Steve Reich - Music for 18 Musicians

This dosen't really relate to anything but thought it was amazing and wanted to share.<br />
Steve Reich is actually a major influence for many electronic music musicians.<br />
Such as. . .<br />
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<a href="http://soundcloud.com/stevenauth/sets/steve-reich-music-for-18?utm_source=soundcloud&amp;utm_campaign=share&amp;utm_medium=blogger&amp;utm_content=http://soundcloud.com/stevenauth/sets/steve-reich-music-for-18">Steve Reich - Music for 18 Musicians</a>

DJHistory.com

Where there's a lot of digging to do. . .

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In Search of Balearic

A group of islands, the cult of Alfredo, or just an excuse for playing daft pop records? Balearious!
 
Twenty years ago, the word Balearic meant nothing more than a collection of islands huddled near the Mediterranean coast of northern Spain. It was the sort of place you might go to if you favoured package holidays or booked your breaks from the pages of a Thomson’s brochure. But then something strange happened. British DJs, holidaying on the island of Ibiza, discovered a DJ called Alfredo Fiorito and before we knew it, the Balearics – the location – also became a musical genre: the Balearic beat. more . . .

Mouse on Mars Interview 2010

Exclusivités channel

The Wire Sessions: Mouse on Mars @ MUTEK 2010

Interviewer: Derek Walmsley, The Wire
Camera, Sound, Editing: Meg Hewings
Production Coordinator: Patti Schmidt

Q&A with The Wire and Mouse on Mars at MUTEK 2010 from MUTEK on Vimeo.

Music and Computers by the JSyn folks

Music and Computers: Music and Computers
A Theoretical and Historical Approach

Phil Burk, SoftSynth.com
Larry Polansky, Department of Music, Dartmouth College
Douglas Repetto, Computer Music Center, Columbia University
Mary Roberts
Dan Rockmore, Department of Mathematics, Dartmouth College

An online textbook with JSyn Applets by Larry Polansky, Douglas Repetto, Mary Roberts, Dan Rockmore and Phil Burk has been re-released as a free resource.

What is a Kim 1?

Here's a whole lotta info on the first micro computer... aka laptop. Used for the creation of the League of Automatic Music Composers which  lead into The Hub.

Click here for more info!
 Simple Microcomputers and Trainers

· · · CROSSFADE· · · Chris Brown & John Bischoff

history of the Hub and More!

An in depth article  by Chris Brown & John Boschoff

· · · CROSSFADE· · · Chris Brown & John Bischoff

Interview with Sergi Jorda/F@ust Music Online

Sergi Jorda/F@ust Music Online interview. by Alessandro Ludovico

How many people concurred to F@ust Music Online?
From 98-01-18 to 98-04-16 (the date in which the reception of pieces for the show concluded), more than 1,100 brief pieces by around 100 composers were submitted, but the core of assiduous participants was no more than 20. These constituted a virtual family, which communicated every night, exchanging sounds, creating music collectively, without knowing each other. They were the FMOL junkies; creators who spent several hours a week during a three months period, and with whom I exchanged numerous technical and esthetical e-mails. Given the SGAE promotion, this influx may seem somewhat poor, but the existence of this selected and faithful core group was enough to justify all effort involved. When conceiving FMOL, one of my personal aims was to conceive an engine and a graphical interface that could be attractive to both trained and untrained electronic musicians. And I think that this goal was fully attained. We now know that several of these "faithful" participants had not a prior contact with experimental electronic music; a few were even composing for the first time, but all of them, took it, however, as a really serious game, and the final quality level of the contributions was really amazing. On the other side, I would like to say that during this period, I did also receive many e-mails from more orthodox composers, puzzled and confused by that crazy piece of software, but who still wanted to collaborate with La Fura in a more traditional manner.

 
more: Neural.it: Sergi Jorda/F@ust Music Online interview.

Laurie Spiegel's "Sediment" in The Hunger Games: How the new movie righted a musical wrong

Yesterday on Wired.com, Geeta Dayal spoke with the composer and electronic-music pioneer Laurie Spiegel. The reason? A bit of Spiegel’s 1972 piece “Sediment” has cropped up in the film adaptation of The Hunger Games. A 9-minute slice of pure atmospheric portent, “Sediment” is a perfect fit for any dystopian flick. Unlike a great deal of self-styled “experimental” music, it manages to deploy a mood of grimness with a counter-intuitively light touch.

More:  Laurie Spiegel's "Sediment" in The Hunger Games: How the new movie righted a musical wrong: 1972

Pauline Oliveros Interview by Cory Arcangel for BOMB Magazine:

Cory Archangel: A What keeps pushing you to drive in these directions which haven’t been driven in before? To take what you just said as an example, video telephones certainly were not designed for small musical ensembles, but you decided to push the technology in that way. And now you’re working with DARPA technology to organize multi-site performances. These technologies were not designed for these uses, and yet you have continually bent them to your vision.

Pauline Oliveros: I could fall off the cliff. What keeps me going is the interest and excitement. It’s very amazing to work with people in that way, and it’s also very difficult. I do believe that relationships are the Wild West, and that working physically and virtually is part of developing a more peaceful world. This has to be learned through listening and negotiating. Improvised music is a great model for community building and reconciling differences. My work with Deep Listening supports this idea. A community of Deep Listeners has grown out of the summer retreats and workshops are given in many places in the world. People who listen together grow and expand together.

 Full Interview here: BOMB Magazine: Pauline Oliveros by Cory Arcangel