Guitarra microtonal

From Wikipedia, the free encyclopedia

Tolgahan Çoğulu (born in 1978, Turkey) is a Turkish classical guitarist, arranger and designer of the adjustable microtonal guitar. He built a unique repertoire of works for microtonal guitar by arranging Anatolian folk music and Ottoman maqam music and by commissioning the leading and emerging composers.

John Renbourn - Guitarra medieval

From Wikipedia, the free encyclopedia

John Renbourn (born 8 August 1944, Marylebone, London, UK) is an English guitarist and songwriter. He is possibly best known for his collaboration with guitarist Bert Jansch as well as his work with the folk group Pentangle, although he maintained a solo career before, during and after that band's existence (1967–1973).^[1]

While most commonly labelled a folk musician, Renbourn's musical tastes and interests take in early music, classical music, jazz, blues and world music. His most influential album, Sir John Alot (1968), featured his take on tunes from the Medieval era.

******

The Lady and the Unicorn is the 1970 solo album by British folk musician John Renbourn. On this release, Renbourn ventures into folk rock and medieval music territory. The first four tracks are arranged from the Add MS 29987 manuscript. The cover was taken from the The Lady and the Unicorntapestry.

Apoyen a ccMixter: Open Music for the World

Sep 25, 2014

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Africa is a Radio: Episode 6

http://africasacountry.com/africa-is-a-radio-episode-6/

(photo via NBC news)

Africa is a Radio episode 6 opens up with a transnational blend, combining remixes of Dotorado Pro’s “African Scream” with its sample source: DJ Sbu & Zahara’s “Lengoma.” From there we travel around the world -from Ferguson to Havana to Monrovia- touching on the sonic imprints of the contemporary news cycle. We end on a lighter, danceable note.

ORIGINS: Black Coffee

http://www.residentadvisor.net/feature.aspx?2322

Text from Resident Advisor:

Oct 21, 2014

For the latest edition in our film series with SONOS, we travelled to South Africa to hear how a national icon was made.

View the film page on RA:
http://www.residentadvisor.net/featur...

Before we visited Johannesburg to shoot a Real Scenes film, we'd heard that Black Coffee was a big star in South Africa. But what we saw eclipsed anything we could have imagined. Nathi Maphumulo is a national icon—an artist who has come to embody the creative and professional potential for black South Africans in a post-apartheid world. For the last ten years, Nathi has been producing and playing house music that drips with soul. His style draws inspiration from the indigenous music of his homeland, blended with a love for classic hooks and songwriting. It's a blueprint that's helped him inspire a generation of South African producers.

All of which makes Nathi an ideal subject for ORIGINS. In order to tell the story of his formative years, we first travelled to Umlazi, a township outside of Durban where he developed a passion for music that would shape the rest of his life. We then spent time in Ngangalizwe, Mthatha, a township where, under the care of his grandmother, Nathi learned some of the harsh realities of rural living. This was also the place where, on the night Nelson Mandela was released from prison, Nathi was involved in an accident that left him without the use of his left hand. When Nathi visited his old high school, the frenzied reaction to his appearance showed just how large his story—one of success in the face of adversity—looms in the mind of young South Africans.

More on Black Coffee:
http://www.residentadvisor.net/dj/bla...

From the Bandcamp blog: Rewind and Come Again!, by Tomas Palermo

Tomas Palermo is a San Francisco-based DJ and music curator, and has written for XLR8R, SF Weekly, United Reggae, and other publications. He loves playing reggae vinyl, 10-mile runs in Golden Gate Park, and Papalote’s prawn tacos.

“…we have to be like a rub-a-dub soldiers, fighting to keep the rockers’ music alive.”

