phonography homepage » phonography.org.uk CURATORIAL Curated by Barbara Held and Pilar Subirà LINES OF SIGHT #1 takes inspiration from recent projects concerning the musical score; musical, sociological, biological explorations of how our minds and intuition translate and transmit music. The compositions on this program have been realized from scores as varied as an interactive computer software controlled by a live performer, verbal instructions that undermine a pre-recorded playerpiano recording, data from a gps navigational system that converts geographical position into mathematical sounds, a text by Jacques Derrida and three superimposed similarly evanescing matrices of differently white numbers. + info Playlist
Home | DEEP LISTENING INSTITUTE women in electroacoustic, minimalism, tape music, musique concrète, free improvisation, and related genres Johanna Beyer I'm placing Beyer at the top slot intentionally, I cannot overstate her importance to the role of women in electronic, electroacoustic, minimalism, and related genres. Often cited as the first female electronic musician (due to her work scoring "Music of the Spheres" in 1938), Johanna Beyer was one of the most forward thinking composers of the 30s. Starting out as a pianist, she received two degrees at Mannes College of Music in 1928. Several years later she started studying and working with the likes of modernists Ruth Crawford, Henry Cowell, Charles Seeger, Carl Ruggers, and Dane Rudhyar. Throughout her work, Beyer exemplified some of the earliest use of a pitch based approach to rhythmic processes, made use of technically challenging tone clusters, and made distinguished use of processed percussion ensembles in her compositions. Her work has been revisited and performed by both Aaron Copland and John Cage.
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