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Tag: Electronic music

  • The Digitakt II Sequencer Has Bigger Brains and Better Memory

    The Digitakt II Sequencer Has Bigger Brains and Better Memory

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    The original Digitakt sampler and sequencer, despite being seven years old, remains an incredibly capable device beloved by many in the music world. So how does the latest model, which looks nearly identical, hold up to the fan favorite?

    Under the hood, the Digitakt II is a significant upgrade in almost every way. Unfortunately, it also comes with a significant price increase to $999, from $799. With used Digitakts going for as little as $400, the choice between the two isn’t as clear cut as you’d expect.

    I spent a few weeks putting the latest Digitakt through its paces and comparing it to the older model, and ultimately realized the new version is probably not worth the upgrade for my (and many others’) purposes. That said, if you’re a power user who always wants to try the latest and greatest, it’s a fantastic piece of gear.

    Photograph: Terrence O’Brien

    Endless Possibilities

    Physically, the differences between the first Elektron Digitakt and the new Digitakt II are extremely subtle. The monochrome screen is white instead of yellow. The instrument specific labels under the keys are gone, there are a couple of new buttons, and some labels have changed. Otherwise the two are nearly indistinguishable.

    I cannot possibly cover every feature of the original Digitakt. In fact, I’m going to have to gloss over even some of the changes to the newest model. It is an incredibly rich machine that would take tens of thousands of words to comprehensively explain. Instead I’ll be focusing on the most important features and changes.

    If there were two major strikes against the original Digitakt it was that it only handled mono samples, and storage was pretty paltry, even by 2017 standards. Personally, I didn’t find the 64 MB of RAM (equaling 14 minutes of mono samples) per project terribly restrictive, but the 1 GB of drive storage did lead to a lot more time wasted actively managing samples. By increasing the RAM to 400 MB (72 minutes of mono or 36 minutes of stereo samples) and the drive to 20 GB on the new model, the storage issue is largely solved.

    While having support for stereo samples is nice, I actually find the increased storage to be the main new feature I love. Part of that is down to how I primarily use the Digitakt II, which is as a drum machine. Stereo is just less of a necessity when you’re primarily working with percussion.

    The Digitakt II is more than capable of handling melodic parts, and it even comes preloaded with single cycle waveforms so you can play it like a synth. But because the 16 sequencer tracks are monophonic, playing chords requires either using multiple tracks and sequencing the notes individually, or just sampling chords. And even though there are five different “Machines” (Elektron’s term for how a sample is handled, e.g. one-shot, stretch, repitch, etc.) your results will vary greatly depending on the source material.

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    Terrence O’Brien

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  • Kontravoid brings dark-electronic mayhem to Orlando’s Iron Cow

    Kontravoid brings dark-electronic mayhem to Orlando’s Iron Cow

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  • Does AI have soul? Orlando genre vagabond Will Clark explores that in new album ‘Doo Wop for the Digital Age’

    Does AI have soul? Orlando genre vagabond Will Clark explores that in new album ‘Doo Wop for the Digital Age’

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    Will Clark releasnes new album ‘Doo Wop for the Digital Age’

    The rising tide of AI has flooded the public discourse of late to much anxiety from those awake enough to be concerned about human autonomy. But one local artist is surfing it with stylish insouciance by turning the technology on itself.

    While Orlando’s Will Clark is a genre vagabond whose musical work ranges wide on a spectrum that includes synthwave, video game music, anime music and dance pop, among many more, what more tidily sums him up as an artist is a specialist interest in niche digital culture. Although Clark’s work frequently uses AI, his latest album is perhaps his best, most direct parody of it to date.

    Stylistically, Doo Wop for the Digital Age is a batch of 1950s-style pop whose retro charm belies its modern slyness. Thematically, Clark says,“I wanted to create something that captures the nostalgic essence of doo-wop while addressing contemporary topics like social media apps, incels, and NFTs.” Indeed, the collection is packed with song titles like “OnlyFans Angel,” “TikTok Tick Tock,”“Snapchat Pics”and“Insta Filter Girl.” Beyond simply addressing the idea of AI, Doo Wop for the Digital Age wields its very capabilities.

    The songs were actually crafted using AI music generator Udio. The lyrics, however, are Clark’s original work and personal thoughts. The sole exception is album opener “Groovin’ With AI,” a song about ChatGPT that he felt should, (un)naturally, be written with ChatGPT. It’s a suite of songs that sound straight out of a Boomer’s record collection but that could only come from a millennial.