From a Little Reggae Shop in Tokyo…

At Naoki Ienaga’s Dub Store reggae specialty shop in Tokyo’s Shinjuku district, no detail in preserving reggae music history goes unnoticed. Even their in-house sound system is pure vintage: an Altec amplifier, mixer and speakers, a Studer 2-track tape deck and an RCA dubplate cutting machine. It’s physical proof of Dub Store’s serious respect for Jamaican music. The same level of attention to crucial aesthetics has informed Dub Store’s extremely active reissue series, which has seen close to one hundred rare and out-of-print titles brought back into circulation on both vinyl and digital formats.

The music Dub Store chooses to present is exquisite. From psychedelic, soulful sides on Derrick Harriott’s Crystal label, to ram-jam dancehall scorchers from King Jammy$ label, Dub Store has tapped into the deepest diamond mines of vintage Jamaican music. The sleeves and artwork are also above par. Thick cardboard jackets, vivid inks and original label art adorn their releases. It’s as you’ve discovered a mint copy of your most sought-after tune in a dusty Kingston basement. Imagine the thrill of hearing Lynn Taitt’s sparkling, rocksteady guitar licks for the first time, or obscure 1980s dancehall jams from Robert Lee or Carl Meeks. Dub Store releases definitely induce goosebumps for the devoted reggae fan.

TO READ THE REST AND CHECK OUT MORE MUSIC:
http://blog.bandcamp.com/2014/10/21/rewind-and-come-again/

The Simpsons alternate realities

One of the most brilliant 30 seconds in the Simpsons TV series. Taken from one of their many Halloween episodes.

Bandcamp weekly podcast

play show

00:00 / 01:32:55

Bandcamp Weekly Strong and Independent

Alice Russell drops by to talk about her new single and pick faves from 15 years of Tru Thoughts records. Detroit MC Ahk chats about his new concept record, we rock out with Bloods and Luke Sweeney, plus peek at Ninja Tune's fall lineup, including new tracks by Bonobo, Machine Drum, and Dorian Concept.

Hosted by Andrew Jervis. Illustration of Alice Russell by Oliver Barrett.

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Jace Clayton at the 2013 Creative Capital Artist Retreat

15 de octubre 2014

El polifacético y multitalentoso músico, DJ y etnomusicólogo Jace Clayton presenta su fascinante embeleco Sufi Plug Ins.

Jace Clayton presents on his Creative Capital project "Gbadu and the Moirai Index" at the 2013 Artist Retreat. Find out more about his project here: http://creative-capital.org/projects/...

All Songs Considered: Röyksopp, Hozier, Deerhoof, Bing & Ruth, Helado Negro, and more

Host Bob Boilen kicks off this week's show with a buzzing song from Toronto-based The Rural Alberta Advantage's new album, Mended With Gold. Inspired by the track's killer percussion, Robin Hilton shares the neurotic, upbeat "Paradise Girls" from Deerhoof's upcoming album La Isla Bonita, out Nov. 3.

Alt. Latino's Felix Contreras joins Bob and Robin in the studio to discuss Helado Negro, an artist who caught Bob's attention opening for Sinkane earlier this month. Felix and Bob share a lush, spacey cut from the singer's new album, Double Youth. Bob takes things in a different direction with Hozier's nod to R&B legend Jackie Wilson, "Jackie and Wilson," followed by English punk-duo Sleaford Mods' stark rant, "The Committee."

Next, Robin gets lost in a gripping ambient track from Bing & Ruth's provocatively titled upcoming album, Tomorrow Was The Golden Age. We close the show with a dreamy cut from Norwegian electronic-duo Röyksopp's final album, The Inevitable End.

http://www.npr.org/blogs/allsongs/2014/10/14/356099274/new-mix-r-yksopp-hozier-deerhoof-more

Nettle & Hassan Wargui (Imanaren) live in Tangiers, Morocco

13 de octubre 2014

On September 2011, Hassan Wargui (Imanaren) from south Morocco met the group Nettle from New York City in Tangiers. A week of collaborative songwriting and recording led up to a concert outside the Cinematheque de Tanger in the medina. This is "L'Avion", one of the songs they wrote during this time.

