Elektronisk musik

Since the dawn of the 1990s, British dance music has been in thrall to the seductive power of weighty sub-bass. It is a key ingredient in a string of British-pioneered genres, including hardcore, jungle, drum & bass, dubstep, UK garage and grime. In Join The Future, dance music journalist Matt Anniss traces the roots, origins, development and legacy of the sound that started it all: the first distinctively British form of electronic dance music, bleep techno. A mixture of social, cultural, musical and oral history, Join The Future reveals the untold stories of bleep's Yorkshire pioneers and those that came in their wake, moving from electro all-dayers and dub soundsystem clashes of the mid-1980s to the birth of hardcore and jungle in London and the South East. Along the way, you'll find first-hand accounts of key clubs and raves, biographies of forgotten and overlooked production pioneers, stories of bleep outposts in Canada and the United States, and the inside story of the early yea

An Orchestra at My Fingertips is the first study of the history, activities, and legacy of the Canadian Electronic Ensemble. Covering the ensemble's first fifty years, Alexa Woloshyn features musician biographies as well as analyses of the CEE's compositions, improvisations, commissions, and performance practice.

This unique, visually exciting look at the evolution of nightclubs across America and Europe since the 1960s reveals an unwavering truth about club culture-the one constant is change. Opening with the psychedelic haunts of the 1960s New York pop art scene and closing more than half a century later with the rise of post-club happenings, "Temporary Pleasure" shows how nightlife spaces have evolved to meet the needs of their generation, and how each generation was seeking something a little different from the one before. Each chapter focuses on a distinct phase and location: Italy's politically radical clubs of the '60s; New York City's disco scene; Detroit and Chicago's techno and house paradises; Ibiza's counterculture communal retreats; Britain's rave culture; and Berlin's techno scene. The clubs come to life in double-page spreads that feature specs and detailed profiles. Author John Leo Gillen offers his take on various important cultural, design, and architectural details, while numerous photographs offer their own vibey stories. The book features interviews with people who were involved in a number of the scenes included, from NYC disco mainstay DJ Justin Strauss to Ben Kelly, architect of Manchester's legendary venue The Haçienda. As the world emerges from its Covid-induced isolation, this celebration of crowded rooms, dance-worthy beats, and communal transcendence feels more important than ever.

Mit Leichtigkeit und Spaß am Klavier zu üben und die Liebsten mit wunderschönen Melodien überraschen zu können, wer träumt nicht davon? Immer mehr Musikliebhaber möchten auch nach jahrelanger Pause wieder anfangen Klavier zu spielen.In der Notenheft-Reihe "Melodies for Piano" finden Sie Kompositionen, die inspirierend schön klingen und ohne großen Aufwand erlernbar sind.Diese Reihe enthält gefühlvolle und abwechslungsreiche Melodien für Wiedereinsteiger und Fortgeschrittene, welche für ein schnelles Wiedereinfinden in das Klavierleben sorgen. Die Melodien sind mittel bis schwer arrangiert, die jedoch ad libitum verwendet werden können. Sie eignen sich sowohl für das Selbststudium als auch für den Klavierunterricht. Außerdem bieten die Hefte einen ästhetischen Anblick dank bezaubernder Aquarell-Illustrationen und stellen ein perfektes Geschenk für einen Musikbegeisterten dar.Der fünfte Band enthält zehn Kompositionen:. Contemplation. A Spark Will Burn. By the Fireplace. Easter Sunday . Gentle Look. Tailwind. Inspiration. Please Do Not Forget Me. The Last Dance. AwakeningDoesn't everybody dream of practicing and playing the piano with ease, fun and surprising the audience with beautiful melodies. More and more music-lovers like to start playing again after several years' break.In the music book series "MELODIES for PIANO", you will find easy-to-learn compositions of inspiring beauty. This series contains emotional and versatile melodies for returners as well as for advanced learners for a quick piano restart.The arrangements of the melodies are on a medium to advanced level and can be used ad libitum. They are suitable for self-study as well as for piano lessons. Thanks to charming water colors, these music books offer a very aesthetic sight and are the perfect present for every music fan. Volume 5 of the exclusive edition "MELODIES for PIANO" contains 10 compositions:. Contemplation. A Spark Will Burn. By the Fireplace. Easter Sunday . Gentle Look. Tailwind. Inspiration. Please Do Not Forget Me. The Last Dance. Awakening

This completely revised, updated, and expanded edition of Jon Burlingame's 1996 classic book covers themes not touched upon in the original version. With hundreds of interviews conducted over a 35-year span, this book is the most comprehensive history of television scoring to date.

