The Hafler Trio ‎– The Hafler Trio Play The Hafler Trio Play The Hafler Trio (Series: Tragic Figures | TFT027 | Cassette)

 

The Hafler Trio

"The Hafler Trio Play The Hafler Trio Play The Hafler Trio"

Label: Tragic Figures ‎– TFT027

Format: Cassette, Album, Limited Edition, C60

Country: Portugal

Released: Dec 1991

Genre: Electronic

Style: Experimental

a link to a file to a link to a file to a link to a file

Memorabilia - Outfest 2018 (Barreiro) - ticket

 

Livros sobre música que vale a pena ler - Cromo #88: Richard Orton - "Electronic Music For Schools"

autor: Richard Orton

título: Electronic Music For Schools (The Resources Of Music Electronic Electronic Music For Schools)
editora: Cambridge University Press
nº de páginas: 200
isbn: 0-521-28026-5
data: 1981

Contents

The contributors – vii

Introduction – Richard Orton – 1

1 Hardware – Richard Orton – 3

2 Using the hardware: software, techniques and ideas – Richard Orton – 26

3 Electronic music in the primary school – Peter Warham – 45

4 Electronic music in the secondary school: 1 – Phil Ellis

5 Electronic music in the secondary school: 2 Tom Wanless – 92

6 Simple Equipment for electronic music making – Andrew Bentley – 107

7 What is musicmontage? – Trevor Wishart – 132

8 Making and performing simple electroacoustics instruments – Hugh Davies – 152

Appendices I Glossary – 175

II Course outline – 179

III Select bibliography – 181

iV Select discography – 194

V Manufacturers and suppliers – 188

VI Electronic music studios in the United Kingdom – 190

VII Societies and courses – 191

VIII  Items on the accompanying cassette – 192

Index

 

The Contributors

Richard Orton is a senior lecturer in music at the University of York. He founded York University Electronic Music Studio in 1968 and has directed it ever since. His publications include units on Natural Sound and Electric Sound for the Open University’s course ‘Art and Environment’ (1976) and his compositions include many that employ electroacoustic resources: Sampling Afield (1969), Clock Farm (1973), Ambience for solo trombone and tape (1975), Scatter for trombone, piano and tape (1977) and Emergences for speaking voice, flute, cello, piano and prerecorded tape (1978).

 

Peter Warham was headmaster at Barlby Bridge Primary School, Selby, Yorkshire for seventeen years until his retirement in 1979, and started using electronics in school music in 1969. Articles include ‘Using the tape recorder in the classroom’ for Tape Teacher and ‘Poetry and sound’ for Headland magazine. In 1977 he was awarded a Silver Jubilee Medal for services to education. At present he is working on a science project for teachers in N. Yorkshire.

 

Phil Ellis was head of music at Notley High School, Braintree, Essex from 1971-8. The music curriculum there was based to a large extent on creative activities and made significant use of electronics apparatus. The school has been associated with the Schools Council Secondary Music Project since 1973 and some aspects of Phil Ellis’s work have been featured in tape-slide programmes and in printed materials produced by the project. He is now lecturer in music at Huddersfield Polytechnic where he directs the electronic music studio.

 

Tom Wanless is head of music at Sheldon School, Chippenham, Wiltshire, where the music curriculum successfully combines electronic music activities with other music making. The school has also been associated with the Schools Council Secondary Music Project and he has contributed to courses and conferences dealing in particular with the assessment and evaluation of children’s creative work in music.

 

Andrew Bentley is resident in Finland and works in Finnish Radio Electronic Music Studio which he has largely designed and built up. He has produced a number of programmes on electronic music for schools. His Four Finnish Tapes (commissioned by Finnish Radio in 1975) explore what can be done with limited equipment such as might be available at home or in school.

 

Trevor Wishart is a composer and environmental musician. He has worked extensively in education, with children in school and in specially commissioned environmental-music projects and also with teachers on numerous courses in Britain and overseas. His many tape compositions include Machine (1971), Journey into Space (1972) and Red Bird (1977). He has written two books of musical games (Sounds Fun and Sounds Fun 2, Universal Edition, 1977). Other writings include Sun – Creativity and Environment (Universal Edition, 1974), Sun 2 – A Creative Philosophy (Universal Edition, 1977) and, in collaboration with Shepherd, Vulliamy and Virden, Whose Music? A Sociology of Musical Languages (Latimer New Dimensions, 1977).

