The construction of tones reflects the complexity of the effect of interculturality, which combines the intellectuality of the "self" in writing culturally issued from the West with the spirituality of the harmonious "not self" environment of the Far East. As can be observed, the complexity of all approaches in the field of mixed music reveals in all its simplicity the wealth and sincerity of human beings.
View on desfemmes. All these elements will contribute to the definition of the work undertaken during research and organization source, classification, catalogue, musical analysis, database record…. A little known episode of the first Taiwanese woman electroacoustic composer - Wang Miao-Wen more.
A little known episode of the first Taiwanese electroacoustic composer - Wang Miao-Wen Wang Miao-Wen, the first Taiwanese composer of electroacoustic and mixed music, is muck like Lin Erh thirty years before, as talented and avant-garde A little known episode of the first Taiwanese electroacoustic composer - Wang Miao-Wen Wang Miao-Wen, the first Taiwanese composer of electroacoustic and mixed music, is muck like Lin Erh thirty years before, as talented and avant-garde as her predecessor, they both passed in the musical sky like shooting stars.
Her story is indicative of the cooperation in the field of higher education in music between Taiwan and France. Her work is evidence of the characteristics of musical composers of her generation, including the use of cultural elements. I will also discuss different methods of composition and musical thought through a mixed work commissioned by IRCAM in L'Harmattan, novembre , p. Publisher: Ed. View on reseau-asie. Electroacoustic music in Taiwan : a prehistoric stage? Electroacoustic music in Taiwan : is it still at the stage of prehistory?
A desert, until the eighties, two pioneers too early: Lin Erh in the sixties and Wen Loong-Hsing the seventies before the arrival of the first foreign teacher A desert, until the eighties, two pioneers too early: Lin Erh in the sixties and Wen Loong-Hsing the seventies before the arrival of the first foreign teacher Jean- Claude Eloy in and in Taiwan through a private and university organization in Taipei which reveals a non-accademical development of electro-acoustic music oriented multimedia and operated by sound artists, not composers.
In the late eighties with the return of taiwanese composers from foreign Tseng Shing-Kwei, Wu Die, Gao Hui-Zong, Ma Jie-Min , we assist the creation of laboratories in the music departments of universities. Neither pedagogical program without teacher, the National Chiao-Tung University invite Phil Winsor to inaugrate the position held for around twenty years. This issue symbolizes the poor integration of this discipline in different institutions and pedagogical orientaiton disorderly. Forty-five years of existence, but actually an area under construction in Taiwan for the last twenty years.
Taiwanese women composers and Mixed-Music more. In contrast, the Book published by the Composers Association of Taiwan lists 28 women out of 61 composers. Today, 23 women out of 45 appear on the list of composers born between and , having studied composition abroad. The list drawn up for composers born between and is reduced to 35 members of which, 31 are women. Half of these members have chosen to live abroad.
This new young generation frequently discover and compose with the use of advanced information technology and software, skills developed while studying in the West. The Electroacoustic Music took off in Taiwan in the Eighties and the Mixed-Music only dates from the beginning of the 21st century. The purpose of this study is to introduce some rare music pieces written for that very music.
Observation and analysis based upon musical writing, language and thinking will thereby enable one to find issues and characteristics specific to this new generation of Taiwanese women composers.
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This article will be published in , Ed. View on omf. Article published by Ed. Biography Deutsch more. Biography English, Medium Version more. Her music is issue from synesthesia in light. Liao evokes the practice of the noble silence and the profound breathing. Her works are focus on the musical and philosophical fusion between time and space, between the physical and musical gesture, between the visual and the auditory ex. TTy for grand tam tam, Time of Trees for gestures of two pianist and shadow, To Light, and then return Marc Battier, Ed.