"A comprehensive overall survey of the tools and techniques used in the field of computer music, aimed at beginners as well as intermediate and advanced users"--

This bibliography includes all available citations of books, articles, and monographs pertaining to "musique concrète," "Elektronische Musik," "tape music," and "computer music" from publications in fourteen languages.

Given the power vacuum that existed in Berlin in the early nineties, a sense of anarchy prevailed, and this provided a fertile breeding ground for all manner of creative people and projects. New and existing music scenes grew quickly, producing some weird and wonderful blossoms along the way. Venues didn¿t have a closing time. Parties went on all night long. Nightlife existed as a parallel world. The artists from Detroit, a city just as broken as ours, brought over a new kind of music. Tracks with no lyrics; the bpm count marked on the record like a certification. After the miracle of German reunification, everyone dreamed of making the impossible possible. Meanwhile, the Detroit artists and the new musical genre they had created were taking the first steps on a path to unimagined success. (Regina Baer)

In 1958, an anonymous group of overworked and under-budgeted BBC employees set out to make some new sounds for radio and TV. They ended up changing the course of 20th-century music. For millions of people, the work of the BBC Radiophonic Workshop was the first electronic music they had ever heard. Sampling, loops, and the earliest synthesizers-long before audiences knew what they were-made up the groundbreaking scores for news programs, auto maintenance shows, and children's programming. They also produced the Doctor Who theme, one of the first electronic music masterpieces. The Beatles, Pink Floyd, and others borrowed from them. A generation of musicians raised on BBC programming-Aphex Twin, Portishead, and Prodigy among them-took these once-alien sounds and carried on the Workshop's legacy. Ignored for decades by music historians, the Workshop is now recognized as one of the most influential forebears of electronica, psychedelia, ambient music, and synth-pop.

Peace, Love, Unity, and Respect. Cultural liberation and musical innovation. Pyrotechnics, bottle service, bass drops, and molly. Electronic dance music has been a vital force for more than three decades now, and has undergone transformation upon transformation as it has taken over the world. In this searching, lyrical account of dance music culture worldwide, Matthew Collin takes stock of its highest highs and lowest lows across its global trajectory. Through firsthand reportage and interviews with clubbers and DJs, Collin documents the itinerant musical form from its underground beginnings in New York, Chicago, and Detroit in the 1980s, to its explosions in Ibiza and Berlin, to today's mainstream music scenes in new frontiers like Las Vegas, Shanghai, and Dubai. Collin shows how its dizzying array of genres-from house, techno, and garage to drum and bass, dubstep, and psytrance-have given voice to locally specific struggles. For so many people in so many different places, electronic dance music has been caught up in the search for free cultural space: forming the soundtrack to liberation for South African youth after Apartheid; inspiring a psychedelic party culture in Israel; offering fleeting escape from-and at times into-corporatization in China; and even undergirding a veritable "independent republic" in a politically contested slice of the former Soviet Union. Full of admiration for the possibilities the music has opened up all over the world, Collin also unflinchingly probes where this utopianism has fallen short, whether the culture maintains its liberating possibilities today, and where it might go in the future.

The soundtrack to Nintendo's The Legend of Zelda(TM): Spirit Tracks is packed with melodic themes that sound great on the piano! With this officially licensed sheet music collection, pianists can dazzle friends and family by playing 22 familiar themes from the popular video game. The arrangements in this Easy Piano edition are moderately streamlined compared to those in the separately published Intermediate-Advanced edition, yet they retain a full and impressive sound. Titles: Title Theme * Aboda Village * Chancellor Cole's Theme * Hyrule Castle * Princess Zelda's Theme * The Battle * Anjean's Theme * Adventuring * The Tower of Spirits * Riding the Rails 2 (Main Theme) * Linebeck's Theme * Byrne's Theme * Seabed * Hero of the Tracks * Fighting * Song of Awakening * Song of Healing * Song of Discovery * Song of Birds * Song of Light * Fanfare of the Spirit Tracks * Game Over.

