The Norwegian free-improvising ensemble Parallax together with Anders Tveit commissioned A Parallax View to the Ultima Oslo contemporary Festival in 2015, and recently they took the piece on tour to the United States and Canada. Based upon the room with multi-channel live processing in Ambisonics, it makes perhaps Parallax the first Ambisonics-touring band in the world.

Parallel to the tour they held master classes and workshops for composition- and music technology students at institutions in the United States and Canada – see the list below – where they showed, played and told about the underlying elements of their improvisation, on instrumentation, spatialization processes and various playing techniques. Jøran Rudi opened the concerts and also lectured on the history and development of Norwegian electronic music up until today.

Parallax, Tveit and Rudi’s efforts was after what we hear very well received. Thanks to all the participants!

A short recording from the concert in Oberlin

Parallax recently had a series of concerts in Vigelandsmausoleet, check out the event here

About Parallax on their home page:

STIAN OMENÅS
Trumpet and percussion
ARE LOTHE KOLBEINSEN
Guitar and prepared guitar
ULRIK IBSEN THORSRUD
Drums, percussion and saw

…Rustling, crackling, stealthily winding and melodic…

Parallax has a wide open approach to improvisation, and draw on a broad range of influences in their music – jazz, folk, electroacoustic, minimalism and noise. Through the use of extended techniques and found objects they seek to eliminate the traditional roles of different acoustic instruments, and explore the fringe areas of music. One of their methods is acoustic simulation of electronic sounds, and this focus on role reversal and «sound-as-music» is very important in developing their sonic identity, and an integral part of all their activities.

Rather than belonging to any particular “school” of improvisation, Parallax’ music is a blend of the members’ musical preferences and influences with strong emphasis on interplay and listening. They have forged their own unique take on improvisation that seamlessly draws on an array of influences ranging from Asian folk musics to traditional jazz and abstract soundscapes. The strong focus on interplay gives the music a strong sense of form and direction, and the result is often perceived as being composed. Since forming the group in 2008, they have toured Norway, England, Scotland, France, Spain, Germany, Brazil, Italy, Slovenia, Island, Faroe Islands, Japan, Singapore, Usa, Canada, China and Hong Kong. They have released three albums, “Live In The UK” on FMR,“Krutthuset” on PlingMusic and Den Tredje Dagen on NorCD.

Parallax has collaborated several composers, musicians and artists, and has produced several commissioned works.

Anders Tveit (f.1977) is a composer and musician working with different projects related to both electroacoustic composition and improvisation. Where the use of self-developed software for real-time processing and spatial audio has a central role in the personal musical expression.

As a musician, he has worked with everything ranging from the international renowned Trondheim Jazz Orchestra, Audun Kleive, Shannon Mowday, Parallax, Pd-Conception to more ad-hoc improvisation duos.

He has composed multichannel electro-acoustic music works and sound installations featured and performed at Ultima Contemporary Music Festival, GRM-Paris, NoTaM, ZKM-Karlsruhe, NIME-London, CCRMA-Stanford, KlangFest -Liechenstein, Lydgalleriet-Bergen, Henie Onstad Art Center, Kunstnerenes Hus, University of Greenwich, Oslo Konserthus and more.

Tour USA/Canada:
Wednesday 15.11.2017
New York University

Friday 17.11.2017
Princeton University

Sunday 19.11.2017
University of Cincinnati

Monday 20.11.2017
Oberlin College & Conservatory

Tuesday 21.11.2017
Western Michigan University

Thursday 23.11.2017
Université de Montréal

Friday 24.11.2017
Université de Montréal

tickets: 100/150

The legendary composer, writer and programmer Curtis Roads has been among the leading figures in computer music since the 1970s. He is an expert in granular synthesis an has written several standard works in sound and composition. This evening he will play own works in the cinema at Kunstnerenes hus.

“When the new instruments allow me to write music as I conceive it, taking the place of linear counterpoint, the movement of sound masses, of shifting planes, will be clearly perceived. When these sound masses collide, the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles. There will no longer be the old conception of melody or interplay of melodies. The entire work will be a melodic totality. The entire work will flow as a river flows.”

– Edgard Varèse (1924)

Organizers: Notam and nyMusikk.

Dr. Curtis Roads is Professor of Media Arts and Technology and also Associate Director of the Center for Research in Electronic Art Technology (CREATE) at UCSB. He is a composer, writer and programmer. He is a composer and performer of elecronic and electro acoustic music, His research is focused on microsound synthesis (granular, pulsar, and related techniques), pluriphonic spatialization, notation and visualization of sound, and the history and aesthetics of electronic music composition.

He was a co-founder of International Computer Music Association in 1980 and editor of Computer Music Journal 1978-2000. He has made softwares, like PulsarGenerator and Creatovox. Since 2004 he has been researching a new way of doing sound analysis, namely atomic decompositions.

He studied composition and programming in California and Paris. Between 1980 and ’86 he researched electronic music at MIT. He has been teaching, holding master classes, doing workshops and sitting in jurys all over the world, e.g Harvard, CCMIX, Oberlin and Ars Electronica.
He has written Foundations of Computer MusicComposers and the ComputerThe Music MachineRepresentations of Musical SignalsMusical Signal Processing and Microsound amongst others.

The Computer Music Tutorial (1996, The MIT Press) is the best selling book in the field. His latest book is Composing Electronic Music: A New Aesthetic (2015, Oxford University Press) and a revised edition of The Computer Music Tutorial is on its way.

 

Concert event on Facebook

Tickets pre-sale

Ambient@40

29 Nov 2017

At the end of next February there will be a conference devoted to ambient music at Huddersfield University, organised and chaired by Monty Adkins, Rupert Till and Simon Cummings.

Call for Proposals
Deadline: 17.00 (GMT), Friday 12th January 2018
In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference is to re-appraise ambient music in relation to Eno’s milestone release.
Ambient@40 will be hosted in the newly opened Oastler Building at the University of Huddersfield from Friday 23rd to Saturday 24th February.

The programme committee invites proposals for:
a) individual papers (20 minute presentation with 10 minutes for questions and discussion);
b) performance and paper (10 minute per performance, 10 minute presentation with 10 minutes for
questions).

The committee welcomes proposals from academics, independent scholars, research students and practitioners. The conference will run alongside the Electric Spring Festival and an evening concert on Saturday 24th February at the Festival will close the conference.
The program committee will also invite a selection of those giving papers to write them up in the months following
the conference (deadline June 2018) as book chapters for publication in late 2018 – early 2019.

Submission and selection process
All proposals should be submitted to Prof. Monty Adkins (m.adkins@hud.ac.uk) by the deadline, Friday 12th
January 2018 (17.00, GMT). Individual paper submissions should include an abstract (350 words) and an author
biography (200 words). Performance and paper submissions should include a brief overview of the audio
presentation including technical resources required (300 words), links to online samples of audio work, an abstract
(350 words) and an author biography (200 words).

The committee aims to notify proposal authors of its decision by Friday 19th January 2018. Those selected will be
asked to confirm their acceptance and technical setup. The full programme will be announced online and booking
opened on Monday 22nd January 2018. The Ambient@40 conference registration fee will be £50 (£30 for
students/concessions).