Asymmetry: So I hear that you won first prize in the Bourges' competition. Which category? Kasem: Musique electroacoustic with formal esthetics. Asymmetry: Without instruments. Kasem: Yes. Well, there are instruments in the mix, but not in real time. Asymmetry: When did you start composing? Kasem: At twenty-four or twenty-five ...
writing about music for people who like music
Category Archives: Composers
Ludger Brümmer
[The first part of this interview was made in 2006 in Montréal at a festival for the 80th anniversary of Francis Dhomont.] Asymmetry: I first heard your music on the Ex machina CD with La cloches sans vallées. The music is so ...
A Ludger Brümmer Miscellany
TroTropforT - 1987 TroTropforT builds slowly and then breaks off suddenly. It starts up again with similar material, then breaks off again except for some quiet stuff to which are eventually added some clangs; but it goes on mostly quite quietly, with hollow little sounds and ...
Ricardo Mandolini
Asymmetry: I noticed in the concert last night that the piece that preceded yours was a kind of compendium, a collection of all the electroacoustic tropes of the last 60 years. It was like a little history of electroacoustic music. And then yours came along, and ...
Mandolini miscellany
Cancion de madera y agua A rattle of rachets to start, morphing in and out of various other sounds, without ever losing the rachety quality, until some low frequency thumps anchor things. After a short pause, the same mechanical logic begins to ...
2010 Truax Retrospectives
Barry Truax's involvement with electroacoustics goes back to 1949, although perhaps the early seventies is a more realistic date for the beginning of his involvement as a composer. Time enough, in any case, for there to be retrospective concert of his music, starting with the ...
connections, opportunities for mistakes
Francisco Meirino's 2009 release is all about the sounds music machines make when they're failing--minidisc players, P.A. systems, cassette recorders, and so forth. And very interesting and musical sounds they do make, to be sure. But ...
Oh ! espace … espace …
Un grand nombre des livres et d’articles ont été édités depuis des décennies sur le thème de l’espace sonore, sa perception, sa configuration fixe et mobile dans la composition de la musique acousmatique et sa projection dans l’espace d’un environnement particulier.
Dans cet article, je voudrais seulement témoigner de mon expérience en tant que compositrice de musique acousmatique, fascinée par les différentes techniques de spatialisation stéréophonique et multiphonique.
Oh! Space… space…
A large number of books and articles have been edited over the decades on the theme of sound space, its perception, its fixed and mobile configuration in the composition of acousmatic music, and its perception in the space of a particular environment.
In this article, I would just like to testify to my experience as a composer of acousmatic music who is fascinated by the different techniques of stereophonic and multiphonic spatialization.