Source: Wikipedia. Commentary (music and lyrics not included). Pages: 29. Chapters: Merzbow discography, 13 Japanese Birds, Batztoutai with Memorial Gadgets, Merzbient, Merzbeat, Camouflage, Klatter, Jigokuhen, Nil Vagina Mail Action, Sun Baked Snow Cave, Aka Meme, Eucalypse, Merzbuta, Cloud Cock OO Grand, Minazo Vol. 1, Hiranya, Frog+, Ecobondage, Music for Bondage Performance, Antimonument, Graft, 1930, Tamago, Merzbuddha, Noisembryo, Venereology, Merzbear, Green Wheels, Rod Drug 93, Pulse Demon, Sphere, Dadarottenvator, Aqua Necromancer, Tauromachine, Anicca, Zophorus, Pinkream, Door Open at 8 am, Collection 5, Crocidura Dsi Nezumi, Amlux, Merzbird, Senmaida, F.I.D., Metamorphism, Music for the Dead Man 2: Return of the Dead Man, Normal Music, Space Metalizer, Music for Bondage Performance 2, Remblandt Assemblage, Sha Mo 3000, Merzzow, Severances, Metal Acoustic Music, Rainbow Electronics, Collection 4, Coma Berenices, Oersted, Dharma, Protean World, Storage, Age of 369, Merzcow, Hodosan, Animal Magnetism, April 1992, Material Action 2 N.A.M., Marmo, Microkosmos Volume 1, Nil Vagina for Mice, Dolphin Sonar, Arijigoku, Vratya Southward, Electric Salad, Untitled Nov 1989, She, Electroknots, Bariken, Dead Leaves, Don't Steal My Coat, Somei, A Taste Of..., Megatone, Spiral Honey, Ouroboros, Early Computer Works, Scene, Bloody Sea, Aerovivianda 1, Paradise Pachinko, Rattus Rattus, 9888A, Neo Orgasm, Tombo, Flare Gun, Hybrid Noisebloom, The Lampinak, Hard Lovin' Man, Higanbana, Electro Magnetic Unit, Hole, Ushi-Tra, Puroland, Project Frequency, Yoshinotsune, Magnesia Nova, Psychorazer, Cycle, New Takamagahara, Electroploitation, Vibractance, Partikel II, E-Study, Tentacle, Collapse 12 Floors, SCSI Duck, Fantail, Enclosure, Maschinenstil, Peace for Animals, Collection Era Vol. 2, Minazo Vol. 2, Recycled Music, Chant 2, Ikebukuro Dada, Solonoise 1, Original Body Kingdom/Gala Abe Sada 1936, Dadavida, Collection Era Vol. 1, Dust of Dreams, Metal Mad Man, Mercurated, Blues Maggots, Offering, Steel Cum, Hannover Interruption, Flesh Metal Orgasm. Excerpt: The following is a partial discography of Japanese noise musician Masami Akita as Merzbow and many other aliases. No complete discography exists due to his extensive music catalogue. Reissues and compilation tracks taken from albums are not included. with S.M.U.T. with Boris with Tetsuo Sakaibara, Fumio Kosakai, Masahiko Ohno, Shohei Iwasaki, Maso Yamazaki, Zev Asher with Maso Yamazaki, Zev Asher with Keiji Haino with Mike Patton with Zbigniew Karkowski with Racebannon with Kazuyuki Kishino Believed to be Masami Akita with Russell Haswell Credited personnel are named after prominent Japanese businessmen/doctors, the actual performers are believed to be Jojo Hiroshige, Junko Hiroshige, Masami Akita, Maso Yamazaki. with Kazuyuki Kishino with Tetsuo Sakaibara, Toshiyuki Seido with Tetsuo Sakaibara A track will appear on a not yet titled compilation of vegetarian/vegan artists on Hypnagogia. 13 Japanese Birds is a series of albums by the Japanese noise musician Merzbow. They were recorded one-a-month and Akita frequently revisited older recordings. The concept of the release was inspired by Olivier Messiaen's Catalogue d'oiseaux (Catalog of birds), but has no direct musical relationship. The series is part of Merzbow's recent return to live drums. Originally the series consisted of only 13 CDs released by the label Important Records from January 2009 to January 2010, with each ...

