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CDCM Computer Music Series Vol. 2 -- iEAR Studios, Rensselaer Polytechnic Institute

Cdcm Computer Music Series , Richard Teitelbaum , Neil B. Rolnick , Scott Lindroth , Rick Baitz , Martin Bresnick Audio CD
2.0 out of 5 stars  See all reviews (1 customer review)


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Audio CD, 1993 --  

Product Details

  • Performer: Cdcm Computer Music Series, Richard Teitelbaum, Neil B. Rolnick, Scott Lindroth, Rick Baitz, et al.
  • Audio CD (November 3, 1993)
  • Number of Discs: 1
  • Label: Centaur
  • ASIN: B0000057SW
  • Average Customer Review: 2.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #958,805 in Music (See Top 100 in Music)

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4. Kaleidocycles for synclavier
5. Syntax for Synclavier
6. Lady Neil's Dumpe, all-electronic composition
7. Lady Neil's Dumpe, all-electronic composition
8. Lady Neil's Dumpe, all-electronic composition

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3 of 5 people found the following review helpful
2.0 out of 5 stars Not one to win converts July 24, 2001
Format:Audio CD
This second volume in the CDCM Computer Music Series focuses on mid- to late-1980's compositions emanating from the iEAR Studios at Rensselaer Polytechnic Institute, Troy, NY. In particular, it concentrates on works of computer music specifically written for real-time concert performance. Given the date of composition of the pieces, you can assume that that generally means either computer controlled MIDI synthesisers, or else compositions for the Synclavier computer music system. The disc contains five substantial works produced at Rensselaer by different composers - noticeably all men. (tsk! tsk!)
The collection opens with Richard Teitelbaum's "Golem I" (1987), for computer music performance system. This work is a musical portrayal of Rabbi Lowe's creation of an artificial man (or Golem) from clay on the banks of the Moldau in Prague in the spring of 1580. It opens with a quiet sonic soup, made of the calls of spring peepers (frogs), over which computer-altered incantations of Hebrew letters as well as verses from the Book of Genesis (in English) are gradually overlaid. These incantations never become particularly distinct, though, for they become obscured by the development of an increasingly powerful series of electronic organ-like chords, which are gradually replaced by a rather soulless and mechanical synthesiser melody. As the incantations die away, the electronic textures start to develop something of life of their own, albeit something of a directionless one, as the rhythms and harmonies become strained, and the work acquires a menacing and rather disconcerting quality.
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