Delatour, and 15 articles. Biography English, Short Version more. In the music composition, she studied with Allain Gaussin et Philippe Leroux. Biography English, Long Version more. Liao received her Ph. Delatour, concerning cultural and musical analysis. TTy pour grand tam tam, Time of Trees pour gestes de deux pianistes et ombre, To Light, and then return Concerts View on vertixesonora.
View on instantdonne. View on opera-orchestre-montpellier. How prudent that we are blind Rediffusion one bird, one tree Wilhem se fait passeur entre ces univers si proches et si lointains. View on galeriehus. View on artsticket. View on smit. Freitag View on toypiano-weekend. View on lanouvellerepublique.
Mai und Freitag 1. Jourdan, Paris. World-Premiere one bird, one tree The source of inspiration for this piece, divided into five bagatelles for a choreographic gesture of the hands, is the result of my own practice of Johann Sebastian Bach's Goldberg Variations. The intuitive perception of space and time is conceived by: movement without sound, sound without movement, sound and movement, and no sound or movement. First, I deconstructed the hand gestures in Bach's Variations to establish a range of visual elements. I then used this same analytical method to initiate a new piece with musical elements.
The use of the shadow gestures is an important, yet indirect, contact - an essential aspect maintaining the dialogues between musicians, audience, composer and the work itself throughout entirety of the performance. View on collabpiano. Vicky Yang and Maggie Chen. View on australianpianoduo.
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View on taiwanculture-hk. View on enlm. Look back on time with kindly eyes View on meitar. View on atelierduplateau. View on unerhoerte-musik. View on whynote. View on cirm-manca. View on klangwork. View on muslab. View on bifem. Konzert 1 Uhr View on presenceafrontenay. View on museebal. View on gedok-hamburg. View on bangor.
View on esmd. View on marcomomi. View on estrepublicain. View on oaa. View on tpmc-paris. View on artscenter. View on in. View on acc. View on ryoanji. More Info: Creation for flute, bass clarinet, violin, cello, piano, soprano and a "non-bel canto" woman voice Publication Date: Aug 1, View on on-cologne. In a synesthesia of sound and light, Liao Lin-Ni translates, transcribes, and transmits poems, paintings, and phenomenon of nature through music. Concert du Conservatoire.
Sauvage et Ortolan. Rosier et A. Nuiter et Beaumont, musique de M. Henri Heine. CM IX p. Sax, Vuillaume, Alexandre. Le Concertina. Erard, Herz, Pleyel. Brunswick et de Beauplan, musique de M. Edouard Foussier et Besanzoni. Concert de Vivier. Avec vingt francs on a un billet. Edouard Fournier, musique de M. Un Miserere. Barbot et Michot. Reprise de Zampa. Liszt en Hongrie. Distribution des prix du Conservatoire de Marseille. Emanuele Billetta. Reprise de Jean de Paris. Les professeurs de piano. Henri Panofka. Publications nouvelles. Symphonies de MM. Reber et Saint-Saens.
Sivori, Stainlein, Lubeck, Van Gelder. Reichardt, M me Massart, M. Jacquart, M. Got, musique de M. Compositions nouvelles. Boisseaux, musique de M. Compositions nouvelles de Prudent. Brideau et Duchateau, musique de M. Granval, musique de M. Strauss et Krug. Ecole Beethoven. Cormon et Grange, musique de M. Saint-Georges et Leuven, musique de M. Inauguration de la salle Beethoven. Mouvement musical de Paris. Gastinel et ses nouvelles compositions.
Fernand Cortez. Auguste Gathy. Dernier concert de Litolff. Dumanoir et Clairville, musique de M. Chazot, musique de M. Clairville, musique de M. Durand, organiste du grand orgue de Saint-Roch. Jaime fils et Dubreuil, musique de M. Faut-il baisser le diapason? Il faut donc seulement fixer le diapason actuel? Henri Boisseau, musique M. Symphonie nouvelle, de M. Zanni de Ferranti. Lockroy et Cogniard; musique de M. Concert de Prudent. Musique de chambre. Barbier, musique de M. La Pagode , musique de M.