Source: Wikipedia. Pages: 34. Chapters: Synthesiser modules, Low-pass filter, Digital filter, Music sequencer, High-pass filter, Modular synthesizer, Band-pass filter, Voltage-controlled oscillator, Buchla 200e, Moog modular synthesizer, Variable-gain amplifier, Synthesizers.com, Buchla 200 series Electric Music Box, Low-frequency oscillation, Analog sequencer, Voltage-controlled filter, Band-stop filter, ARP 2500, Roland System 100, MOTM, Serge synthesizer, CreamwareAudio Modular III, Roland System-100M, Doepfer A-100, RS Integrator. Excerpt: The Buchla 200e is a modular synthesizer designed by electronic music pioneer Don Buchla and built by Buchla and Associates. The 200e is based on the earlier Model 200 system. Many of the modules in the 200e series share similar functionality and layout with Model 200 modules, and therefore have similar names. However, all of the e series modules have the ability to store and recall parameters set by the user. Another new feature the 200e adds is MIDI implementation via the 225e MIDI Decoder module. This allows 200e modules to respond to MIDI note, velocity, and controller data via internal busses. 227e System Interface Currently available 200e modules: Discontinued 200e modules: The 200e synthesizer platform includes several modules that roughly correspond to the canonical analog synthesizer's ones: But the Buchla 200e modules were not designed to fit perfectly into these categories. Rather, each module implements and crosses category boundaries according to Buchla's vision of analog synthesis. The synthesizer sound basics entry offers a helpful introduction to understanding how to compose sound. With that as background, there are two ways to think about making sounds with the 200e: the electronic view and the sonic view. Taken together, the electronic view allows us to explore the sonic properties of networks we can construct with the hardware available, while the sonic view helps us focus on how to make the electronic connections necessary to realise a sound we have heard only in our minds. Since both views begin with an oscillator, we will begin with a description of the primary modules for generating an initial pitch and timbre, the 259e and the 261e Complex Waveform Generator. Both the 259e and the 261e have two oscillators: a modulation oscillator and a principal oscillator (aka a carrier wave). The 259e can produce two distinct audio signals (one from each type of oscillator), while the 261e can also produce a pre-processed signal in each oscillator. The pre

A fascinating look at the history of Sun Records, the label that started Rock n' Roll, told through 70 of its iconic recordings.In Memphis, Tennessee, in the 1950s, there was hard-edged blues playing on Beale Street, and hillbilly boogie on the outskirts of town. But at Sam Phillips' Sun Records studio on Union Avenue, there was something different going on - a whole lotta shakin', rockin', and rollin'. Sun Records: the company that launched Elvis Presley, Jerry Lee Lewis, Johnny Cash, Roy Orbison, and Carl Perkins. The label that brought the world, "Blue Suede Shoes," "Whole Lotta Shakin' Goin' On," "Breathless," "I Walk the Line," "Mystery Train," "Good Rockin' Tonight."The Birth of Rock 'n' Roll: 70 Years of Sun Records is the official history of this legendary label, and looks at its story in a unique way: through the lens of 70 of its most iconic recordings. From the early days with primal blues artists like Howlin' Wolf and B.B. King to long nights in the studio with Elvis and Jerry Lee Lewis, you will see how the label was shaped and how it redefined American music. Accompanying the recordings is the label's origin story and a look at the mission of the label today, as well as "Sun Spot" sidebars-a fascinating dive into subjects such as how the iconic logo was created, the legendary Million Dollar Quartet sessions, and how the song "Harper Valley, PTA" funded the purchase of the label.Written by two of the most acclaimed music writers of our time, Peter Guralnick and Colin Escott, and featuring hundreds of rare images from the Sun archives as well as a foreword by music legend Jerry Lee Lewis, this is a one-of-a-kind book for anyone who wants to know where it all started.

On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands, 1925-1965 is een zeer goed gedocumenteerde, rijk geïllustreerde en zeer leesbare studie. Op basis van nieuw en origineel onderzoek, richt het boek zich op zowel specialisten als een lekenpubliek. Het beschrijft de geschiedenis van een muzikale periode waarin een geheel nieuwe wereld van elektronische geluiden en compositorische opvattingen is ontwikkeld en onderzocht, variërend van extreme avant-garde tot de allereerste experimenten met elektronische pop; van de muziek voor het iconische Philips Paviljoen op de Wereldtentoonstelling van 1958 in Brussel tot elektronische soundtracks voor film.De auteur bezit de gevoeligheid van een componist die nodig is voor een diepgaand begrip van de conceptuele kaders van de elektronische muziek die ontstond in laboratoria van commerciële bedrijven, wetenschappelijke instellingen en particuliere studio. Hij kijkt naar het baanbrekende werk van Henk Badings, Jan Boerman, Ton Bruynèl, Tom Dissevelt, Gottfried Michael Koenig, Ton de Leeuw, Walter Maas, Dick Raaijmakers, Hermann Scherchen, Leopold Stokowski, Edgard Varèse en Roelof Vermeulen.Kees Tazelaar is een componist van elektro-akoestische muziek en hoofd van het Instituut voor Sonologie aan het Koninklijk Conservatorium in Den Haag, Nederland.