 

Hugh Davies was assistant to Karlheinz Stockhausen in Cologne from 1964-6. Since 1968 he hs been director of the electronic music studio at Goldsmith’s College, University of London. His publications include The Electronic Music Catalog (MIT Press, 1968).

 

Acknowledgements

Thanks are due to the following for permissions to use copyright material:

Edinburgh University Press for ‘Opening the Cage: 14 Variations on 14 Words’ from The Second Life by Edwin Morgan

Her Majesty’s Stationery Office for extracts from Newsom, Half Our Future Universal Edition (London) Ltd for the extract from Murray Schafer, The Rhinoceros in the Classroom

Tom Bestwick for cover photograph, frontispiece and Plates 2-4

David Whiteley for Plate 1

Phil Ellis for Plates 5-8

Philip Palmer for Plate 9

Michael Dunn for Plates 10-12

 

Introduction

RICHARD ORTON

As a means of activity, of discovery of the sound-world about us, of its potential for human expression, the sonic art of electronic music is young. It has little weight of tradition to enshroud us in unquestioned and unquestionable canons of thought and behavior, to draw its students into possibly inappropriate modes of feeling. Of course, to many there may be dangers of superficiality because of its novelty. Luckily for the children in our schools this question hardly arises – novelty applies to almost every activity which is undertaken. Today the tape recorder can be a powerful means of reflecting and organizing our experiences, in documentary, narrative or musical forms. Electronics provides communication among people, and among peoples, on a scale not contemplated in earlier decades. Although its impact has been felt, electronics is not significantly used by the majority of educators in music and the arts. Here and there are pioneers working in schools to direct young sensibilities towards these means of expression; they have found the use of electronics wholly justifiable in its capacity to involve children in their own education, to lead them into unsuspected territories and provide significant and stimulating creative experience.

This book has drawn together some of these pioneers of electronic music in schools, to point the way and to encourage those teachers who have not yet ‘taken the plunge’. It has taken the view that although great sums of money can be spent on electronic hardware for making music, this is by no means a guarantee of artistic success or of communicative ability on the part of its users. Indeed, discovering what can be achieved with minimal equipment is a powerful stimulus for invention. As far as equipment is concerned, the authors of this book share a belief that a start can be made with one tape recorder, one microphone and one reel of tape. Beyond this starting point, each additional item of equipment will appear a bonus.

My own chapters serve to outline the equipment and techniques that have evolved for electronic music. The second chapter begins to place the techniques within the school context. Peter Warham, in the third chapter, gives a sketch of how he came to use electronic music in the primary school. Phil Ellis and Tom Wanless then each give their own positive views of electronic music in their secondary schools, and indicate that the CSE Mode III examination provides an opportunity to place the approach firmly within the curriculum.

The remaining chapters are a little more specialized. Andrew Bentley provides a stimulating plethora of ideas for using simple, cheap and readily available equipment in imaginative ways, and supplies a number of designs for simple circuits for those teachers who wish to introduce elementary electronics. Construction into the course. Trevor Wishart discusses the principle of music-montage which he has evolved, especially in his tape composition Red Bird, and give an insight into the potential of electronic music beyond the classroom. Hugh Davies brings his experience as an instrument maker to the final chapter. He introduces some projects for constructing and performing electroacoustic instruments, and suggests that in time activity will supersede that of tape manipulation in electronic music.

A Course outline suggests a series of graded activities conceived primarily for  secondary-school curriculum, but which should help teachers plan any course which intermittently adopts electronic music for different year-groups. The series of further appendices will be of assistance to teachers or pupils who wish to further their study of electronic music.

While the text itself is designed to be self-contained, an accompanying cassette has been prepared which illustrates many chapters of the book. Undoubtedly the excerpts of material created by schools pupils will be of special interest. Appendix VIII gives a list of the recorded itens, while the actual cassette may be obtained from Cambridge University Press.

