CDeMUSIC

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No image available The Terrain Of Possibilities

Bill Alves' music is based on fascinating patterns and lovely timbres, including computer transformations of vocal and instrumental sounds. It's sensitive, musical, and it's all the more amazing that many of the sounds and tunings, such as just intonation, are based on mathematics. As Alves says, "Ancient Greeks considered music to be literally audible mathematics ... " Well, if this music is based on mathematics, it's not at the expense of musical talent. This is a gorgeous CD!
Critic David Beardsley observes (Juxtaposition Ezine) that Bill Alves' music "moves forward with the drive of gamelan while displaying Alves command of timbre." In fact, Alves' musical influences reflect many international sources. One hears Indonesian musical sounds, intonation, and cyclic patterns, as well as West African drumming polyrhythms, samples of Korean instruments and English change ringing, a system of varying orders of pitches which developed as a folk art among the bell-ringers of England.
The compositions include: 'Redundant I', based on modifications of the voice of soprano Eva Vazzana singing a text by New York writer Mark R. Harborth; 'Bending Space', written for a collaboration with robot choreographer Margo Apostolos and computer animation expert Richard Weinberg; 'Time Auscultations' and 'Spectral Motion', written for a collaboration with robot choreographer Margo Apostolos; and 'The Question Mark's Black Ink', a work for live performers (Vicki Ray, piano, and Mark Nicolay, percussion) and electronic sounds.
Bill Alves composed most of the music on this recording on a Synclavier II. He teaches electronic music and world music in Claremont (California).
Listen to these MP3 excerpts:
Bending Space
Redundant I
Time Auscultations

EMF Media => EM101 $16.00

No image available The Ghost In The Machine

Yehuda Yannay and Jon Welstead have compiled a collection of collaborative music that explores interactions between electronics and performers. The title 'The Ghost In The Machine' is an homage to Arthur Koestler (it is also the title of one of Koestler's works) and to his writings on the processes of human creativity in which he described a blurred boundary between dispassionate reason and intuition. And the title fits the music, which blurs the roles between electronics and performers.
'The Ghost In The Machine' grew out of music-theatre productions that Jon Welstead and Yehuda Yannay have presented during the past ten years. Works on this recording have met with phenomenal reviews. 'In Madness There Is Order' was called "the most powerful and expressive piece in the program" (Hamburger Abendblatt) and "powerful, original and even visionary" (Wisconsin State Journal, Madison). 'Topochronos' "created a compelling three-dimensional 'soundscape' that bathed David Ignatow's poem ... in deep, rich hues." (Milwaukee Sentinel) and "certainly holds attention, especially with Dan Nelson throwing himself into it as he did ... " (Milwaukee Journal).
The compositions include 'Fo(u)r Percusssionist(s)' (1992) by Jon Welstead, for percussion synthesizers; 'In Madness There Is Order' (1988) by Yehuda Yannay, for tenor and electronic score; 'All in a Whisper' (1996) by Jon Welstead, for computer-generated sounds; 'Waiting in Non-Compliance: If We Want It So' (1995) by Jon Welstead and Steve Nelson-Raney; 'Topochronos' (1987) by Jon Welstead, for tenor, harp, computer and electronics; and 'In Between Us' (1989) by Jon Welstead and Yehuda Yannay, for computer and electronics. The performers include Steve Nelson-Raney (saxophone), Daniel Nelso (tenor), Jason Rodon (percussionist), and Jessica Palalis-Suchy (harp). The performers include Steve Nelson-Raney (saxophone), Daniel Nelso (tenor), Jason Rodon (percussionist), and Jessica Palalis-Suchy (harp).
Listen to these MP3 excerpts:
In Between Us
Topochronos
Waiting in Non-Compliance

EMF Media => EM103 $16.00

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	Showing 1-2 of 2 items.
	The Terrain Of Possibilities Bill Alves' music is based on fascinating patterns and lovely timbres, including computer transformations of vocal and instrumental sounds. It's sensitive, musical, and it's all the more amazing that many of the sounds and tunings, such as just intonation, are based on mathematics. As Alves says, "Ancient Greeks considered music to be literally audible mathematics ... " Well, if this music is based on mathematics, it's not at the expense of musical talent. This is a gorgeous CD! Critic David Beardsley observes (Juxtaposition Ezine) that Bill Alves' music "moves forward with the drive of gamelan while displaying Alves command of timbre." In fact, Alves' musical influences reflect many international sources. One hears Indonesian musical sounds, intonation, and cyclic patterns, as well as West African drumming polyrhythms, samples of Korean instruments and English change ringing, a system of varying orders of pitches which developed as a folk art among the bell-ringers of England. The compositions include: 'Redundant I', based on modifications of the voice of soprano Eva Vazzana singing a text by New York writer Mark R. Harborth; 'Bending Space', written for a collaboration with robot choreographer Margo Apostolos and computer animation expert Richard Weinberg; 'Time Auscultations' and 'Spectral Motion', written for a collaboration with robot choreographer Margo Apostolos; and 'The Question Mark's Black Ink', a work for live performers (Vicki Ray, piano, and Mark Nicolay, percussion) and electronic sounds. Bill Alves composed most of the music on this recording on a Synclavier II. He teaches electronic music and world music in Claremont (California). Listen to these MP3 excerpts: Bending Space Redundant I Time Auscultations EMF Media => EM101 $16.00
	The Ghost In The Machine Yehuda Yannay and Jon Welstead have compiled a collection of collaborative music that explores interactions between electronics and performers. The title 'The Ghost In The Machine' is an homage to Arthur Koestler (it is also the title of one of Koestler's works) and to his writings on the processes of human creativity in which he described a blurred boundary between dispassionate reason and intuition. And the title fits the music, which blurs the roles between electronics and performers. 'The Ghost In The Machine' grew out of music-theatre productions that Jon Welstead and Yehuda Yannay have presented during the past ten years. Works on this recording have met with phenomenal reviews. 'In Madness There Is Order' was called "the most powerful and expressive piece in the program" (Hamburger Abendblatt) and "powerful, original and even visionary" (Wisconsin State Journal, Madison). 'Topochronos' "created a compelling three-dimensional 'soundscape' that bathed David Ignatow's poem ... in deep, rich hues." (Milwaukee Sentinel) and "certainly holds attention, especially with Dan Nelson throwing himself into it as he did ... " (Milwaukee Journal). The compositions include 'Fo(u)r Percusssionist(s)' (1992) by Jon Welstead, for percussion synthesizers; 'In Madness There Is Order' (1988) by Yehuda Yannay, for tenor and electronic score; 'All in a Whisper' (1996) by Jon Welstead, for computer-generated sounds; 'Waiting in Non-Compliance: If We Want It So' (1995) by Jon Welstead and Steve Nelson-Raney; 'Topochronos' (1987) by Jon Welstead, for tenor, harp, computer and electronics; and 'In Between Us' (1989) by Jon Welstead and Yehuda Yannay, for computer and electronics. The performers include Steve Nelson-Raney (saxophone), Daniel Nelso (tenor), Jason Rodon (percussionist), and Jessica Palalis-Suchy (harp). The performers include Steve Nelson-Raney (saxophone), Daniel Nelso (tenor), Jason Rodon (percussionist), and Jessica Palalis-Suchy (harp). Listen to these MP3 excerpts: In Between Us Topochronos Waiting in Non-Compliance EMF Media => EM103 $16.00
	Showing 1-2 of 2 items.