    Whether Doo Wop for the Digital Age is more social commentary or musical art is debatable. What’s not, however, is that it’s a whimsical work of post-modernism with a sense of both satire and irony. Doo Wop for the Digital Age is currently available on Bandcamp and YouTube.

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    Bao Le-Huu

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  • It’s Not the Greatest Vocoder, but Moog’s Spectravox Sure Is Fun

    It’s Not the Greatest Vocoder, but Moog’s Spectravox Sure Is Fun

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    The filter bank is what makes the Spectravox unique in Moog’s lineup of midrange semi-modular instruments. It’s a dynamic 10-band filter bank with high- and low-pass filters, plus eight bandpass filters in between. These can be used to simply shape incoming audio like an elaborate EQ. But the bands can also be shifted around with the aid of an LFO for creating phaser- and wah-like effects. If you really crank stuff it can even give you pseudo-ring modulation. Is spending $599 on a desktop synthesizer a little overkill just to play some funk guitar? Absolutely. But it’s a fun little trick the Spectravox has in its back pocket.

    The filter bank can also be used to produce sound all on its own if you connect a midi controller or sequencer with CV (control voltage) output. If you turn up the resonance of the filter and patch the EG (envelope generator) to the carrier input, then connect the pitch output of the controller to the spectral shift and the gate to the trigger input, then you can coax interesting marimba-like tones out of the Spectravox without any additional audio input.

    The Synth

    Photograph: Terrence O’Brien

    Of course part of the requirement for a vocoder is a carrier signal, in this case a synthesizer. The Spectravox includes an incredibly simple but pretty decent-sounding single-oscillator monophonic synth. It has square and sawtooth options, with variable pulse width on the square. There is also a noise source that you can dial in to dirty up the single oscillator, but it goes from nonexistent to overpowering pretty quickly, and I generally just left it off.

    The synth can be combined with a keyboard or sequencer which has CV output and is played like any other synth. Or, you can pair it with some external effects to create risers, drones, and other sound effects. Similar to using the Spectravox as a phaser though, while it’s a nice trick, you don’t need to spend $600 to get a basic monophonic synth. This is a nice perk but not necessarily a reason for it to jump to the top of your shopping list.

    Where Spectravox starts to get interesting as a synthesizer is when you start combining all of its various elements in slightly unexpected ways. For instance if, instead of vocals you ran a drum loop into the program input, it would impart its rhythmic ebb and flow to the internal synth, or whatever you were feeding into the carrier.

    Better Together

    Side view of an electronic audio device with many knobs and inputs with a few wires on the desk beside it

    Photograph: Terrence O’Brien

    I think the Spectravox really shows its versatility when you use it as a middleman between two different sources of audio. For one, a monophonic vocoder can feel a little thin. But if you plug another synth into the carrier, you can sing in gorgeous polyphonic synth chords. If I wanted to get some rich vocoder action going I would just plug my Korg Minilogue XD into the carrier input. And using things like drum loops to add rhythmic interest to other synths or even my guitar was always a blast. In fact, one of my favorite tricks was feeding a drum machine into the program input, my guitar (through an amp sim pedal first) into the carrier, and then feeding the output of the Spectravox through some chorus and reverb. The result is something that doesn’t sound exactly like a synth or exactly like a guitar. I don’t know how often I’d use such a strange effect, but I’m dying to put it to the test on a guitar solo.

    It’s this sort of experimentation that makes the Spectravox so compelling and fun. In fact, it’s what keeps me coming back to Moog’s line of desktop semi-modular synths like the Subharmonicon (8/10, WIRED Recommends) and the DFAM. I love the sound of a good Mini Moog as much as anyone else, but these all offer some new experimental take on Moog’s legacy. My one major complaint about the Spectravox is that it is noisy. I had to cut a lot of the high end to get it to be usable on recordings.

    If you’re in the market for a vocoder you should probably skip the Spectravox. There are better and cheaper options for just traditional vocoding, like a MicroKorg ($429) or Arturia’s MicroFreak ($359). But if you want something more playful—something that can be a vocoder if you need it to be but is really more of a sonic playground—the Moog Spectravox might well be worth the $599.

