Sounds only

Dezember 2010 / Januar 2011

Works (1999 - 2002) by John Bischoff
From the CD aperture (23five, http://www.23five.org/recordings.html)

1) Piano 7hz / 10:20     
2) Interlude / 7:00     
3) Graviton / 7:33     
4) Immaterial States / 9:32     
5) Override / 3:51     
6) Sealed Cantus / 8:12     
7) Aperture / 6:29

Liner notes:
Synthetic relations mediated by human agency. These are not natural processes, though they could be said to mirror the depth of musical hierarchy without the feeling of physical causation. Nuance, fabricated down to ist very roots. Each piece is a physical presence - a time-based object resonant in air- which unfolds along an axis of reflective intention. Along with periodic error corrections and manual overrides. At each moment there is an equal probability of sustaining the current condition or interrupting that condition.
These pieces were developed using the audio synthesis language Max/MSP. Various techniques - from additive synthesis, to FM, to sample-based processes - were constructed from the ground up by the composer. (...)

JOHN BISCHOFF (b. 1949, San Francisco) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his ground-breaking work in computer network bands.
Bischoff studied composition with Robert Moran, James Tenney, and Robert Ashley. He has been active in the experimental music scene in the San Francisco Bay Area for over 25 year as a composer, performer, teacher, and grassroots activist. He was a founding member of the League of Automatic Music Composers (1978), considered to be the world's first Computer Network Band. He is also a founding member of the network band The Hub with whom he has performed and recorded from 1985 to the present.
Bischoff is currently an Assistant Professor of Music at Mills College, in Oakland, California.

More information on John Bischoff can be found here

Hier werden Produktionen aus Archiven der Elektroakustischen Musik, wie z.B. dem Archiv der DEGEM oder dem IDEAMA- und dem DEGEM-Archiv des ZKM, dem Archiv des elektronischen Studios der TU Berlin sowie anderen internationalen Archiven und Dokumentationen elektroakustischer Kunst unter verschiedenen Aspekten präsentiert.