In this critical history, DeForrest Brown, Jr "makes techno Black again" by tracing the music's origins in Detroit and beyondIn Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to "make techno Black again." DeForrest Brown, Jr is a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.

Rev. ed. of: Generation ecstasy. Boston: Little, Brown, c1998.

Archival documents and new writings on Jerry Hunt, video-art pioneer and electronic magusJerry Hunt (1943-93) is sometimes described as a shamanic figure with the look of a "Central Texas meat inspector." One of the most compelling composers in the word of late 20th-century new music, he made work that combined video synthesis, installation art and early computers with rough-hewn sculptures, scores drawn from celestial alphabets and homemade electronics activated by his signature wands and impassioned gestures. Hunt lived his entire life in Texas, between Dallas, Waco, Houston and Austin, eventually settling in a house he built himself ("an interactive environment") on a ranch in Canton, but his pataphysical, abrasive and humorous performances took him all over North America and Europe, where he amassed a small but dedicated following.This volume represents the first ever book-length collection devoted to the underknown composer's work, and includes an introductory essay by Tyler Maxin and Lawrence Kumpf, interviews with Hunt, detailed analyses of his music and video practices, and remembrances and reflections on his work from his friends and collaborators. Given the diversity of Hunt's practice, this book will be of great interest to scholars, practitioners and enthusiasts in the fields of contemporary art, music and sound art, video and media, and performance. The publication is occasioned by a 2021 exhibition of Hunt's work at Blank Forms.

Die umfassende Publikation setzt das Schaffen des Musikerkollektivs in historischen Kontext und dient als Inspiration fu¿r eine neue Netzwerkmusik-Generation.Das US-Ensemble The Hub zählt zu den Pionieren der Netzwerkmusik und des Live-Codings. Die aus Tim Perkis, Scot Gresham-Lancaster, Chris Brown, John Bischoff, Phil Stone und Mark Trayle bestehende Formation ging 1986 aus der League of Automatic Music Composers hervor. Sie revolutionierte die elektronische Musik mit demokratisch organisierten und in Netzwerken agierenden Kompositions- und Performanceprozessen und erhielt den Giga-Hertz-Preis des ZKM | Hertz-Labors.Die Publikation bildet das Schaffen des Kollektivs im historischen Kontext ab, lässt Wegbegleiter*innen und Musikwissenschaftler*innen zu Wort kommen und versammelt erstmals die (kommentierten) Spielanleitungen der Gruppe.Jene Scores bilden das Herzstu¿ck des Buchs und verstehen sich nicht nur als Archivalien, sondern auch als Ausgangspunkt zuku¿nftiger Projekte einer Netzwerkmusik.