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    Terrence O’Brien

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  • The Teenage Engineering TX-6 Is a Pocket-Sized Mixer

    The Teenage Engineering TX-6 Is a Pocket-Sized Mixer

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    At this point there’s little to say about Teenage Engineering that hasn’t been said. Every review of the sleek Swedish audio brand’s gadgets commences with a hot take that ultimately underscores the same points: While their gear is quirky and astonishingly expensive, it’s tough to hate what they’re doing when they do it so well.

    Within the synth space, and the broader realm of Very Online People who make music between bouts of doomscrolling, the Swedish gearmaker functions somewhat like comedian Tim Robinson’s Netflix series I Think You Should Leave. The final product is proudly defiant concept art that’s brilliant but also kind of annoying. It’s critically acclaimed, yet clearly not for everyone. And the memes that swirl in its wake are pure gold.

    When compared to its brethren in the brand’s “Field” series of ultraportable musical devices, the TX-6 makes a compelling case for being the most useful and worthy of its hefty $1,199 price tag. At its core the TX-6 is a mobile USB-C interface and standalone mixer, with an impressive six stereo ⅛-inch inputs packed into a sturdy, handsome little unit that’s smaller than a deck of cards. Plug an audio source into one of the top-mounted jacks and the small black-and-white display asks whether you’re using a stereo or dual mono source. Adjust highs, mids, and lows with the cutest little trim pots you’ve ever caressed, and the vertical sliders below adjust each track’s volume, which outputs to a ¼-inch jack at the bottom of the unit.

    A white knob under the display screen steps gently as you turn it left or right to adjust the master output volume. A click of the knob opens up an expansive menu of options like tempo syncing, Bluetooth connectivity, and defaults settings for the channel knobs. A pair of color-coded FX buttons toggle effects like reverb, delay, and EQ, and the shift button unlocks a world of menu diving that lurks beneath the TX-6’s small but mighty surface. The USB-C port offers a driver-free, class-compliant connection to an iPad or the desktop device of your choice. It even works seamlessly with an iPhone through USB-C to Lightning, via an MFi-certified connection. Insert a thumb drive in the USB-C port and you can record a live stereo track directly to the drive from the TX-6’s master mixdown channel. You’ll need to furnish your own mic to capture audio on the fly with this method, but it’s a tad more practical than the similar workflow you’d find on the TP-7.

    Photograph: Pete Cottell

    A Teeny Tiny Mixer

    It’s no surprise the unit’s diminutive size necessitates significant tradeoffs that a traditional studio-based musician will find annoying. Plugging in a guitar or a traditional microphone requires a converter, and the plastic housing of the average ⅛-inch connector you’d find at Amazon or Guitar Center is a tight fit next to the other inputs. Pair that with the lack of 48-volt phantom power for condenser mics and your best bet is either a cheap lavalier mic with a built-in ⅛-inch output or a newfangled influencer mic like the Tula or the Austrian Audio MiCreator. Teenage Engineering sells its own connectors, of course, with prices ranging from $12 for a simple ⅛-inch to ⅛-inch cable, to $19 for a stereo ⅛-inch to dual-mono ¼-inch cable.

    Audio devices and plugs

    Photograph: Pete Cottell

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    Pete Cottell

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  • EXCLUSIVE INTERVIEW | Cazzi Opeia

    EXCLUSIVE INTERVIEW | Cazzi Opeia

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    Self described as “Marilyn Monroe gone bad,” Cazzi Opeia makes pop dance music that sizzles.

    The Swedish-born DJ and singer/songwriter’s stage name comes from the star constellation “Cassiopeia” — the vain but beautiful queen of greek mythology — perfectly describing her dark glam music style. Following her collaboration with legendary K-Pop producer on the club hit, “Batman & Robin,” Cazzi Opeia returns with “Rich,” a track with pop influences and lilting vocals that still manages to stay true to the artist’s EDM roots. Popdust got the chance to talk with Cazzi Opeia and hear about her journey to stardom, what influences her music, and more.


    Hey Cazzi! How are you? What have you been up to recently?

    Hii 🙂 I’m good thanks! I’ve been traveling, making music in lots of different studios & meeting lots of new people!

    What does music mean to you?

    Music is my rescue. It never lets me down! Music is a vibration that can make you go from 0 feeling rubbish to a pure 10 feeling fabulous.

    It’s amazing what music can do to you.

    Where did your interest in music stem from?

    I noticed at an early age that I love to sing! I’ve always been encouraged by family to play in bands, join musicals and write songs. So it’s kind of always been around me and I’m forever grateful for that!

