Milliseconds, seconds, minutes, hours, days, weeks, months, years, decades, centuries, millennia… Is time the fourth dimension or just one of many parameters of multidimensional spacetime. How many hidden dimensions are there? According to the linear concept, time is a means to measure events, ordered from the past through the present into the future. We can have memories of the past, but not of the future. But what if it would be possible to travel across multidimensional spacetime and discover that time is not linear, but a much more complex mechanism? Is the experience of time just a straight line? Today our knowledge and experience of time, at the macroscopic level, is not time-reversal invariant. Consequently, everything real today will be just a memory of the past tomorrow... READ MORE
Over an eight-year span (2000-2008), pioneering composer James Dashow created his surround-sound fixed media opera, Archimedes, which is intended to be presented in a planetarium along with animated graphics that are projected on the ceiling as the opera unfolds. In many ways, this opera is interesting for historical reasons, one of which is that the technology used during the time of creation inevitably changed and yielded variations in the modes of presentation. (These have been streamlined on the DVD for a more seamless experience). But also, the opera offers a unique glimpse into the composer’s personality and extraordinary technical skills with sound synthesis techniques. Taken together, the sound and video offer a dramatic rendition of the story of Archimedes, excerpted in three acts available in either stereo or 5.0 surround (full-spectrum speakers with no subwoofer)... READ MORE
— LATEST NEWS —
Three Italian Composers Join the Neuma Family
During a summer 2016 visit to Italy, Jerry Tabor, Director of Neuma, conducted rare video interviews with two respected, pioneering composers in electroacoustic music: James Dashow and Agostino de Scipio. These interviews reveal historical and aesthetic details surrounding the work of these exciting composers. These interviews will appear soon on our website’s research page along with interviews by Thomas DeLio, Otto Laske, and Dariusz Mazurowski.
While in Italy, Jerry spent time with three exciting Italian composers who are known for stretching boundaries and creating imaginative sound worlds. Neuma is dedicated to championing new and original music and Neuma’s publication arm is pleased to release numerous works by these composers in its 2017 catalog! Click NEXT below to read introductions to these fascinating artists.
Francesco Telli received his musical education at the Rome Conservatory of Music Santa Cecilia, where he was awarded diplomas in Pianoforte, Composition, and Orchestra Conducting. He continued to perfect his art through international specialization courses at the National Academy of Santa Cecilia and at the Chigiana Academy in Siena, where he obtained a Diploma of Merit both in Composition and in Orchestra Conducting, and through Professional Qualification courses at the Fiesole School of Music. Among his Maestros are prestigious and estimable artists like pianists Augusto D’Ottavi and Giuseppe La Licata, composers Armando Renzi, Irma Ravinale, and Franco Donatoni, and orchestra conductors Bruno Aprea, Piero Bellugi and Franco Ferrara... READ MORE
Silvia Lanzalone earned a Diploma of Flute at Giuseppe Martucci Conservatoire of Salerno, the Diploma of Composition and the Diploma of Electronic Music at the Alfredo Casella Conservatoire of Music of L'Aquila and at Santa Cecilia Conservatoire of Rome. Since 1997, Lanzalone works at the Centro Ricerche Musicali (CRM) in Rome, as a composer, researcher and musical assistant. She has been Head of the Department of New Technologies and New Languages and professor of Electronic Composition at the G. Martucci Conservatoire of Salerno since 2009. Lanzalone focuses her work on experimentation and research into new expressive and linguistic solutions, primarily using computer technology to process sound in real time. Her current interest is in creating improvisational pieces with gestural components...READ MORE
Paolo Gatti is a composer, producer, and performer of electronic and electroacoustic music. His compositions have been performed at such events as Emufest, the BNL Media Art Festival of Rome, and the Riccardo Bianchini Festival. His music has been heard extensively throughout Italy in such venues as the Argentina Theatre, the MAXXI Museum, the Mind Museum (Santa Maria della Pietà), the Tor Bella Monaca Theatre, the Orsini Castle (situated in Avezzano), the concert hall of the Cimarosa Conservatory of Avellino, and the Ennio Morricone Auditorium of the Tor Vergata University of Rome. Gatti’s international performances include Leeds Music College during the IFIMPAC and the New York City Electroacoustic Music Festival in 2016. In 2015, his work for violin and electronics, Poltergeist, was awarded a Claudio Abbado National Prize...READ MORE
Neuma Records & Publications proudly announces we are the exclusive publisher of composer Otto Laske. Laske joined the Neuma family 20 years ago when he contributed his highly revered Treelink (1992) to one of our most popular releases, the 1996 Electro Acoustic Music V. Since then, two more of his works have appeared on the label, one of which, Furies and Voices on Electro Acoustic Music VI, accompanied the most comprehensive book on Laske’s work to date, Otto Laske: New Musical Horizons (edited by Jerry Tabor, Greenwood Press, 1999).
