IS working and is very easy!
http://hexler.net/touchosc
here is the iphone Application - it cost about 5$ american.
Please explore the site. It can also be used to control pd/jitter
almost anything that you can think of.
I will give a demo of the application on monday!
Patrick
Thursday, November 20, 2008
Wednesday, November 19, 2008
Monday, November 10, 2008
Sunday, November 9, 2008
Terry Riley - New York Times Nov. 9
http://www.nytimes.com/2008/11/10/arts/music/10bang.html?hp
November 10, 2008
Music Review Bang on a Can All-Stars
Strange Dreams, Channeled Into Music
By VIVIEN SCHWEITZER
Le Poisson Rouge, the West Village club that opened in the summer, has fast become one of the city’s main alternative spaces for classical music events, with many presented by the Wordless Music series, an inventive venture that programs rock, classical and indie music together.
On Saturday a well-attended concert there by the Bang on a Can All-Stars — the genre-blurring group that meshes elements of jazz, rock, classical and world music — fell into the classical camp. But were it not for the music on the musicians’ stands, you might at times have assumed it was an impromptu jam session by the sextet of clarinet, cello, keyboards, electric guitar, bass and percussion.
It was hard to believe, for example, that Lukas Ligeti’s “Glamour Girl” was a fully notated work (it is), with freewheeling clarinet riffs, electric guitar tunes, rock drumming and jazzy interludes. The work also reflects Mr. Ligeti’s interest in African drumming and minimalism.
“Give it up for Nancarrow,” Evan Ziporyn, the All-Stars’ clarinetist, said before the group performed his arrangement of four of Conlon Nancarrow’s early Studies for Player Piano, based on American idioms like jazz and boogie-woogie. Mr. Ziporyn’s effective arrangements mimicked Nancarrow’s overlapping rhythms, assigning different patterns to the various instruments.
The concert concluded with the premiere of Terry Riley’s “Autodreamographical Tales,” inspired by a dream diary Mr. Riley kept in 1987. He set those dreams to music with electronic noises, melodies and strange sounds that Bang on a Can recently commissioned him to orchestrate.
Mr. Riley was storyteller, pianist and singer in his work, which at almost an hour felt like an extremely long dream. He spoke about meeting a dwarf named Ping, arriving at a concert that never took place, experiencing a miracle while walking through an old church, watching a sari shop in India being transformed into a bar and asking a hippie in Asia to roll him a joint.
These dreamscapes were accompanied by a score that at times seemed like a jam session, with wailing guitar riffs, Mr. Ziporyn whistling, the pianist speaking in Chinese, jazzy interludes, Indian raga, bluesy keyboards solos, birds chirping and New Age music. “What a long, strange trip it’s been” would be an equally apt title for the work.
November 10, 2008
Music Review Bang on a Can All-Stars
Strange Dreams, Channeled Into Music
By VIVIEN SCHWEITZER
Le Poisson Rouge, the West Village club that opened in the summer, has fast become one of the city’s main alternative spaces for classical music events, with many presented by the Wordless Music series, an inventive venture that programs rock, classical and indie music together.
On Saturday a well-attended concert there by the Bang on a Can All-Stars — the genre-blurring group that meshes elements of jazz, rock, classical and world music — fell into the classical camp. But were it not for the music on the musicians’ stands, you might at times have assumed it was an impromptu jam session by the sextet of clarinet, cello, keyboards, electric guitar, bass and percussion.
It was hard to believe, for example, that Lukas Ligeti’s “Glamour Girl” was a fully notated work (it is), with freewheeling clarinet riffs, electric guitar tunes, rock drumming and jazzy interludes. The work also reflects Mr. Ligeti’s interest in African drumming and minimalism.
“Give it up for Nancarrow,” Evan Ziporyn, the All-Stars’ clarinetist, said before the group performed his arrangement of four of Conlon Nancarrow’s early Studies for Player Piano, based on American idioms like jazz and boogie-woogie. Mr. Ziporyn’s effective arrangements mimicked Nancarrow’s overlapping rhythms, assigning different patterns to the various instruments.
The concert concluded with the premiere of Terry Riley’s “Autodreamographical Tales,” inspired by a dream diary Mr. Riley kept in 1987. He set those dreams to music with electronic noises, melodies and strange sounds that Bang on a Can recently commissioned him to orchestrate.
Mr. Riley was storyteller, pianist and singer in his work, which at almost an hour felt like an extremely long dream. He spoke about meeting a dwarf named Ping, arriving at a concert that never took place, experiencing a miracle while walking through an old church, watching a sari shop in India being transformed into a bar and asking a hippie in Asia to roll him a joint.
These dreamscapes were accompanied by a score that at times seemed like a jam session, with wailing guitar riffs, Mr. Ziporyn whistling, the pianist speaking in Chinese, jazzy interludes, Indian raga, bluesy keyboards solos, birds chirping and New Age music. “What a long, strange trip it’s been” would be an equally apt title for the work.
Monday, November 3, 2008
Chapter 13: The Musician as Thief: Digital Culture and Copyright Law
While reading this chapter, I imagined a digital pasture, which once existed unobstructed for all of us to roam and eat to our heart’s content. What began as a few harmless white picket fences surrounding the neighbors’ houses has since turned into 20ft high metal fences complete with barbed wire, locks and security guards. I can no longer take an apple from my neighbor’s tree. I never tried to take the entire tree, mind you, just one apple which would have rotted anyway!
This chapter makes me less eager to sample outside of the creative commons or public domain resources until I further understand the ins-and-outs of copyright law. Granted, to arrive at my fullest creative potential, being able to sample anything would be key. But why spend hours and hours creating a song, video piece etc., if in the end I cannot share it with others due to copyright restrictions?
However, though this chapter does make me a little more cautious because of the legal implications of sampling copyrighted material, it more so, makes me angry that so many rules are being put in place! All of the laws are like a noose being pulled tighter!
So, though I may be on the cautious end right now due to my lack of knowledge on the subject, the information in this chapter compels me to learn more and become aware of artists who are using samples to push the limits. Also, I’m curious to find out what groups are standing up to all of this.
And by the way, what is this about…?: (an excerpt from page 146) “a film teacher could violate the DMCA by making a montage of clips from movies on encrypted, copy-protected DVDs.”
And also, on page 146, it says, “Yet another law – as yet unenacted, but working its way through Congress- would compel manufacturers to make computers and other devices comply with technical measures for protecting copyright.” ------ So, has that passed yet?
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