Nettle es un proyecto de Jace Clayton/DJ Rupture. 
http://www.theagriculture.com/djrupture.html
http://www.subrosa.net/en/catalogue/soundworks/nettle-dj-ruptures-band-project.html

Teclado microtonal Tonal Plexus de la compañía H-Pi Instruments

http://www.h-pi.com/

Imagine all artists are told by the art industry that 12 standard colors are enough for their art, and there is never a need to tint or shade or mix colors. Practically speaking, this is the situation which exists in the music world today. 12 equally spaced pitches per octave are the default modern music industry standard, but 12 pitches represent less than 5% of the pitches that the average person is capable of responding to. Research has proven that on average, around 200 different pitches can be heard within one octave, and like unique colors, they all have unique effects; many more than 12 of them sound "good"; in fact, they are all expressive and useful for art. Imagine what kind of new music is possible when all of the pitches are available...

Express yourself more personally.

Hπ Instruments is founded on the premise that you should have the freedom to choose any pitches you want to make music with, not just the 5% the music industry has decided on for you. Hπ products exist to give you this freedom. To hear some examples of music made using Hπ products, visit the music, TBX1 videos, and Tonal Plexus videos pages.

- Taken from the H-pi web site.

Dream Battle Black midi

Have you ever tried to cram five million MIDI notes into a two-minute composition? No, of course not. That would be impossible.

Or would it?

You can thank the wonders of modern processing speed for the Internet’s new weird micro-genre, a YouTube phenomenon known as “Black MIDI." Imagine the bastard love child of Mozart, Steve Vai, and Final Fantasy, or the sound of a million pianos being run through a blender, or a nightmarishly, impossibly difficult game of Dance Dance Revolution being played by aliens on amphetamines. That's what Black MIDI sounds like.

Source:
http://thump.vice.com/en_ca/words/meet-the-15-year-old-prince-of-black-midi

Harpejji, a truly amazing string instrument

http://www.marcodi.com/

The harpejji is a member of a small family of stringed musical instruments known as tapping instruments. Tapping instruments are descendents of the electric guitar but are optimized for a style of playing that involves tapping on the strings to produce a note. One of the primary benefits of this style of playing is that it only requires one finger to make each note, unlike strumming which requires at least one finger on each hand to make a note.

About this blog

Ionosfera, Carmelo's new thing

Veteran Puerto Rican blogger Carmelo Ruiz-Marrero started a fourth blog last January: Ionosfera (http://ionosferamusic.blogspot.com/). This particular web project is an online resource dedicated to music, comedy, film and science fiction. "Ionosfera is the name of a proposal that I presented to the music programming department of the University of Puerto Rico's radio station WRTU at least a decade ago, but I never heard back from them".

Ionosfera is mostly music, and has an eclectic offering, which spans from links to specific episodes of NPR shows All Songs Considered and Alt-Latino, podcasts like Bandcamp Weekly, Six Degrees Traveler and Machtdose, and DJ sets featured in Resident Advisor and dublab, to classic prog rock from bands like Genesis, Yes and Saga (and side projects of their current and former members), Bandcamp compilations of African and Brazilian pop, and music from the most diverse artists, like Ana Tijoux, Calle 13, Aimee Mann, Groove Collective, José Feliciano, Kansas, Terry Bozzio, Chick Corea, Ralph Towner, Pat Metheny, Brian Eno, Laraaji and Philip Glass. Besides music, there's also comedy (Portlandia, Aubrey Plaza, Flight of the Conchords, The Simpsons, Awkward album covers), and campy sci-fi (Star Wars, Space 1999, The Six Million Dollar Man).