Tickets de concertos: agora a lista do Tiago Carvalho - #6

 1993-07-14 Sonic Youth

1993-08-07 Siouxsie & The Banshees + Tédio Boys

1993-09-11 Einsturzende Neubauten + Lucretia Divina

memorabilia - "atacador" da serapilheira - capa de De Fabriek - "Made in Spain" (Discos Esplendor Geometrico)

 memorabilia - 

"atacador" / etiqueta da serapilheira - capa de 

De Fabriek - "Made in Spain" 

(Discos Esplendor Geometrico)

Hospital Psiquiátrico - 1º Electrochoque (Tragic Figures - TFT001 - 1989)

Hospital Psiquiátrico ‎– 1º Electrochoque

Electronic, Abstract, Industrial, Experimental from Portugal
Year: 1989
Label: Tragic Figures - TFT001

Memorabilia - ticket Luís Lopes + Fred Lonberg-Holm + Ingebrit Haker Flaten + Gabriel Ferrandini - Biblioteca Municipal do Barreiro

 

Memorabilia - 

ticket de concerto

Luís Lopes + Fred Lonberg-Holm + Ingebrit Haker Flaten + Gabriel Ferrandini 

Local - Biblioteca Municipal do Barreiro

Data / Hora - 21 de Junho de 2019

Organização - OUT.RA

Preço - 5€

Nº - 054

Crepúsculo Dos Deuses - Última Emissão - Emissão 565 - 16.12.1988

 Crepúsculo Dos Deuses - Última Emissão - Emissão 565 - 16.12.1988

(R.U.T. - Rádio Universidade Tejo)

A última edição de um programa marcante pessoalmente e para muitos da minha geração. O programa durou cerca de 2 anos e nove meses e o "suicídio" foi involuntário. Obrigado a Fred Somsen, Paulo Somsen e Eugénio Teófilo.

memorabilia - Ticket George Silver - 14.12.2019 - Auditório da Biblioteca Municipal do Barreiro

 

George Silver

14.12.2019 - Auditório da Biblioteca Municipal do Barreiro

22H

Nº 23

5€

Foi lá, neste concerto que comprei o 

lathe-cut para apoiar a música nacional e local.

George Silver ‎– Lagoa

Linha Amarela Produções ‎– LAP003

Lathe Cut, 7", 45 RPM, Limited Edition, Numbered

O meu não é o da figura mas sim o 2/20

Livros sobre música que vale a pena ler - Cromo #87: Bendle - "Permanent Transience"

autor: Bendle

título: Permanent Transience
editora: Not On Label - Sel Released - Edição de Autor
nº de páginas: 164
isbn: 9781976779855
data: 2020 (ou 2021)

A história da banda punk / post-punk The Door And The Window, contada em jeito de memórias, por um dos seus dois principais membros: Bendle.

Permanent Transience

London, 1979.

At the end of the Winter of Discontent, just prior to Thatcher coming to power, two Young men form a band and a record label. They are musically inept and have no idea how to run a business. But they have an urge to make a noise, so they record what becomes their first single. And then they contemplate their first rehearsal…

An insider’s story of post-punk band The Door And The Window and of a brief moment in musical history when anything was possible.

 

ISBN: 9781976779855

Made in the USA

Middletown, DE

30 January 2021

164 páginas

Not on label

Self released

Edição de autor

 

Preface

In writing my version of the story of The Door And The Window I have focused mainly upon the first phase of the band’s existence, because it reflects a unique point in the history of (un)popular music. For a brief couple of years after the commercialisation (and subsequent redundancy) of punk music it was possible to produce and market all sorts of weird music and noise. Nag and I had a keen interest in playing music and in running our own record company. Despite having no business sense and no musical competence we managed to make and sell records – to an underground audience that was small, but which was widely (internationally) scattered. I felt myself to be one of a tangible community of musicians supporting each other with equipment and information, and of a wider community of people putting out their own music on small labels. Rather than a sense of competition, or envy at other bands having bigger audiences or sales there was a spirit of one of the gang doing well. We were constantly bemused at our own success and that people kept offering us work and exposure.

I have written more briefly of later incarnations of the band, because our gigs got less frequent, and to put them fully into context would have meant a book several times longer. The importance of the later versions of TDATW for me is that we continued to demonstrate the Permanent Transience that we had initially claimed as our modus operandi.

I have tried to be as true as I can to my experience of the story of The Door and The Window, although this has been written many years after the events. I have used old diaries as sources of information, but realize that I didn’t bother to record many things that were familiar enough to be taken granted at the time. I have chosen to leave out details that I cannot date or corroborate and have aimed to avoid retrospective analysis in an attempt at recapturing some of the spirit of that time.

Thanks everyone mentioned in the story, and apologies to those missed out.

Please get in touch if you think I’ve got any parts of the story wrong!