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James Kibbie - Bach Organ Works - Download

James Kibbie - Bach Organ Works - Download
download in groups Complete works organized into 13 groups for download. (Individual works may be downloaded via the catalog or search pages) The links below are to .zip archives containing 256kbps AAC encoded versions of the recordings. After downloading a .zip archive, uncompress it and import the folder of audio files into iTunes or a similar application. All 13 groups are available for download via where they can be downloaded all at once. Each zip file can also be downloaded by following the links below. This work by James Kibbie, The Complete Organ Works of J.S. Privacy Policy Contact Webmaster: Copyright © 2010 The Regents of the University of Michigan

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Just Intonation Toolkit The Just Intonation Toolkit is a resource that allows musicians to hear and play intervals other those found in equal temperament tuning system. Various existing systems of just intonation can be selected and then played either with the computer keyboard, a MIDI keyboard, or from an external application. The intervals can be played as zither sounds, organ sounds, piano sounds, or sine tones.

License The purpose of this web site operated by the Internationale Stiftung Mozarteum in cooperation with the Packard Humanities Institute is to make Wolfgang Amadeus Mozart's musical compositions widely and conveniently accessible to the public, for personal study and for educational and classroom use. Wholesale downloading or reuse of the contents of this website is prohibited under all circumstances, whether commercial or otherwise. I agree to use this web site only for personal study and not to make copies except for my personal use under "Fair Use" principles of Copyright law The digitized version offers the musical text and the critical commentaries of the entire Neue Mozart-Ausgabe, edited by the Internationale Stiftung Mozart in cooperation with the Mozart cities of Augsburg, Salzburg, and Vienna.

My Only Mentor, Butch Morris (1947-2013) Butch Morris (center) performing with Christian Marclay (left) and Wayne Horvitz (right) at the Times Square-area bar Tin Pan Alley in 1987. Photo by Keri Pickett, courtesy Wayne Horvitz I met Butch Morris shortly after moving to New York City in 1979. Alternating Currents: An Interview With Mika Vainio Photo by Tommi Grönlund The sound worlds of Finnish electronic composer Mika Vainio, whether performed solo, in collaboration with artists as diverse as Alan Vega, Keiji Haino and F.M. Einheit, or as half of experimental techno innovators Pan Sonic, are immediately recognisable thanks to their unswervingly tight focus. Vainio coolly resists the trappings of constantly escalating music technologies, the better to closely examine the properties of his modest arsenal of tone generators and grooveboxes. Yet his output somehow manages to span the entire history of electronic music, reaching right back to its avant-garde roots in 50s academia, travelling through the post-punk transgressions of industrial music and stepping confidently across techno dancefloors to arrive at a 21st century interzone. Such a charged atmosphere was strongly evident throughout his recent sell-out show at London's Café Oto where, earlier in the day, he sits to discuss performing solo.

Robots & Electronic Brains - eclectic music zine strange sounds (6/1/06) The new book by Mark Brend is pretty clear about its focus: Strange Sounds. The subtitle is less succinct, but more exact: Offbeat Instruments and Sonic Experiments in Pop. If you've ever scanned the back of a Radiohead record sleeve and wondered what the hell an Ondes Martenot was or yearned to know just who created the puppetophonic soundtracks to the Gerry Anderson TV shows or puzzled over exactly what a washboard and jug had got to do with pop music or tried to hum the break from Wild Thing on a kazoo or marvelled over those super-sparse early hip hop drum breaks, this is the book for you. If you're not sure what a Clavioline is, or how its different from a Mellotron or a Stylophone, a Marxophone or a Dulcimer (mountain or otherwise) then you should definitely take a peek.

“Tape It Off The Air” – Blank Reel Tape Manufacturer Teaches you How to Pirate Music! From a recent Reel-to-Reel Conversion we did, this promotional insert was shilling subscriptions to an early Ziff-Davis publication by the name of Hifi & Music Review. It also had detailed instructions on how to jack music from the radio, before integrated stereo systems were common. Alas, there is no page 5… hence, the soft sell. Use my high-quality Reel-to-Reel to CD conversion service, with a low flat rate per Reel with a free MP3 copy delivered by email! Solfège Many music education methods use solfège to teach pitch and sight-reading, most notably the Kodály Method. The technique of solfège involves assigning the notes of a scale a particular syllable, and then practicing by singing different note sequences using these syllables. The sequences gradually get more difficult in terms of intervals and rhythms used. The seven syllables commonly used for this practice in English-speaking countries are: do (or doh in tonic sol-fa),[2] re, mi, fa, sol (or so in tonic sol-fa), la, and ti.

