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 natasha anderson 
there are 2 titles featuring ruth anderson in stock.
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$12.01

new to stock as of
march 9th, 2007


threads:
electro-acoustic-composition
field-recordings
site-specific

experimental intermedia (usa) #xi 118 cd
xi records (united states) #xi 118 cd

anna lockwood / ruth anderson” compact disc

  • annea lockwood world rhythms (45:48)
  • ruth anderson i come out of your sleep (23:31)
experimental intermedia press release...
annea lockwood / ruth anderson
sinopah

"this is not an album of environmental sound for relaxation, though listening to it might have a calming effect. nor is it sonic nostalgia for a tame or even cute nature. some of these sounds (especially if played loudly on speakers with good bass response) can bite!" - warren burt

annea lockwood
world rhythms

world rhythms originated as a ten-channel live improvisation in which the audience was surrounded by ten loudspeakers. the recorded sounds include volcanic eruptions, earthquakes, radio waves, geysers and pools, and tree frogs.

these sounds are a physical manifestation of energies which shape us and our environment constantly, energies of which we are not always aware, but which powerfully influence and interact with the rhythms of our bodies.

"what separates her work from musique concreté is that the attention is drawn, not to the sound construction she's made, but to the universe outside our perceptual framework, no matter how sensuous the results. as you listen, reality overwhelms you. the fact makes her a more important electronic pioneer than she's yet been given credit for ." - kyle gann, the village voice

...

ruth anderson
i come out of your sleep

i come out of your sleep follows a tradition of sound poetry, or text-sound, begun in part by kurt schwitters' ursonate and expanded by composers such as john cage, charles amirkhanian, and jackson mac low.

the piece is based on the speech vowels in louise bogan's poem, little lobelia. the vowels are whispered and elongated; their shapes become breathed melodic arcs and tones, and that breathing becomes the core of a stylized meditation.

"the music creates a space of safety. the sound can carry one to an altered state of consciousness...one can awaken from the listening feeling refreshed, as if sleep happened...." - pauline olilveros

the piece is based on speech vowels in louise bogan's poem little lobelia, but you wouldn't guess it --whispered and elongated, the sounds are no longer verbal but become intertwining lines of breathing. xenakis, for one, has produced similar sounds but not in such a finely textured treatment. once you adjust to its wavelenth, the effect is captivating and, in the nicest way, also relaxing.” - andy hamilton, the wire

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back in stock as of
december 19th, 2008

first in stock on
november 22nd, 2006


threads:
1960s-electronic
1970s-electronic
musique-concrète
electro-acoustic-composition

new world (usa) #nw 80653 cd

new music for electronic and recorded media: women in electronic music—1977” compact disc

  • music of the spheres (1938) (johanna m. beyer)
  • world rhythms (1975) (annea lockwood)
  • bye bye butterfly (1965) (pauline oliveros)
  • appalachian grove i (1974) (laurie spiegel)
  • i could sit here all day (1976) (megan roberts)
  • points (1973–74) (ruth anderson)
  • new york social life (1977) (laurie anderson)
  • time to go (1977) (laurie anderson)
click the play button to hear an excerpt of "annea lockwood - world rhythms (1975)"
classic compilation (originally released on the 1750 arch label in 1977) containing a thorough selection of pieces by women composers from the 60s & 70s.
new world press release...
new music for electronic and recorded media: women in electronic music—1977

this is a long-awaited reissue of the cri cd of the classic 1750 arch lp.

"the music on this album exhibits an exciting, wide-open, freewheeling approach to the medium of electronic music which has come to be typical of this genre in the late 1970s. no longer are composers obsessively concerned with the agonizing, expressionistic, and purely “electronic” (synthesized) sound formulas which marked much of this music composed between the mid fifties and the late sixties. instead, today we have composers willing to mix media and sonic materials in thoroughly inventive ways to achieve ends which are new-sounding, and often more engaging, than that of the “academic” avant-garde.

this is the outgrowth of a fundamental change in concerns which has been evolving not only among the composers on this album but also in a growing segment of the musical avant-garde, of which these members are some of the most fecund and inspired. these new sources of inspiration certainly were not as widely shared fifteen years ago. several composers represented here are deeply concerned with eastern influences: meditation, healing, trance, states of serenity. others are inspired by traditional (or “ethnic”) musics and their subsequent metamorphoses into such popular forms as rock and roll. still others bring to bear a sense of wit and satire, rarely a prominent feature of avant-garde music in the early 1960s.

this first anthology of women’s electronic music demonstrates great refinement and skill at work in a variety of different styles, several of which are unfamiliar or new even to those who follow contemporary music. the fact that these pieces are more listenable than that of the sixties avant-garde does not point to a musical regression as some critics have overeagerly assumed when discussing modern works using, say, consonant harmonic structures. rather, and i think this is common denominator for these pieces and something which women composers and artists have been instrumental in legitimizing again for this period in time, these works signify a new consciousness of the relationship of art to human life and the important and positive interaction which can be the role of a more personalized art in our day-to-day experience.”

charles amirkhanian, august 1977

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 natasha anderson 
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next artist:
 jan anderzen 
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