    Can you let us know a bit about your journey as an artist?

    Since a young age I felt a hunger to be on stage and to entertain. I started to write my own pop songs at the age of 11 and have always enjoyed to dress shockingly and colorful to make an impression on people. I released my first single in 2010 and have since released a bunch of cool stuff and experimenting as an artist. I was also a member of a touring DJ house collective “Female DJ Revolution” together with 5 other girls, I was the vocalist in the group jamming to all the beats. But now I’m back being solo artist again, and I’m super excited about my new single ‘Rich’.

    What do you love about creating music?

    I love the fact that you go to the studio in the morning to create something, usually together with people you really like, making the whole procedure together, doing it just the way we want to with no rules. Then at night when you go back home you can actually push play and have a listen to something that didn’t exist hours earlier, something that YOU created. That gives me such a rush! A song will never disappear, when it’s written it’s always gonna be out there. And I think thats pretty darn cool.

    What was your inspiration behind ‘Rich’?

    A while back some stuff happened in my life that made me stop and think about what is actually important to me. Life is so freaking short and we all got so much pressure from the world, society and media saying “Be successful, make money, reach for the top”. And I realized that I’m most happy and blessed when I have my family and friends around, being surrounded by pure love is everything I need. I’m totally rich in love and that’s an amazing thing.

    Who are your biggest musical inspirations?

    Freddie Mercury!!!!

    Do you prefer performing at festivals or smaller venues?

    I mean both are really nice gigs to have! Smaller venues gives you the opportunity to come close to your audience and get that intimate feeling, SO many times I’ve been performing at small night clubs and literally walked around on the dance floor with my mic singing and performing with the crowd. I also really enjoy to grab a mic and jump on a bar and sing while people ordering drinks 😉 Then again performing at festivals on big stages is one hell of a rush as well. One time I was performing at Isle Of MTV in front of 70 000 people, that was crazy!

    Where can fans see you performing?

    Follow me on social medias and I will keep you updated there.

    Where would you love to perform?

    Ever since back in the 90’s when I saw a video of Queen performing at Wembley Stadium in London, that has been a big fantasy dream!! So my answer is Wembley Stadium.


    How would you sum up your music in two words?

    Freaking Awesome!

    You can follow Cazzie Opeia at cazzi_opeia on Instagram and find her new song “Rich” here, or anywhere you stream your music.

    POP⚡DUST | Read More…

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    Hemant Varshney

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  • The Chainsmokers Share Glowing Optimism for 2023, an “Exciting Time” for Dance Music History – EDM.com

    The Chainsmokers Share Glowing Optimism for 2023, an “Exciting Time” for Dance Music History – EDM.com

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    Even after more than a decade in the scene, The Chainsmokers are seemingly more optimistic than ever when it comes to the future of electronic dance music.

    In an interview with Grammy.com, the duo reflected on their plans to perform in the stratosphere in 2024, their most recent album So Far So Good, and shared their impressions of today’s dance music scene large.

    The Chainsmokers’ Drew Taggart specifically shared glowing remarks on the genre’s current state.

    “I haven’t seen this many people excited about dance music in quite some time,” Taggart explained. “I’m seeing so many more underground techno DJs build really massive followings that compete with more EDM [acts] and their followings on Instagram [and such]. They [post] videos of them playing shows, and the engagement is super high.”

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    Cameron Sunkel

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  • Mid-Century Home Of Renowned Electronic Inventor Hits The Market

    Mid-Century Home Of Renowned Electronic Inventor Hits The Market

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    For the first time since it was built, the home of a famed audiophile inventor is for sale. Nestled in the Altadena foothills north of Pasadena, the five-bedroom, five-bath house encompasses 4,162 square feet and is set on one acre of land.

    Donald James Leslie, who passed away in September of 2004 at age 93, created and manufactured the Leslie Speaker. His invention refined and improved the sound of the Hammond Organ, and helped popularize electronic music.

    Don Leslie was impressed with the sound of a Hammond organ in a concert hall, but less enthused with the instrument in a confined space. There, the sound had no resonance, and the pure electronic oscillators sounded “dull, shrill, and still” to Leslie’s ear. To remedy this problem, in 1937 he invented a speaker which rotates inside its cabinet, producing a Doppler effect, which modulates the sound. To some extent, this imitates the resonance of the organ in a large auditorium by projecting it 360 degrees. This device was eventually one of over 50 patents he owned.