La Monte Young La Monte Young is a composer, musician, and Artistic Director of the MELA Foundation. He serves as artistic director of MELA along with the visual artist Marian Zazeela , with whom he is a major collaborator on many projects including the Dream House Sound and Light Environment . He is a disciple of Pandit Pran Nath , and teaches Kirana gharana at MELA's Kirana Center for Indian Classical Music . textura Theatres of Eternal Music Say the word drone and, depending on your conversation partner, any number of possible responses might emerge: an entomologist's exegesis on the male honeybee's mating practices, the military expert's account of Unmanned Aerial Vehicles, perhaps a musicologist's analysis of the drone-like features of the bagpipe, bluegrass banjo, and didgeridoo. Within electronic music circles, the word might elicit historical anecdotes populated by dramatis personae like La Monte Young and Terry Riley, plus nostalgic recollections colored by strobe-lit chanters and tambura players. Far from being an esoteric phenomenon of the ‘60s, recent works by Greg Davis, Deathprod, Robert Henke, Minit, and Growing suggest that the drone is still very much alive and, if anything, thriving. While there appears to be a resurgence of interest, it's also possible we're merely witnessing new additions to a genre that has never really gone out of fashion. What constitutes a drone?

Terry Riley - Poppy Nogood and the Phantom Band: All Night Flight (SUNY Buffalo, New York, 22 March 1968) (Organ of Corti/Elision Fields CD) Time for some revisionism! Can't say I understand too well why this disc was reissued last year...but I think I've got it straight now. "Poppy Nogood" was originally available on Terry Riley's "A Rainbow in Curved Air" disc in 1990, then issued as a standalone on the Organ of Corti's Terry Riley archive series in 1996 (which eventually went out of print) and now finally repressed here by Elision Fields (with new packaging although for an Elision Fields issue it displays the words "The Organ of Corti Archive Series" across the front pretty prominently) despite the fact that it's still available on Sony's "Rainbow" CD. So why would anybody buy this one by itself and not just "Rainbow" where you actually get the seminal "Rainbow" piece alongside "Poppy"? I'm not sure.

Exclusive Clip: See Raymond Scott's Fantastical Vintage Music Machines You’ve heard Raymond Scott’s music before, even if you may not realize it. The prolific composer’s musical DNA has been indelibly intertwined with American cartoons, films and popular music since the 1930s. It’s embedded in episodes of The Ren & Stimpy Show, The Simpsons, Animaniacs, Bugs Bunny and Daffy Duck; his music has been sampled by Madlib, Gorillaz, TV on the Radio, Soul Coughing and many more. Scott also designed fantastical music-making machines, beginning in the late 1940s, that helped lay the groundwork for electronic music as we know it now. The composer and inventor, who died in 1994, is the subject of a recent documentary, Deconstructing Dad. Directed by his son, Stan Warnow, the movie features interviews with numerous composers who were inspired by Scott — including Devo’s Mark Mothersbaugh and noted film composer John Williams — along with never-before-seen archival footage and in-depth insights from a range of historians and collaborators.

A = 432 Hz and the OM (136.1 Hz, C#) edition of sonic fabric Sometime during the mid-1990's I read in a book about yoga that the mantra OM is considered in Buddhist and Hindu traditions to be the primordial tone of the universe, a vibration which forms the basis of all things. As a musician and scientist, this sounded like an esoteric analog to the "Grand Unification Theory" being sought by quantum physicists. I decided in that moment that the existence of a fundamentally unifying vibration was something that I could believe in more strongly than most anything else. Shortly thereafter, I had the Sanskrit OM symbol tattooed onto the back of my neck as a permanent reminder. After all these years and lots more research, the idea of a primordial tone still intrigues me, and in fact inspires much of my work – especially sonic fabric.

Audiences hate modern classical music because their brains cannot cope "The brain is a pattern seeking organ, so it looks for patterns in music to make sense of what we hear. The music of Bach, for example, embodies a lot of the pattern forming process. "Some of the things that were done by those composers such as Schoenberg undermined this cognitive aid for making music easier to understand and follow. Schoenberg's music became fragmented which makes it harder for the brain to find structure. "That isn't to say, of course, that it is impossible to listen to, it is just harder work. It would be wrong to dismiss such music as a racket." Harmonic Interference Theory Harmonic Interference Theory is a set of thirty-four principles that explain music perception using the underlying physics of a harmonic standing wave. Based on a mathematical balance between maximum resonance and damping geometries in geodesic space, perceptual qualities in music can be modeled simply and organically using a “reflective interference function" between the harmonic and Fibonacci series. This is then used to explain how musical timbre and harmony are pattern matched recursively as cymatic patterns in the ear and brain. While this theory deals specifically with the question of music perception, the same universal principles can be applied to explain other natural phenomena. This includes how star systems form, how matter self-organizes into living carbon-water crystals and how self-awareness emerges from physiological resonance.