"In this blog I archive and share all that I consider fun, and so keep all these items separate from my 'serious' work on politics and ecology", said Ruiz-Marrero. Few of his readers would even imagine that his first formal education was not in journalism or ecology, but in music. In 1984 he attended Berklee College of Music in Boston, USA. "I turned 17 over there. I was the youngest student there at the time- Believe me, I asked around". In 1991 he graduated from the UPR Humanities faculty, where he majored in music. After that he spent some years in Vermont, where he hosted and produced programs for community radio station WGDR. Upon returning to Puerto Rico he joined the staff of the Claridadweekly newspaper, where he wrote about music- among many other subjects-, reviewed records and concerts, and interviewed artists. "I covered everything from Rush, Chris Botti and Windham Hill to David Torn, Michael Brook, Cultura Profética, Fiel a la Vega and Gema y Pável."

I'm thinking of expanding Ionosfera to include Facebook and Twitter accounts and who knows, maybe starting a podcast someday." 

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Great Guardian article on Jace Clayton / DJ Rupture

TO READ THE FULL ARTICLE:
http://www.theguardian.com/music/2013/mar/26/jace-clayton-dj-rapture

DJ /rupture: how to sing like a sufi

He's worked with Berber tribespeople, composed for the stock exchange – and written a show about a destitute pianist. Genre-busting musician Jace Clayton talks to Ben Beaumont-Thomas

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• Ben Beaumont-Thomas
• The Guardian, Tuesday 26 March 2013 18.59 GMT
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‘Many music critics still believe in magical black people’ … Jace Clayton, aka DJ /rupture. Photograph: Rocio Rodriguez Salceda

EXCERPTS:

He started doing DJ /rupture sets in Boston during the late 1990s. "Boston's extremely segregated," he says in his city's beautifully rounded, faintly Canadian accent. "And musical segregation was indistinguishable from actual segregation. You wanted to buy reggae, you had to take three buses to go to Dorchester. You wanted to hear house, you would only go to the house club. My style wasn't going to be the same all night long." Instead he drew on music from around the world: cumbia and baile funkfrom South America, dancehall from Jamaica, polyrhythmic ballads from Africa. You can hear the spirit of these genre-blind sets in subsequent generations of DJs, from Diplo and Erol Alkan, to Oneman andJackmaster.

In 2000, Clayton moved to Barcelona with his Spanish wife, became fascinated with Moroccan culture and formed a band called Nettle with violinist Abdel Rahal, cellist Jenny Jones and Khalid Bennaji on the lute-like guembri. "I was interested in acoustic instruments and having that beautiful sound, but pulling that into the computer for processing," he says. "And I wanted to create a space where the musicians were all equally uncomfortable. I'm interested in collaboration, but I'm interested in moments where the translation breaks down. You don't need 'fusion' – you can make it as old and friction-laden as you want."

Sounds And Silence, documental sobre ECM

A musical journey through the world of tones, sounds and noises: with Manfred Eicher, the outstanding producer of contemporary music.The film traces his life at concerts, in recording studios, in back rooms and off the beaten path witch such musical contemporaries as Arvo Pärt, Dino Saluzzi, Jan Garbarek, Eleni Karaindrou, Anouar Brahem, Gian Luigi Trovesi, Kim Kashkashian, Nik Bärtsch, Marilyn Mazur and many others.

Jace Clayton interviews Pedro Canale

In the Studio: Chancha Via Circuito

• Words: Jace Clayton
 
• Photo: Mauro Balzarotti

Back in 2007, those looking to find Pedro Canale, the musician who records as Chancha Via Circuito, could most easily find him sitting in the back at Zizek, a weekly club night in his hometown of Buenos Aires, Argentina. (The night would eventually spawn a label and is known these days as ZZK.) There was a party goin' on, but underneath the noise and flash sat Chancha, patiently manning the merch table and selling a handful of releases from local producers and DJs. The best thing on offer happened to be the smallest item on the table: his own debut EP, which was only available as a 3" mini CD-R. Those five exquisite songs shaped fragments of South American folk into lucid-dream beat loops, the music aware of contemporary electronic production trends and a dubwise approach to space, but not beholden to either. While many of his peers in the emergent Buenos Aires scene were making mashups or cumbia dancefloor edits, Canale was crafting subtler tunes, unhurried combinations of bass, drums, and melody that seemed simple but always left the room's air charged with energy.

