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Liam Carey
Приєднався 16 січ 2020
Liam Carey is a composer based in Liverpool who works with live instruments, electronics, and video.
sweet child phase
three copies of a fairly well known riff played in a loop. the one on the left has been time compressed by 1 frame (1/25th of a second) and the one on the right has been time stretched by the same. they start together, gradually move out of phase, and then eventually come back together. the whole thing takes about 54 minutes.
Переглядів: 318
Відео
Liam Carey - Yes and No, for 22 solo strings - introductory talk
Переглядів 4344 роки тому
This video is an introductory talk to my piece Yes and No, for 22 solo strings. It might seem a bit presumptuous to think that viewers might want to hear me talk about my music, I think it's really important for contemporary composers to be able to do this. As a listener as well as a composer I have always found it really interesting to hear what a composer has to say about their own music, and...
Liam Carey - Yes and No, for 22 solo strings - score follower
Переглядів 9694 роки тому
I’ve always been fascinated by the way that often arguments are not caused by a disagreement about facts, but rather that the people involved hold very fixed and particular ways of seeing the world. This can often involve them using the same word to mean two completely different things, and taking hardline positions that make them unable to see that the reality of some issues is often irreducib...
Spectralism - a short introduction to spectral music
Переглядів 41 тис.4 роки тому
This is a short primer on spectralism that I made for my students. It focuses on the French/German schools of spectralism (sorry Romania) and features the music of Gérard Grisey, Tristan Murial, Kaija Saariaho, and Georg Friedrich Haas. I've included links to the pieces below, along with links to works by other spectralist composers. Pieces in the video: Grisey - Partiels: ua-cam.com/video/1v7o...
Liam Carey - Rondo for Piano and Electronics - 8 channel binaural mix. Performed by Ian Buckle
Переглядів 2324 роки тому
Rondo for Piano and Electronics - 8 channel binaural mix Performed by Ian Buckle from Pixels Ensemble - pixelsensemble.org This is the last movement of my piece Concerto for Piano and Electronics with the electronics mixed as 8 channel binaural. I thought I'd put it here by itself because (my audience retention figures being what they are) it tends to get missed, which I think is a shame. The i...
Liam Carey - Here comes the other
Переглядів 3904 роки тому
This is my new piece for detuned harp and electronics. The intention of this piece was to explore the tension between musical material which should be familiar to the listener, and ideas which should seem more strange or 'other'. This tension is explored in different ways: stylistically through the juxtaposition of acoustic harp music and electronica; in terms of the instruments used through th...
Liam Carey - Nothing New, for piano and electronics (or two pianos)
Переглядів 3754 роки тому
A short piece for solo piano in which is amplified and the signal delayed to create a two-part stretto canon. The idea was to write a piece which played with the idea of gestalt in music, looking at how we group and organise what we hear. The two parts, although identical, at times seems to fuse to create a single part, and then other times seem to separate and work against each other. Can also...
Liam Carey - Concerto for Piano and Electronics. Performed by Ian Buckle
Переглядів 8574 роки тому
Liam Carey - Concerto for Piano and Electronics. Performed by Ian Buckle from Pixels Ensemble - pixelsensemble.org This is a traditional three movement classical concerto but for soloist and audio-video instead of an orchestra. The initial inspiration for this piece was to see whether a piece written for the common contemporary ensemble of soloist and electronics/video could work like a traditi...
Dazzling piece
Thank you for this, fascinating and you explain it with absolute clarity. A new musical journey for me.
I 😍 Random Noise I 🤮 Music
So awesome!!!! incredible teaching and valuable source of information! I super appreciate you taking the time to make this and thank you for the extra composers down below!! You rock man.
Sync’ing the music to video must have taken “some time” 😅
What an incredible piece!
ahh lovely video
Don't bore us, get to the Chorus!
what about James Tenney?
Thank you, it was very clear.
"music" with just long notes is boring. I wonder why anyone who truly loves real music would want to spend time listening to this stuff.
Because they don't love music, they just love pretending to
@@Whatismusic123 Correct. Why should anyone assume that music can succeed with the absence of the all elements (except color) that have made European art music great for eight centuries - melody, harmony, interesting rhythms, harmonic rhythm, strong, memorable melodic themes, and in so much but not all of what we consider great music, form based on key and theme and the tonal harmonic language? All of this data that provides the brain with the opportunity to form patterns and comprehend the logic of the music on many levels and time spans, which is the reason we listen to music in the first place, is nowhere to be found with this nonsense. How convenient for the person unable to comprehend harmony, unable fo invent interesting, beautiful melodic themes, clueless about counterpoint, clueless about the narrative and dramatic progression of good music, even clueless about the need for continuity and contrast to be in flux in any work of art, and only minimally skilled in manipulating instrumental color - yes, now you too can be a composer!
@@jaspernatchez in the words of schönberg, "when you can't succeed, start a cult!"
im sad i only found your content years after you made it. this is fantastic.
Wonderfully informative.
It's a great piece!!!
Great and very original.
Fascinating idea! Congratulations.
definitely great vid. but a little euro-centric. you missed james tenney, for example
Most Beautiful, thank you.
Music should swing. This stuff doesn't. Bill P.
Please tell us the spectral analysing program you show in the beginning!
Lovely introduction. Thanks for your time!
Typo: Tristan Murail not "Tristan Murial".
Interesting work
This resonates with me (or viceversa) given that as a five year old I was fascinated by the absorbing sound of EPNS forks when struck.
Great Piece
Excellent. I had no idea that a big part of music that I loved in scoring in films was spectralism after all. Such beautiful and ominous sounds. All kinds of tension with such simplicity at the root of it all. Thanks for the vid!
