo Siano »(Old) machines - good machines?«

Mar 22nd, 2013 44m 32s

Kulturgeschichtliche und musiksemantisch-ästhetische Reflexionen Im gemeinsamen Gespräch sollen kulturgeschichtlich und ästhetisch ambivalente Aspekte des Symposiumsthemas problematisiert werden.Leopoldo Siano (born 1982) began piano lessons

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