Fauconnier, parles de M. Sauvage et de Leuven, musique de M. Les critiques. Mortier de Fontaine. La salle Beethoven. Concerts de Richard Wagner. Alexandre Dumas et de Leuven, musique de M. Pacini, musique du prince Joseph Poniatowski. Carcassonne, musique de M. Repris en grande partie dans ATC.
Etude sur le diapason normal , par G. Gille et Dufresne. Une nouvelle sonate de Beethoven. Legouix, Schubert, M. Rime riche. Repris en partie dans ATC extrait 1 , extrait 2. Repris en partie dans ATC.
Scribe et Boisseaux, musique de M. Jacques Offenbach. Etudes sur le quatuor , par M. Boisseaux et Scribe, musique de M. Gilles et Turbine, musique de M. Reprise de Gil Blas. Damcke, Schutoff, E. Forgues, Th. Herz, Auer. Salle de la rue Cadet. Fontaine, musique de M. Najac, musique de M. Prevel, musique de M. Les Plaisantins de la musique. Symphonies de H. Concerts populaires de musique classique.
Alphonse Royer. La Nuit aux gondoles , de MM. Jules Barbier et Prosper Pascal. Cormon et Trianon, musique de M. Reprise de la Statue. Engel; concerts du Conservatoire. Auguste Dupont. Dumanoir et Dennery, musique de M. Zaccone, musique de M. Jules Barbier, musique de M. Jules Beer. Mme Escudier-Kastner. Tout le monde. Lalla Roukh. Reprise de Lalla Roukh.
Un coup de sifflet; une tympanite. Musique et musiciens. Oscar Comettant. Musique et musiciens , par M. The rehearsal apparatus is the performance apparatus. A peripheral partition unites all the elements necessary for the show: the control booth, space for the acting, lighting, props and the audience. Paris, France. Berger Sound: Le Tone. Let the stormy clouds chase everyone from the place Laurent P. Berger, Fog machine, sound installation. Watermill Center, New York. A theatrical display in an artificial environment. The formation of a smoky cloud, contained in a confined indoor space.
This temporary movie is the result of a protocol for its use that goes beyond the constructed object: the dissolution of an architectural object into a fictional apparatus. This piece of architecture constitues both the environment and the object of the fourth act of a play that successively unfolds in several spaces of the CDN in Dijon. The morphology of this inhabitable decor answers to rules of acoustic compositions. To complete the exclusive relation of this theater to the projected film, each of the "decors" from the movies's scenes is presented as a photograph in the apparatus. Diameter: 25 cm.
Private collection. Berger, 31 PAR lamps Watt, metal, electric programmer. Diameter 65 cm, depth: 70 cm. Courtesy of the artist.
Piece in-situ. Inner diameter cm, outside diameter cm, minimum section 2. It consists of 31 PAR lamps parabolized aluminum reflector with a power of Watts each. The whole forms the upper third of a sphere. The luminous intensity of the first ring of sources, consisting of the 12 peripheral lamps, rises in two minutes and twenty seconds. Thirty seconds after the start of this progression, the luminous intensity of the crown inscribed in the peripheral ring and also constituted by twelve PAR lamps begins to grow to reach the level of the latter.
Twenty seconds later the intensity of the crown in the previous series, which has six sources, begins to increase and in one minute the intensity of the central source reaches its maximum level. The intensity levels of all sources are equal to two minutes and twenty seconds after the program starts. Then, a second cycle starts faster, the maximum intensity is reached in thirty seconds. In the past five seconds, the intensity of all the sources, with the exception of the peripheral ring, decreases. The intensity of the PAR lamps starts to decrease 3. In the time of two seconds the intensity reaches its initial level while the decrease in the intensity of the rest of the sources is carried out in 4.