Seven years later, Canale is still building songs that widen to create spaces. He has no need for big drops or other dancefloor rush dynamics. Many tropical bass producers rely on splicing traditional sounds into the current hot genre—today, the rootsy Afro-Colombian female acapella gets the trap remix, two years back, it got the moombahton remix, a couple of years before that, it got the cumbia remix… and so on. People call this style of global swirl homage, but more often than not, it's a paternalistic turn, one that treats indigenous music as raw material, something that's authentic but insufficient, a resource to be extracted then improved by a stacked synth bassline or an 808 kick-and-snare combo.

Chancha Via Circuito's music takes another tack. He understands that folk music in Latin America is sustenance for those who live it, and is therefore less concerned with sonic newness than he is with maintaining a groove and communicating a sense of pride in place. And the places Canale creates are oneiric, placid, and haunted by unlikely perspectives, like the jungle paintings of proto-Surrealist Henri Rousseau or, closer to home, the Rousseau-inspired, ayahuasca-lit illustrations by Paula Duro that accompany all of his music.

Canale's studio becomes the arena where he negotiates this respect for traditional sounds and the natural world with the infinite possibilities of digital music production. On the one hand, he uses shockingly realistic German sample packs to play Andean flute melodies. On the other, he'll get up before dawn to climb Mayan pyramid ruins in Belize, digital recorder in hand, because that's when the monkeys do their most otherworldly howling. Canale is a producer who keeps a weathered African balafon next to his laptop to remind him not to fall into the computer's flattening world, and does some of his finest work in the magic pair of hours when his studio receives direct sunlight. The goal is balance.

TO READ MORE:
http://www.xlr8r.com/gear/2014/10/studio-chancha-circuito

Radio Free Culture: Player Piano

http://freemusicarchive.org/member/cheyenne_h/blog/Radio_Free_Culture_Player_Piano

"Piano rolls in the rack - 88 NOTE L63 80739 (P), Standard American Airs, Arranged by George Rosey, M'f'd by The Universal Music Co. U.S.A., For THE AUTOPIANO COMPANY, NEW YORK" by yaquina. Licensed under Creative Commons Attribution 2.0 via Wikimedia Commons.

WFMU and the Free Music Archive are proud to present a new season of Radio Free Culture, a weekly podcast exploring issues at the intersection of digital culture and the arts. This episode completes the Player Piano: The First Digital Music Revolution two-part show. Get your history fix this week via your newfangled technology!

Check out the podcast here, or subscribe to the podcast here (via iTunes).

Black MIDI, this music is impossible

http://dublab.com/andrew-chugg-impossible-music-black-midi-and-beyond-06-17-14/

Andrew Chugg – Impossible Music, Black MIDI and Beyond  

JUNE 17, 2014

Exploring new sonic possibilities is an adventure that we’re always ready for. As technology – and human tolerance – evolves, we’re embracing increasingly dense and alien musics that are determined more by limits of software than physical interaction.

Enjoy this in-depth exploration of the history and cultural implications of Impossible Music and Black MIDI. This audio documentary explores the concepts behind Black MIDI; a genre of music that exists primarily to challenge the specifications of the producer’s computer.

Andrew Chugg - Impossible Music, Black MIDI and Beyond (06.17.14) 

Podcast: Download

Interviews with curator of Rhizome.org, Michael Connor, composer and writer Robert Barry and others.

Andrew Chugg is a New York-based multi-media producer, drummer for Pop. 1280 and owner of Gilded Audio. He is particularly interested in audio documentaries and the cross-section of abject and formal music.