Over the next two years, Neuma will add most of Laske’s acoustic and electroacoustic works to our catalog and release numerous Laske recordings as historical collections. Also forthcoming are albums of his more recent audiovisual works using animation techniques that reflect his electroacoustic compositional approaches. Completing this renaissance composer’s catalog entries are some of his brilliant digital paintings.
Thomas DeLio: Selected Compositions II (1972-2015) is another fascinating Neuma “sonic-doc” chronicling 43 years of some of the most radical experimental music ever composed. This album displays DeLio’s intense focus on sonic materials by placing acoustic works next to electroacoustic works, which the composer calls “deconstructions”, in which the composer reframes the acoustic materials into a more exacting perspective. Listening to the acoustic piece followed by the deconstruction is like experiencing a new sonic universe and then going inside DeLio’s head to explore how he, himself, hears that universe. Delio’s meticulous attention to detail in his compositions is reflected in his analytical work. In fact, he has often stated that composition and analysis are the same process for him—even the compositional techniques classes he teaches at the University of Maryland are exclusively centered around analysis. As the album progresses, it is easy to get the sense that every timbre; every pitch, rhythm, and duration; every texture, and every silence have a specific purpose in his conception of the sonic world he constructs—they are the result of a deeply analytical understanding of his own experience of sound. Perhaps this is the most important reason to listen to this music. It is rare to find such original and distinctive compositions on one album, especially considering how clearly they articulate the self.
space/image/word/sound II offers a rich journey through two-years' worth (2014-2015) of Thomas DeLio’s purely electroacoustic creations for computer-generated sound and processed poetry. Musicians do not genuinely think of sound and time the way visual artists think of objects and space. But DeLio seems to have made music about that vary concept. Many of the compositions on this disc turn the idea of linearity inside out so that sound is not time-oriented as much as it is an articulation of spatial volume. There is no way to acquire any linear bearings due to the quantity or positioning of sound in the surround space—as one might typically do when listening to more traditional compositional approaches. Rather, instead of hearing sound unfolding over time, the experience begins to be about the feel of textures that have spatial depth, the sense of sonic pressure, and time is not even a consideration. Even when poet P. Inman’s texts are in play, the music feels like a series of sonic explorations that completely eschew any sense of formal design. For DeLio it seems that form is no longer important if the whole idea is to stay in the moment. Yet, there is somehow a clear feeling of overall unity coming from the sonic characteristics of each composition—formal designs that are completely outside of time, like paintings. This music is by its very nature a radical departure from composition as we presently understand it and is, perhaps, history in the making. ...READ MORE
Christopher Shultis, one of the world’s foremost experts on John Cage and American experimental music, presents his earliest compositions in this historical document, which chronicles his transition from percussionist extraordinaire to fearless composer. Three things motivated the creation of this profoundly spiritual music: Shultis’s tragic and still undiagnosed hand injuries, which forced him to stop playing all together, the personal connections he made with dozens of important composers through the ensemble he directed, and Shultis’s extensive research in American Studies...READ MORE
Aperture II // Elliptic features breathtaking live performances by the JACK Quartet and the Six Tones. Here the artists realize Richard Karpen’s music for live electronics and string quartet, dàn tranh, dàn bau, and 6-string and Vietnamese electric guitars. In the album’s liner notes, renowned scholar James Pritchett eloquently explains how it is less about the music Karpen himself makes and more about the music that results from the collaboration between himself and the performers. Karpen assumes the role of the “director” of musical events specially made for these ensembles. Aperture II // Elliptic captures something rare—a sonic activation of the individual personalities as well as musical and collaborative interests of members of the JACK Quartet and the Six Tones, all while maintaining the interaction of the artists as a collective. Perhaps what is most impressive about this recording is that Karpen creates an unimaginable sound world while giving the performers room to contribute; and yet, the result is the creation of expansive works that have impressively singular monolithic trajectories...READ MORE