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  • Photo 40
    Assistant Director Stanford University Office of Alumni Volunteer Relations partner wife and muse Joan Friedman PREVIOUS PHOTO BACK TO PHOTO GALLERY

    Original URL path: http://www.markapplebaum.com/photo40.html (2016-02-11)
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  • Narcissus:Strata/Panacea
    Excerpt from Narcissus Strata Panacea 10 marimba BACK TO ACOUSTIC

    Original URL path: http://www.markapplebaum.com/narcissus01.html (2016-02-11)
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  • Mt. Moriah
    Excerpt from Mt Moriah 30 string quartet BACK TO ACOUSTIC

    Original URL path: http://www.markapplebaum.com/mt_moriah01.html (2016-02-11)
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  • 7 one-minute canons
    Excerpt from 7 one minute canons 7 flute vibraphone cello BACK TO ACOUSTIC

    Original URL path: http://www.markapplebaum.com/7onemin01.html (2016-02-11)
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  • Tlön
    Excerpt from Tlön 6 3 conductors and no players BACK TO ACOUSTIC

    Original URL path: http://www.markapplebaum.com/tlon01.html (2016-02-11)
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  • Sound Sculpture
    instrument designed to sit on the music desk of a piano so that I can play both new and old instruments together the duplex mausphon a two tiered affair and the midi mouse placebo 5 pin din jack comes standard designed for Steve McKinstry and his Salmagundi Recording Studio The instruments consist of threaded rods nails wire strings stretched through a series of pulleys and turnbuckles plastic combs bronze braising rod blow torched and twisted doorstops shoehorns ratchets steel wheels springs lead and PVC pipe corrugated copper plumbing tube Astroturf parts from a Volvo gearbox a metal Schwinn bicycle logo and indeed mousetraps It was great fun to collect this stuff and particularly satisfying to cause anxiety and suspicion among the hardware clerks who nervously eyed me as I conducted investigations of the acoustical properties of their wares It was a feeling of accomplishment when weeks into my research the same salesmen would excitedly welcome me into the store giddy with their own myopia shedding epiphanies Mark listen to how this thing sounds when you hit it with this My project became an informal and unexpected arts outreach program The pickups are 50 surplus piezo contact elements there are eight pickups on the mousetrap four per stereo side the duplex mausphon is also a stereo instrument with one pickup on each of its two levels mini and midi each have one pickup I play the sound sculptures with my hands and with a number of different strikers and gadgets including Japanese chopsticks knitting needles combs thimbles plectrums surgical tubing a violin bow and various wind up toys tops etc Located in the midst of the sculptures is a mixer and a small rack of electronic signal processors with their associated triggering pedals mostly junky analog delays early era pitch transposers

    Original URL path: http://www.markapplebaum.com/soundsculpture.html (2016-02-11)
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  • Digital ReMix Project
    tradition rather than its thoughtless sustenance are positive forces New lines will always be formed perhaps the concept of the neo tribe in which groups are distinguished by mutual consumer preferences will be realized next or we will define cultural territory by other means The lines will continue to bring our cultural achievements into focus but also facilitate hatred Despite my reservations about the art pop compass it continues to inform my thinking as I reflect upon this current collection of remixes Between 1992 and 1996 I composed the Janus Cycle a group of eleven pieces that all share the same bipartite form These are hard core modernist compositions for virtuoso ensembles Their instrumentation ranges from solo to orchestral works The pieces are all composed for acoustic instruments with two minor exceptions in addition to violin and bassoon Scipio Wakes Up commissioned by the Paul Dresher Ensemble uses electro acoustic sound sculptures of my own invention as well as electronic triggers of samples of the sound sculptures and Tlön scored for three conductors and no players is a piece that explores issues like temporal dissonance and dynamic but through ocular rather than aural means The remixes that constitute this disc are derived entirely from extant recordings of these eleven acoustic works They were created by first collecting digital samples from the recordings and through rather prosaic operations like juxtaposition superimposition time compression and expansion pitch shifting and reversal of the sounds I arrived at the remixes ones which have little if anything to do with the discursive vector of the original works One area of fascination for me is inherently postmodern the aesthetic squeezing of plastic sounds themselves containing a particular modernist investment into the foreign working conditions of the software industrial techno oriented cinematic I cannot think of another genre wherein the technology and values are more intertwined than the worlds of hip hop techno and their related and ever proliferating sub genres So in that sense I feel that my remixes are inspired at least distantly by these vernacular genres However there are at least three distinct features that differentiate my work from those of say the techno genre First I self consciously limit my compositional resources second I do not identify myself as a techno artist and third the source of my samples is exclusively my own past composition Whereas most techno artists compose pieces without formally limiting their resources I have chosen to create each remix solely from samples of its corresponding source composition Despite this strategy I soon discovered that my self imposed limitation was really not so limiting In retrospect it is not the timbral richness or poverty of a given source that serves as a defining factor Instead the source functions as an aesthetic trigger an icon that prompts suggests and inspires I am rather idealistic about this function While the remixes make up a diverse set I believe they demonstrate an expressive focus that parallels the diverse but tightly circumscribed aesthetic of

    Original URL path: http://www.markapplebaum.com/digital.html (2016-02-11)
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  • EIEIO Modulation
    We leave the switching part to her We convert her frequency and amplitude values into MIDI note numbers and velocities respectively We occasionally reverse this assignation or apply these values to other MIDI parameters These MIDI values are sent to my computer where they enter a patch that I have composed within Opcode s MAX software MAX processes the incoming values as explained below MIDI commands are sent out of my computer to synthesizer sound modules that articulate the brainwaves through speakers A feedback loop arises in that Paras hears the result of the process and automatically makes a neurological response Technical Interlude The synthesizers are all rack units Yamaha EX5R E MU Proteus 2000 Oberheim Matrix 1000 and Kurzweil 1000PX I am currently in the process of incorporating MSP into the set up The MAX patch becomes a kind of neural net searching for certain conditions and responding in both causal and non linear ways For example brainwave tendencies might determine how pitches are harmonized The time spent in a particular mental state might determine the duration before a given note is echoed Or brainwave amplitudes above a certain threshold might engender a change of synthesizer timbre Our MAX patch cross maps data values This creates a relatively complex condition whereby the brain is purposely kept in a state of infancy continually trying to learn how to play the patch In fact for every successive performance I modify the patch in an attempt to complicate or more finely resolve the expressive link between Paras and me I can change the patch itself in real time by altering its values with a Peavey PC 1600x continuous MIDI controller The controller is essentially a row of faders and buttons that can be assigned to any aspect within the MAX patch In

    Original URL path: http://www.markapplebaum.com/eieio.html (2016-02-11)
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