If there’s one thing Beethoven is known for, it’s the use of subtle instrumentation between his enormous thematic sections. This is where the virtuosity of the players and soloists truly shines, as the music gently reinstates a theme or transitions into a new key or melodic mode. The technique of the players is left to the individual, and the results are interpretations that are original and unique.
The music production software company Native Instruments will celebrate their 20th anniversary in October of this year. Isn’t that exciting? Most people have no idea this company even exists, but it is well known among composers for their sampling software Kontakt, which has become the de facto standard for the recording and performance of professional orchestral virtual instruments.
Anne Modugno is a retired music teacher who developed and implemented an innovative Electronic Music program for high school students in 1968. A highly energetic and motivated educator, Anne explored the use of technology to realize the musical potential that exists in everyone. Composing electronic music was treated as a sound-oriented study, with sound itself as the significant element and focus.
This month we’re taking a look inside the engine, where I will explain my setup and how I go about creating my music. Indeed, the computer software is complex and requires some focus, but I’ll try to make it as simple as possible. Click images for legible enlargements.
In the late 1970’s, video was an exciting experimental medium. Nam June Paik created the famous “TV Bra for Living Sculpture,” a piece where two tiny video screens covered cellist Charlotte Moorman’s breasts and her cello partly covered the rest. Other early video artists include Bruce Nauman, William Wegman and Peter Campus.