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there are 3 titles featuring noah creshevsky in stock.
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back in stock as of
november 30th, 2011

first in stock on
june 8th, 2006


threads:
1970s-electronic
1980s-electronic
musique-concrète
playback-music
contemporary-classical
electro-acoustic-composition
plunder-phonic

 best of 2006 !!! 
em (japan) #em 1042 cd

noah creshevskythe tape music of noah creshevsky 1971-1992” compact disc

  • strategic defense initiative (1986)
  • highway (1979)
  • circuit (1971)
  • drummer (1985)
  • great performances (1978)
  • sonata (1980)
  • in other words (portrait of john cage) (1976)
  • cantiga (1992)
... overview of tape music from this “hyperrealist” composer, widely considered as one of the father of plunderphonics (alongside james tenney, jon appleton, etc...) via a series of quite humorous studies for found dialogue and extensive manipulation - in many ways mr. creshevsky is the link between the “seriousacademic tape-studio composer (concerned with matters of life/death, heaven/hell, etc...) and the home-schooled boffin (concerned with decidedly more puerile matters...) - certainly those enamored with the dim bulbs of mssrs. dub taylor et.al will learn to love anew with the aid of these recordings...

i have been composing electronic music for more than thirty years. common to all of my music is the use of expanded sonic palettes. my goal has been to create a body of work using a novel but natural, versatile, and expressive musical language. my focus on extended musical palettes mirrors the belief that individuals and societies are improved through broad inclusion. much of my musical vocabulary consists of familiar bits of words, songs, and instrumental music which are deconstructed into minute fragments, subjected to a variety of electronic processes, and finally reassembled in ways that bear little or no discernible relationship to their original sources. the result is a sound at once nearly human and tangentially electronic, but never fully one or the other. allusions to middle eastern, asian, and western sacred, secular, popular, and classical instrumental and vocal music seek to produce hypothetical performers of indeterminate identity--simultaneously male and female, western and non-western, ancient and modern, familiar and unfamiliar.

-- noah creshevsky
em press release...
reissue of 8 pieces from 1971 to 1992, mainly tape collage, using instrumental (incl. disco dance music or rock music), vocal, and concrete sounds. "in other words" features the voice of john cage. noah is a julliard-educated composer with a sense of humor and fine taste in vests.


below: babelfish translation from the japanese label info...


all the tune first cd conversion collections which "today compile the mad tape music of spike jones thing noah credit chef skiing of the music circle". the air becomes far, it was constructed with the tape pasting compilation kind of job where, the radical collage & editing sense large explosion. the hip hop/the chestnut thornback tar the the intense work collection which it flies.

* background of noah creshevsky *
? ? the noah credit chef skiing? ?


although tokyo university of the american music circle, the master degree was obtained with ƒ… music institute, seeking the music which establishs in that classic academy and distance, is new, the noah credit chef skiing which designates "tape music" as expression expedient. of the analog tape which needs very time (to cut and he approximately 20 years, challenging to the limit of mind and the physical strength from '70 age first stage while hari) with, the analog composition by tape cutting hari who is produced. they are the tape music selected works which compile the careful selection 8 tune which becomes the compilation into one book with his himself supervision. pc/midi/being able to compile easily with the hard disk, with the present technology which finishes, the air impression only the thing and the analog which cannot do expression having the power which is full of. word of the john cage the collage was done, also you record "in other words". hip hop/ chestnut thornback tar large shock.

...

* voices from......

it is epoch-making release. the name, noah credit chef skiing, even of the worldwide never famous you supplied the past tape work inexpressible composer, this japanese individual plan board private, ray world scot's wonder ' manhattan reserch inc. ' and ' compositions demonstrations of genius hue of canada 1946-1974 ' cd release, or the dutch oddity composer which becomes extreme (the aka kid val tongue) also consecutive ƒ… etc. can be comparable, (with saying, however you do not understand with you think in only the person who understands laughing), in the history of "electronic music", you think that decisively it is important attempt. we would like to send the applause from heart to prompt decision of the m record. ---- atsushi sasaki

...

about these 5 years, being to stop completely buying cd, it does, but the craving oven that you want you revived very recently, we would like to hear. the musician who has become the opportunity, the noah credit chef skiing is introduced.

it learns from thomson and , also the self teaches in the university, and the music school writes also string music tune, it seems like the glance true this composer, but is not just that, several works of eighties whether you say, that you forebode the hip hop, also the self naming tape music, have thrown the body there. but that with the gaze which certain today the musician despises well, the mark which for example tries doing the house music with play shy type and softness it is not appeal, in addition, it is hesitant sheath that makeshift, it rides in popularity, and so on being either the minute dust not to be, it does. the pop shoots intense beat as though the break dancer of the black scattering and others. if steady b and , that sound was heard, believing, that it is the sound which the familiar companion made it does not doubt, probably will be.

