NOTAM og nyMusikk presenterer:
The legendary composer, writer and programmer Curtis Roads has been among the leading figures in computer music since the 1970s. He is an expert in granular synthesis an has written several standard works in sound and composition. This evening he will play own works in the cinema at Kunstnernes Hus.
Dr. Curtis Roads is Professor of Media Arts and Technology and also Associate Director of the Center for Research in Electronic Art Technology (CREATE) at UCSB. He is a composer, writer and programmer. He is a composer and performer of elecronic and electro acoustic music, His research is focused on microsound synthesis (granular, pulsar, and related techniques), pluriphonic spatialization, notation and visualization of sound, and the history and aesthetics of electronic music composition.
He was a co-founder of International Computer Music Association in 1980 and editor of Computer Music Journal 1978-2000. He has made softwares, like PulsarGenerator and Creatovox. Since 2004 he has been researching a new way of doing sound analysis, namely atomic decompositions.
He studied composition and programming in California and Paris. Between 1980 and ’86 he researched electronic music at MIT. He has been teaching, holding master classes, doing workshops and sitting in jurys all over the world, e.g Harvard, CCMIX, Oberlin and Ars Electronica.
He has written Foundations of Computer Music, Composers and the Computer, The Music Machine, Representations of Musical Signals, Musical Signal Processing and Microsound amongst others. The Computer Music Tutorial (1996, The MIT Press) is the best selling book in the field. His latest book is Composing Electronic Music: A New Aesthetic (2015, Oxford University Press) and a revised edition of The Computer Music Tutorial is on its way.
The concert in Oslo is a colaboration between Notam and nyMusikk.
The concert in Bergen is a colaboration between Lydgalleriet, BEK, Notam, Pnek and nyMusikk Bergen.
Kunstnernes Hus, Oslo
Kr 150/100 (members)
Kr 150/100 (medlem, student)
“When the new instruments allow me to write music as I conceive it, taking the place of linear counterpoint, the movement of sound masses, of shifting planes, will be clearly perceived. When these sound masses collide, the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles. There will no longer be the old conception of melody or interplay of melodies. The entire work will be a melodic totality. The entire work will flow as a river flows.”
– Edgard Varèse (1924)