His Master’s Noise: The Institue of Sonology (2 × CD) Track listing detail

Concret PH

Iannis Xenakis

  • Year of composition: 1958
  • Duration: 2:50
  • Instrumentation: stereo fixed medium

“Although i have a CD reissue of this piece, i prefer to play the vinyl issue. The piece was created for the 400 loudspeaker array in the Phillips Pavilion at the Brussels World’s Fair (architect: Iannis Xenakis) in a programme which also featured Edgard Varèse’s Poème électronique. The PH initial Hyperbolic Paraboloids, the principal structural element of the pavilion. Concret PH II is a 1968 revision. Beyond the allure of the simplicity of this piece i was fascinated by its physical relationship to the prevalent vehicle for recordings at that time; i.e., phonograph records. In some records rumble, dust ticks and the reproduced sound of tape hiss were an unwanted nuisance, but with Xenakis’ piece the medium and the message were inextricably intertwined — the little pops unique to my copy of the disc to my mind enhanced the experience of the whole.” —John Oswald

[source: Réseaux des arts médiatiques]

Poème électronique

Edgard Varèse

  • Year of composition: 1958
  • Duration: 8:00
  • Instrumentation: 3-channel fixed medium
This text is unavailable in English.

Le spectacle Lumière, couleur, rythme, son, image, conçu par Le Corbusier pour le Pavillon Philips de l’Exposition universelle de Bruxelles 1958, concentrait en 480 secondes la durée du Poème électronique. Théoriquement divisé en 7 séquences, l’ouvrage place le spectateur au centre d’émotions et de sensations visuelles, fruit d’une communion entre photographes, cinéastes, éclairagistes, tandis que l’électroacoustique permet à Edgar Varese de déclencher une composition sonore et mobile conçue en fonction de l’espace. Les éléments de la musique, sons électroniques, percussions, cloches, voix humaines d’une grande simplicité, n’ont d’autre valeur souhaitée que celle de leur organisation. Varèse parlait avec réticence du contenu émotionnel de son Poème, disant qu’il devait s’exprimer de lui-même. «Tragédie» indiquait-il, tandis que Le Corbusier affirmait: «Le Poème électronique se propose de montrer, au sein d’un tumulte angoissant, notre civilisation partie à la conquête des temps modernes».

Pier en Oceaan

Kees Tazelaar

  • Year of composition: 1999
  • Duration: 11:21
  • Instrumentation: 8-channel fixed medium

Voices of the Boat

Johan van Kreij

  • Year of composition: 1997
  • Duration: 7:54
  • Instrumentation: 4-channel fixed medium

Katasterismoi

Richard Barrett

  • Year of composition: 1998-99
  • Duration: 10:05
  • Instrumentation: stereo fixed medium

Logos Protos

Konrad Boehmer

  • Year of composition: 2000
  • Duration: 20:51
  • Instrumentation: 8-channel fixed medium

Pièce électronique no 3

György Ligeti

  • Year of composition: 1959, 95-96
  • Duration: 2:06
  • Instrumentation: 4-channel fixed medium

Disintegration

Wouter Snoei

  • Year of composition: 1998
  • Duration: 13:16
  • Instrumentation: 4-channel fixed medium

This piece was made for the final examination of the Sonology first phase. It is a quadraphonic piece but the main intensity is at the front speakers. All the sonic material was generated with a computer using CSound with a multiplier/feedback patch inspired on a patch used in the Institute’s analog studio. This is my longest piece so far.

[source: Réseaux des arts médiatiques]

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