...... like the magic trick, putting out the cell fragment of sound instantaneously, immediately, you turn off, in addition put out and hide and/or with, strange and meaning experiment deeply. it depends on the individual attitude which these being interesting, re-composition, tries will induce the contrast between plural sounds, and the memory of the listener will utilize skillfully, to re-construct the music of the self. is the tape music which is locked, but there is a state where functional manner has entrusted many to imagination of the listener, is opened, being to sympathize to strange action area as a composer expression person, it does........ ------ tikuson (from fader magazine serialization column)

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$12.61

back in stock as of
october 20th, 2009

first in stock on
february 11th, 2009


threads:
electro-acoustic-composition
modern-composition
plunder-phonic
digital-musics

mutable (usa) #mutable 17516 cd

noah creshevskyhyperrealism” compact disc

  • canto di malavita (6:37)
  • jacob's ladder (7:52)
  • vol-au-vent (5:10)
  • hoodlum priest (6:05)
  • novella (7:29)
  • ossi di morte (11:29)
  • jubilate (6:23)
  • born again (5:10)
collection of recent (1997-2003)hyperrealist” pieces by noah creshevsky ...
mutable press release...
hyperrealism
electroacoustic music by noah creshevsky
hyperrealism is an electroacoustic musical language constructed from sounds that are found in our shared environment ("realism"), handled in ways that are somehow exaggerated or excessive ("hyper").

fundamental to hyperrealism is the expansion of the sound palettes from which music is made. developments in technology and transformations in social and economic realities have made it possible for composers to incorporate the sounds of the entire world into their music. essential to the concept of hyperrealism is that its sounds are generally of natural origin, and that they remain sufficiently unprocessed so that their origin is perceived by the listener as being "natural." since the sounds of our environment vary from year to year, generation to generation, and culture to culture, it is impossible to isolate a definitive encyclopedia of "natural" sounds, but there are a great many sounds that are familiar to nearly all of us. these are the most basic building blocks in the formation of a shared (if temporary) collective sonic reality. hyperrealism celebrates bounty, either by the extravagant treatment of limited sound palettes or by assembling and manipulating substantially extended palettes.

trained in composition by nadia boulanger in paris and luciano berio at juilliard, noah creshevsky (b. 1945) is the former director of the center for computer music and professor emeritus at brooklyn college of the city university of new york. his musical vocabulary consists largely of familiar bits of words, songs, and instrumental music that are edited but rarely subjected to electronic processing. the result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities.

creshevsky's most recent compositions explore the fragmentation and reconstruction of pre-existing music in combination with original synthetic and acoustic materials. moments suggest musical environments of indeterminate ethnicity--simultaneously western and non-western, ancient and modern, familiar and unfamiliar

november 2003 release

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back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009


pogus (usa) #p 21049 cd

noah creshevsky / if,bwanafavorite encores” compact disc

  • noah creshevsky - mari kimura redux (5:46)
  • if, bwana - xyloxings (10:53)
  • noah creshevsky - shadow of a doubt (15:06)
  • if, bwana - scraping scrafide (10:38)
  • noah creshevsky - intrada (3:46)
  • if, bwana - cicada #4: version barnard (10:06)
  • noah creshevsky - favorite encores (6:46)
pogus press release...
21049-2 cd

noah creshevsky / if,bwana
favorite encores

a split cd of works by noah creshevsky (4 tracks) and if, bwana (3 tracks). while on the face of it this may seem a somewhat odd pairing, the pieces recorded here comment on and highlight each other. and as the above quotes suggest, an aural adventure is indeed in the offing.

trained in composition by nadia boulanger in paris and luciano berio at juilliard, noah creshevsky has taught at juilliard, princeton university, and brooklyn college. he was director of the center for computer music (1994-2000) and is currently professor emeritus at brooklyn college of the city university of new york. his musical vocabulary consists largely of familiar bits of words, songs, and instrumental music that are edited but rarely subjected to electronic processing. the result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities. creshevsky's most recent hyperrealist compositions explore the fragmentation and reconstruction of pre-existing music in combination with original synthetic and acoustic materials. moments suggest musical environments of indeterminate ethnicity--simultaneously western and non-western, ancient and modern, familiar and unfamiliar.

hyperrealism is an electroacoustic musical language constructed from sounds that are recognizable parts of our shared environment ("realism"), handled in ways that are exaggerated or excessive ("hyper"). hyperrealist music exists in two basic genres. the first uses the sounds of traditional instruments that are pushed beyond the capacities of human performers in order to create superperformers--hypothetical virtuosos who transcend the limitations of individual performance capabilities (e.g., mari kimura redux, intrada, favorite encores). hyperrealism of the second genre aims to integrate vast and diverse sonic elements to produce an expressive and versatile musical language. its vocabulary is an inclusive, limitless sonic compendium, free of ethnic and national particularity (e.g., shadow of a doubt). hyperrealism celebrates bounty, either by the extravagant treatment of limited sound palettes or by the assembling and manipulating of substantially extended palettes.

al margolis has been working under the musical pseudonym if, bwana since new year's day 1984. there are often collaborators in this project‹both knowingly and unknowingly. both are represented on this recording. xyloxings was a concept-based work that in the end had the concept discarded for compositional considerations. lisa barnard's vocals were recorded with her direct knowledge. scraping scrafide uses a portion of tony scafide's piano part from a prior work of mine3 out of 4 ain't bad and processes it. cicada #4: barnard mix is part of my "discipline" series - an open set of works - and uses barnard's vocals from other sessions to create one of many possible versions of this work.

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