Der renommierte Schlagzeuger Christian Dierstein hat zusammen mit einer Forschungsgruppe der Hochschule für Musik Basel die Spieltechniken auf dem Schlagzeug aus neuartiger Perspektive erforscht. Im Zentrum stehen nicht die Schlaginstrumente, sondern ihre Anreger: Schlägel, Hämmer, Bögen, spezifische Handtechniken bis hin zu elektronischen Impulsgebern. Sie alle werden im Buch detailliert beschrieben und ihr Anwendungsspektrum in sorgfältig ausgewählten und kommentierten Literaturbeispielen dargestellt.Zahlreiche Essays von Gastautoren wie Nicolaus A. Huber, Steven Schick, Fritz Hauser und Bernhard Wulff verankern die spieltechnischen Beschreibungen im zeitgenössischen ästhetischen Diskurs. Sie verdeutlichen, dass im aktuellen Komponieren und seinem erweiterten Material- und Performancebegriff gerade die Frage der Anregung und der Interaktion mit Klangobjekten ins Zentrum rückt. Entstanden ist ein umfassendes Nachschlagewerk für Komponisten und Interpreten, das sich auch als Inspiration für zukünftige und innovative Herangehensweisen ans Schlagzeugspiel versteht.Die AutorenChristian Dierstein absolvierte sein Musikstudium bei Bernhard Wulff in Freiburg, bei Gaston Sylvestre in Paris und bei Wassilios Papadopulus in Mannheim. Er ist Preisträger zahlreicher Wettbewerbe. Seit 1988 ist er Schlagzeuger des "ensemble recherche", seit 1994 des "Trio accanto" zusammen mit Nic Hodges und Marcus Weiss und seit 2001 Professor für Schlagzeug und neue Kammermusik an der Hochschule für Musik in Basel.Michel Roth ist Professor für Komposition und Musiktheorie an der Hochschule für Musik Basel und Mitglied der dortigen Forschungsabteilung. Als Komponist ist er regelmäßiger Gast bei internationalen Musikfestivals, in jüngerer Zeit besonders im Bereich Musiktheater. Zusammen mit Mike Svoboda veröffentlichte er 2017 bei Bärenreiter den Band "Die Spieltechniken der Posaune".Jens Ruland studierte von 2007 bis 2012 bei Carlos Tarcha an der HfMT Köln Schlagzeug und schloss das künstlerische und pädagogische Diplom mit Auszeichnung ab. Seit 2012 vertieft er seine Studien in Basel bei Christian Dierstein. Er ist Gründungsmitglied bei "handwerk" (Köln), "232 percussion" (Köln), "Ensemble New4Art" (Schweiz) und dem Musiktheaterduo "Akt-tkA" (Spanien/Schweiz).

Irvine Arditti, der außergewöhnliche Geiger, Spezialist für Neue Musik und Primarius des phänomenalen Arditti Quartetts, und der Komponist und Dirigent Robert HP Platz haben sich zusammengetan, um über zeitgenössische Violintechniken zu schreiben. Detaillierte Erklärungen des technisch auf der Violine Möglichen werden hier für Interpreten, aber auch für Komponisten gegeben.Dabei wird die Virtuosität einer neuen Generation von Solisten berücksichtigt, die durch ihre außerordentlichen Fähigkeiten den Weg zu einem tieferen Verständnis sowohl von klassischer als auch von neuer Musik geebnet haben. Die Kapitel zur Bogentechnik, zum Vibrato, Pizzicato, Glissando, zu Flageoletts, Tabulaturen, zum Rhythmus und zu speziellen Aspekten der elektronischen Klangerzeugung werden durch zahlreiche anschauliche Notenbeispiele und Schemata illustriert. Besonders hilfreich ist die beigegebene DVD, bei der Arditti selbst die im Buch beschriebenen Techniken auf der Geige realisiert und erläutert. Kapitel zu den Grundlagen der Violintechnik und zu Irvine Ardittis ganz persönlichen Erfahrungen mit namhaften Komponisten machen das Buch auch für Nicht-Geiger interessant. Die AutorenIrvine Arditti, 1953 in London geboren, war mit 25 Jahren erster Konzertmeister des Londoner Symphony Orchestra. Seit 1980 konzentrierte er sich ganz auf die Arbeit mit seinem Quartett. Während des letzten Jahrzehnts hat Irvine Arditti eine große Anzahl von bedeutenden, eigens für ihn komponierten Werken uraufgeführt, darunter die Violinkonzerte von Xenakis, Hosokawa und Ligeti, Ferneyhoughs "Terrain" und Sciarrinos "Le Stagioni Artificiali". Neben den über 180 CDs, die Irvine Arditti mit dem Arditti Quartett aufgenommen hat, schuf er einen beeindruckenden Katalog an Solo-Aufnahmen. Seine Aufnahme von Cages "Freeman Etudes" für Solo-Violine hat Musikgeschichte geschrieben. Robert HP Platz, geboren 1951 in Baden-Baden, leitete als Dirigent die Uraufführungen von über 300 Werken (u. a. mit den beiden SWR-Orchestern, dem DSO Berlin und dem Orchestre Philharmonique du Luxembourg) und arbeitete mit Komponisten wie Hosokawa, Huber, Scelsi, Stockhausen und Xenakis zusammen. Seine Kompositionen sind seit 1989 Teile eines tagebuchartig in assoziativen Sprüngen sich fortsetzenden Gesamtwerks. Seit 1990 leitet er eine Kompositionsklasse an der Musikhochschule Maastricht, verbunden mit einem Seminar zur Aufführungspraxis Neuer Musik.