    The interior of the mid-century modern house he constructed in 1958 offers spacious living and family rooms, a built-in bar, dining room, a gourmet kitchen with island and a home office/bedroom perfect for working from home.

    In addition to the main house, there is a studio and workshop totaling an additional 760 square feet, which could also function as an accessory dwelling unit. Additional outbuildings include a 3-car garage, swimming pool, dressing rooms and, for sports lovers, a north/south tennis court. Other highlights include a 400 amp service, a custom engineered sprinkler system, an intercom system, and, as befits an electronic music inventor, a fully functional pipe organ system with a literal wall of sound.

    An additional feature is next door: a vacant lot situated beside this one is also for sale, offering a great opportunity to expand the current home or build a second or third home with ADU’s.

    The verdant location is close to many hiking trailheads and parks, and minutes away from the Altadena Town & Country Club, shopping, dining, and entertainment.

    Listed by Michael Bell of Sotheby’s International Realty – Pasadena Brokerage, the house is for sale for $3 million.

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    Regina Cole, Contributor

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  • Who are the 2022 MacArthur ‘genius grant’ fellows?

    Who are the 2022 MacArthur ‘genius grant’ fellows?

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    CHICAGO — A specialist in plastic waste management, artists, musicians, computer scientists, and a poet-ornithologist who advocates for Black people in nature are among this year’s 25 winners of the John D. and Catherine T. MacArthur Foundation’s prestigious fellowships known as “genius grants” that honor discipline-bending and society-changing people whose work offers inspiration and insight. The Chicago-based foundation announced Wednesday that it increased the “no strings attached” award amount each receive from $625,000 to $800,000 over five years.

    The 2022 fellows are:

    Jennifer Carlson, 40, Tucson, Arizona, sociologist whose research traces the evolution of gun culture in the U.S.

    Paul Chan, 49, New York, artist and publisher, who works in different mediums and draws on a range of cultural references to invite viewers to reflect on the world.

    Yejin Choi, 45, Seattle, computer scientist who developed new ways to train computers to understand language and assess the intent of different kinds of communication.

    P. Gabrielle Foreman, 58, University Park, Pennsylvania, a literary historian who cofounded an archive of Black activism in the 19th century that has collaboratively identified and collected long dispersed records.

    Danna Freedman, 41, Cambridge, Massachusetts, synthetic inorganic chemist designing molecules that have great storage and processing computing capacity.

    Martha Gonzalez, 50, Claremont, California, musician, scholar and activist who has convened cross border participatory performances and collaborations around social justice issues.

    Sky Hopinka, 38, Annandale-on-Hudson, New York, artist and filmmaker whose abstract and documentary films feature Indigenous languages and perspectives.

    June Huh, 39, Princeton, New Jersey, mathematician whose work bridges different parts of the field to prove longstanding conjectures.

    Moriba Jah, 51, Austin, Texas, astrodynamicist who uses statistical analysis to study data to better estimate the locations and paths of objects in the earth’s orbit.

    Jenna Jambeck, 48, Athens, Georgia, environmental engineer whose study of plastics in the environment facilitates the participation of communities in managing their waste.

    Monica Kim, 44, Madison, Wisconsin, historian of U.S. foreign policy whose archival research in multiple languages and original interviews reveal unstated motivations and policy goals.

    Robin Wall Kimmerer, 69, Syracuse, New York, author, botanist and advocate for environmental stewardship through the traditional knowledge of native peoples.

    Priti Krishtel, 44, Oakland, California, health justice lawyer advocating for reforms of the patent system to make access to treatments more equitable.

    J. Drew Lanham, 57, Clemson, South Carolina, ornithologist, naturalist and writer who advocates for Black people in nature and encourages connection with and exploration of the natural world.

    Kiese Laymon, 48, Houston, Texas, writer whose fiction and nonfiction interrogate the internalization and repetition of violence experienced by Black Americans.

    Reuben Jonathan Miller, 46, Chicago, sociologist, criminologist and social worker who examines the consequences of incarceration, incorporating his personal experiences as a chaplain and relative of imprisoned people.

    Ikue Mori, 68, New York, electronic music composer and performer whose work expands the bounds of electronic music making by incorporating live and prerecorded sequences.

    Steven Prohira, 35, Lawrence Kansas, physicist who develops novel ways to detect and study subatomic particles that could reveal important information about the universe.

