Les Chants de Milarepa
by Éliane Radigue
Songs of Milarepa (1983), 139’24
experimental, acousmatic, electroacoustic, electronic experimental, musique concrète
Éliane Radigue (1932-)
“Éliane Radigue was born in Paris. She studied Musique Concrète techniques at the “Studio d’Essai” of the RTF under the direction of Pierre Schaeffer and Pierre Henry (1956-57). She was married to the painter and sculptor Arman and devoted ten years to their three children. She then worked with Pierre Henry, as his assistant at the Studio APSOME (1967-68). She was in residence at the New York University School of Arts (1970-71), the University of Iowa and the California Institute of the Arts (1973) and Mills College (1998). She has created sound environments using looped tapes of various durations, gradually desynchronising. Her works have been featured in numerous galleries and museums since the late 60s and from 1970, she has been associated to the ARP 2500 Synthesizer and tape through many compositions from “Chry-ptus” (1971) up to “L’Île re-sonante” (2000). These include: “Biogenesis”, “Arthesis”, “Ψ 847”, “Adnos I, II and III” (70s), “Les Chants de Milarepa” and “Jetsun Mila” (80s) and the three pieces constituting the Trilogie de la Mort (1988-91-93). Since 2002, she has been composing mostly acoustic works for performers and instruments. Her music has been featured in major international festivals. Her extremely sober, almost ascetic concerts, are made of a continuous, ever-changing yet extremely slow stream of sound, whose transformation occurs within the sonic material itself.“
I’ve been looking through some of my drafts in a bit of a tidy up, and have found many that, for some reason, I forgot to post, like this one…Now’s as good as any…
Laurie Spiegel: (1945- ) A composer whose work appears on NASA’s “Golden Record,” (shipped out on the Voyager spacecraft) Laurie Spiegel is known worldwide for her pioneering work with early electronic and computer music systems. A cutting-edge thinker, her experience with early analog electronic music systems led Spiegel to innovate musically and instrumentally. She has focused largely on interactive software that uses algorithmic logic as a supplement to human abilities, thereby expanding access to creative expression for a far greater number of people than was previously allowed through traditional methods of musical training. The aesthetics of musical structure and cognitive processes have also been a focus of Spiegel’s work. Spiegel’s work has been re-issued, having appeared in the popular Hunger Games movies, highlighted in the 2018 BBC Proms, and featured in various museum settings where the intersection of electronic music compositions, the machines, and software used to create those compositions, and the visual arts have come together in harmony.
You can never have enough of The Space Lady : )
Artist: The Space Lady
Title: greatest hits
Keywords: pop, electronic, synthesizer
I know… I know.. and I’m even fully aware of already having discussed this lovely album over here, but sometimes it’s nice to have it ripen in the back of my head and return to it like a fine wine that has stood through the seasons to make all the flavors pop out for the best. When I first heard it I was just fully flabbergasted and surprised about its discovery through a good friend (graham Boosey) who had seen this lady perform in concert. I was fully blown away by just hearing this album so imagine how blown away his enthusiasm was, but now with the time passing gracefully and the music flourishing like a flower over time in my own memory storage system, I thought reviewing it for a second time was a nice little thing to…
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“I wanted to explore edges and boundaries in any form; abstract, fictional, material, and by doing so I started to find metaphors I could use from concepts coming from geology like the anticline or the antiform which are ultimately disrupted or distorted hierarchical bodies.” —Lucrecia Dalt Words: Mark Carry On the striking, near-prophetic album opener […]
It’s clear from the outset that Ciani was always tireless, but her energy and commitment to artistic excellence has failed to flag.
Ludmila Frajt (December 31, 1919 – March 14, 1999) was a Yugoslav and Serbian composer. She wrote choral, orchestral and chamber works, music for films and radio-dramas, electro-acoustic works, as well as music for children.
A pioneer of female writing in the domain of Serbian music, she often wrote ‘female’ vocal genres such as lullabies and threnody (music for mourning the dead) .