A last cycle starts. Sources never go out. The first cycle starts again. Fifty-eight columns, 4 cm in diameter, define an orthonormal space. The rows of columns are oblique The columns are fixed by their top to the ceiling of the gallery. Their feet float. In the space of the "Panorama", twenty-eight of these columns are deployed.
The respective length of each is 3. In these rows, three columns are missing. In the southern part of the gallery, the floor is sloping. The length of each column varies between 2. In these rows, three columns are also missing. Its orientation is opposite to that of the facade of the building open on the protected place of the winds. This space is characteristic of the architect's project.
Ring This massive oak sculpture formalizes a ring whose center of the circle defining the inner circumference is not common to that of the circle defining the outer circumference. This piece of cabinetmaking formalizes a revolution around a movable axis. The irregular volumetry of this ring is defined by the progressive and symmetrical modification of a section of 2,26 x 3,75 cm of oak. All at once sculpture, architecture, and garden, Le Jardin des diversions is constructed with materials commonly found in modern architecture: glass dyed in the mass and steel, fundamental materials of modern architecture.
Wherever the observer finds him- or herself, the transparency is not total throughout the entire structure. The openings are set up so that the gaze cannot traverse the whole apparatus from north to south or from east to west. This pavilion is organized in a radioconcentric way, from the center to the periphery. But unlike the panoptical principle, the gaze, from the central cell, constantly runs up against a wall. Each layer of glass is qualified by the same degree of transparency. Sans titre series Laurent P. Berger, Pencil drawing on Bristol Superfine paper, 51 x 51 cm.
The walls then function as a beaded movie screen, returning most of the light projected onto it back to the direction of its source, that of the spectator. Paint is applied in the usual manner of a building painter. Nuit Blanche Metz, performance with Team Ghost. Pantin, France. Dimensions 56 x 35 x 12 cm. Exclusive piece. Is it the painter who looks for the northern light or the luminous quality of this space that initiated the practice of painting?
The space of the studio is not qualified by its functions but is affected by its many changing ambiances used for initiation into unprecedented practices. It is a public space open onto the garden in an atmospheric continuum with the island, a white space, modern, altered by the viscosity of the local climate. Notus Loci works through reversal; the white space of the gallery is that of production and the neo-Medieval wasteland of daily life. Festival d'Avignon Laurent P. Pierre et Marie Curie Campus, 5th arrondissement of Paris.
This unit of residence serves a literal purpose : the troop of artists lives on stage in the Cour d'Honneur with their families, for 24 hours a day during the whole of the three-day performance. The performance space is substituted with functional programming: a kitchen, a bathroom, a badminton court, a small amphitheater, a public gathering space, and an ensemble of cabin bedrooms.
The seemingly standard form of this architectural structure "3 Days" 3 days of set-up, 3 days of performance, 3 days of dismantling was drawn up in tandem with the project's registration on the site for the performance dates of the 15th, 16th and 17th of July It is presented as a series of climatic modifications that respond to the different micro-climates within the Cour d'Honneur. The stage is re-territorialized in function with the potential forms of habitat made possible by the climate of the site : from cooler to warmer, from the most artificial to the most natural, from east to west.
Diameter 7. Length cm. Weighing Edition of Team: Theo Vachon Private collections. The chair results from the coherent assembly of solid sycamore, the seat's thickness of 3cm and the back's 1,5cm board, with the steel structure, the legs and stiles of which are covered by a 0,25cm layer of the same wood. The association of solid wood on a fine steel structure generates an exchange of forces, giving the finished object its stability and solidity.
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The wood is therefore not a visual, aesthetic cladding, but a structural element, bracing the chair in three dimensions. Edition of 1. A Advertising Postings Agency of Rome, and printed in their facilities.
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An undetermined range of color successively affected by the digital production tool and the traditional procedure for printing in four colors referred to as CMYK Cyan, Magenta, Yellow, and Key. It consisted of a series of animated and dialogued pictures written for a wide audience, implementing stories and legends whose imagination and popular belief had fed. The supernatural and realism mix it.