    Tomeka Reid, 44, Chicago, jazz cellist and composer whose work draws on her community and forges unique combinations of instruments to reimagine classic works and expand the expressive possibilities of cello improvisation.

    Loretta J. Ross, 69, Northampton, Massachusetts, reproductive justice and human rights advocate who envisions an end to racist reproductive policies and organizes toward overcoming barriers to reproductive autonomy.

    Steven Ruggles, 67, Minneapolis, a historical demographer who built and maintains the most extensive database of population statistics in the world.

    Tavares Strachan, 42, New York and Nassau, The Bahamas, interdisciplinary conceptual artist who has accomplished logistical feats while also elevating the histories of past marginalized artists and leaders.

    Emily Wang, 47, New Haven, Connecticut, a primary care physician and researcher who founded a network of clinics staffed by community health workers and physicians to treat people released from jail.

    Amanda Williams, 48, Chicago, artist and architect whose work explores the intersection of race and the built environment and invites the participation of the community in reimagining their space.

    Melanie Matchett Wood, 41, Cambridge, Massachusetts, mathematician whose statistical analyses have helped answer questions related to number theory and algebraic geometry.

    ———

    Associated Press coverage of philanthropy and nonprofits receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP’s philanthropy coverage, visit https://apnews.com/hub/philanthropy.

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  • Japanese avant-garde pioneer composer Ichiyanagi dies at 89

    Japanese avant-garde pioneer composer Ichiyanagi dies at 89

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    TOKYO — Avant-garde pianist and composer Toshi Ichiyanagi, who studied with John Cage and went on to lead Japan’s advances in experimental modern music, has died. He was 89.

    Ichiyanagi, who was married to Yoko Ono before she married John Lennon, died Friday, according to the Kanagawa Arts Foundation, where Ichiyanagi had served as general artistic director. The cause of death was not given.

    “We would like to express our sincerest gratitude to all those who loved him during his lifetime,” the foundation’s chairman, Kazumi Tamamura, said in a statement Saturday.

    Ichiyanagi studied at The Juilliard School in New York and emerged a pioneer, using free-spirited compositional techniques that left much to chance, incorporating not only traditional Japanese elements and instruments but also electronic music.

    He was known for collaborations that defied the boundaries of genres, working with Jasper Johns and Merce Cunningham, as well as innovative Japanese artists like architect Kisho Kurokawa and poet-playwright Shuji Terayama, as well as with Ono, with whom he was married for several years starting in the mid-1950s.

    “In my creation, I have been trying to let various elements, which have often been considered separately as contrast and opposite in music, coexist and penetrate each other,” Ichiyanagi once said in an artist statement.

    Japanese traditional music inspired and emboldened him, he said, because it was not preoccupied with the usual definitions of music as “temporal art,” or what he called “divisions,” such as relative and absolute, or new and old.

    Modern music was more about “substantial space, in order to restore the spiritual richness that music provides,” he said.

    Among his well-known works for orchestra is his turbulently provocative “Berlin Renshi.” Renshi is a kind of Japanese collaborative poetry that is more open-ended free verse than older forms like “renku.”

    In 1989, Ichiyanagi formed the Tokyo International Music Ensemble — The New Tradition (TIME), an orchestral group focused on traditional instruments and “shomyo,” a style of Buddhist chanting.

    His music traveled freely across influences and cultures, transitioning seamlessly from minimalist avant-garde to Western opera.

    Ichiyanagi toured around the world, premiering his compositions at Carnegie Hall in New York and the Théâtre des Champs-Élysées, Paris. The National Theater of Japan also commissioned him for several works.

    He remained prolific over the years, producing Concerto for marimba and orchestra in 2013, and Piano Concerto No. 6 in 2016, which Ichiyanagi performed solo at a Tokyo festival.

    Ichiyanagi received numerous awards, including the Alexander Gretchaninov Prize from Juilliard, L’ordre des Arts et des Lettres of the French Republic and the Order of the Rising Sun, Gold Rays with Rosette and the Medal of Purple Ribbon from the Japanese government.

    Born in Kobe to a musical family, Ichiyanagi showed promise as a composer at a young age. He won a major competition in Japan before moving to the U.S. as a teen, when such moves were still relatively rare in postwar Japan.

    A private funeral is being held with family. A public ceremony in his honor is in the works, being arranged by his son, Japanese media reports said.

    ———

    Yuri Kageyama is on Twitter https://twitter.com/yurikageyama

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