This is astonishing
interesting
What is the spectrum analyser plugin used in tbe vídeo?
Hi, What software did you use to get the fundamental and the overtones at the start of your video ?
SPAN, it's free
Spectacular!
What was the graph you showed at the end of the video?
Absolutely brilliant! Great explanation of the idea behind your excellent piece, making it even more interesting.
Interesting! I've always liked this sort of composition based on the harmonic series. I find it very relaxing to listen to. Maybe because the mathematical relations of the tones are 'just' and incredibly satisfying to listen to. Never realised it had a 'genre' name (spectralism). I would recommend Tom Heasley's 'On the sensations of tone' which uses a tuba very rich in harmonics.
So nice and beautiful. (It takes my head and heart to Fripp's soundscapes...and to so many places😁🎼😁) ua-cam.com/video/vO7fHtO2Oag/v-deo.html
I love how you get straight to the point. Not something you find a lot now days, if at all. Great job.
Wow !! incredible sounds, what a beautiful piece of music ! Thanks for sharing.
Is spectralism like just intonation? JI (Jon Catler) is kind of the same thing with the harmonics moved to lower octaves.
seems like drone genre
This is an excellent explanation of a musical style that emphasizes timbre and completely rejects the traditional function of Western classical music which was to recount a musical narrative in which we follow the development and variation of musical ideas. The spectralists often skated on the thin ice between music and noise and asked us to reconsider of definition of beauty.
Amazing content! Thanks for all the work you put into it
Thank you so much for making this video. It's really helpful for me to easily understand the concept of spectralism, which I have been alb confused about so far. Your explanation is so clear, and the references you brought here are what I've already known, leading me to understand more smoothly. I very much appreciate it!
Thank you for giving us a glimpse of this fascinating new world
What an absolutely excellent video, and wow that quartet is simply breathtaking
😊 Very nice informative video. I was introduced to the principles of "spectral music" and/or "polychromatic music" 5 years ago, through the digital works of Dolores Catherino and the hundred year old quarter tone piano works of Ivan Wyschnegradsky... As an aficionado of electronic music it's very nice to see that quite a few "classical" music composers have worked on tone and timbre in multiple ways... My very very first "meeting" with "different music" was, as an 8 year old child, watching 2001, a Space Odyssey, and hearing György Ligeti's music 😅Quite the experience!
in the first 45 seconds, add a beat and it becomes a banger <3
I'm afraid I don't have any ground-breaking insights to offer but I just finished closely listening on headphones... what a spectacular and other-worldly sound-experience! Well done sir. I also enjoyed your "intro to spectralism" video -- very helpful for understanding how the theory/aesthetic of spectralism is actually employed in the compositional process, which I haven't otherwise been able to learn from various articles and entries on the subject which are always (perhaps somewhat necessarily*) vague when it comes to specifics. *I'm reminded of an old quote that 'writing about music is like dancing about architecture' ... so true, no?
perfect lesson, thank you
This is so much more pleasant to listen to than "it's gonna rain." Very interesting stuff.
One needs to be a musicologist or advanced student to follow the terminology here. How many have those qualifications? No doubt your presentation is professional, and accurate, but as common listener, I feel one needs to make a substantial cognitive effort to appreciate Spectralism. Not the case with minimalism like Steve Reich which gives immediate emotionally engagement. What do these two styles come from historically, do they overlap? Where have I gone wrong? Thank you.
In my opinion, there is a case for sound sensual appreciation without the need of a story behind. Minimalistic music can be easier because we all are exposed to it daily without knowing and they use in general well known instruments pitched in conventional ways. There are not many parameters for your mind to tune to that music outside our common experience and also its proper language, i.e., structures, simetries, shapes and schemas are not far from other more common music. So it sounds familiar more than new. When you start to add more new structures and techniques to a sound piece that are less used or common you are adding more work to do. And sometimes there is a magic moment of realisation and everything comes together in a new wave of sensual appreciation. But we need to realise that appreciation comes with exposing ourselves to the new stimulus in a good environment and moment and with familiarity and memory.
Wow thanks for the response! I made that comment several years ago, well better late than never. You write like a professional and emphatically I am not. But i understand and appreciate your remarks. This one could boil down to the Modernist credo "make it new." and this applies to all the arts. But doesn't the listener find the music they love compulsively listenable? We never get tired of the "story" to use your term.
@@christophermorgan3261 It is my understanding that art as a job mapped to new creations or unique things is a concept that was born in the renaissance. Before what they called artist, we called now artisan, as it is skills more than novelty what it was about. Anyway that was then. The issue for many listeners it seems to boil down to understand a piece of sound not only as an abstract entity with its own life as a sensual perception that maybe triggers in you (in your mind) several other things, it has to have a rationale, and I don't mean a criteria, but a story behind, a purpose, a transcription. Something that you can explain using human language. That is not what music was about at least since mid-Mahler period. So, it is no wonder composers dealing with only sound shaping, sound awareness, using any material and arrangements, any technique and any kind of structured shape are lost for most listeners. And they carried on like the public is following them, so they challenged each other, they dropped old techniques from previous generation to new soundscapes etc. Now after more than a century, it is understandable, there are few hooks or motivations to deal with this music. And it is a pity. You don't need to learn anything about the music being performed before being performed, same as before. You just have to have an open mind and be able to feel and to reason about your feelings and whatever the music triggers. If the tonality or harmonics is too alien, the usual trick of half the loudness, play in the background, do something else, will ever work. Just, let the sounds to be familiar, and people can, in my opinion, have a better picture of what is there that has beauty or value, or not (there are still bad composers).