1. Astralgraph | Fabrication to Installation

    10:10

    from Omar Kakar / Added

    208 Plays / / 0 Comments

    Visual narrative documenting the process of designer Miki Iwasaki's public art installation at San Diego International Airport. Directed, photographed, & edited by Omar Kakar http://www.mi-workshop.com/portfolio/astralgraph/

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    • Asymptotic Flux: Second Study in Entropy (Static Foxy Lump: [II] Second Nudist Tyre Pony)

      08:15

      from Jason Thorpe Buchanan / Added

      399 Plays / / 0 Comments

      Rough Mix from "Asymptotic Flux: Second Study in Entropy (Static Foxy Lump: [II] Second Nudist Tyre Pony)" by Jason Thorpe Buchanan Written for Alarm Will Sound World Premiere: July 27, 2013 - 4th Annual Mizzou International Composers Festival *2014 ASCAP Morton Gould Young Composer Award *2014 Howard Hanson Orchestral Prize awarded by the Eastman School of Music *Nomination for the 2015 Gaudeamus Prize and Selection for Performance by Asko|Schönberg Rough audio mix for this video is from a stereo field recorder in the audience below the stage. HQ version with close mics/multitracked audio will be available in early 2014. For more information on the composer, please visit: http://www.jasonthorpebuchanan.com ______________________________________________ "Asymptotic Flux: Second Study in Entropy (Static Foxy Lump: [II] Second Nudist Tyre Pony)" was written between February and April of 2013 for Alarm Will Sound as the second work in a cycle utilizing shared musical objects and compositional devices. The first, for amplified bass clarinet, violin, viola, and cello, was composed over a three-month period while traveling and hitchhiking throughout Europe, surrounding time spent in Paris and Darmstadt. The experience of frantically seeking opportunities to compose while on the move proved challenging, mostly due to the awkward, impromptu workspaces available to me such as cafes, restaurants, hostels, and the apartments of my various hosts. These were typically quite busy, noisy, and chaotic spaces, influencing the character of the music, as well as the title. "Asymptotic Flux" describes an arguably conceptual device: the low E-flat that simultaneously pervades the work and is non-existent. In the quartet, I imagined that the ensemble is always reaching towards this E-flat as a point of centricity, but never quite arriving, analogous to an asymptote as it approaches infinity. In this "Second Study", the low E-flat is finally provided by a contrabass subharmonic that both initiates and concludes the work, scarcely audible as a definite pitch, completely unstable, and on the lower threshold of human hearing. The parenthetical subtitle, an anagram of the title proper, alludes to the structural design of the work, borrowing musical snapshots from the quartet while fragmenting and re-contextualizing them throughout stages proportionally related to the 19.6 Hz E-flat in both temporal and harmonic centricity. Originally, I had set out to explore the timbral possibilities of the bass clarinet, utilizing a variety of techniques to produce rich, complex soundscapes and microtonal sonorities that would provide germinal material for the work while unifying the ensemble. This second work is an extension of that same process of exploration. In addition to spectral analysis of bass clarinet multiphonics in various states, additional pitch content is generated through an acoustic analogue to a process known in electronic music as "single-sideband modulation," resulting in a series of combination tones with intervals that grow exponentially (a shape inverse to that of the harmonic series). Many instrumental techniques in this work are employed explicitly to destabilize or distort the timbral qualities of each instrument; the use of vocalizations, scratch tones, and other techniques color the sound to modulate or destabilize the written pitch material, leaving it quite disfigured. The last element regarding organization of pitch material revolves around the scordatura tuning of the cello to the 3rd, 5th, 7th, and 11th partials of a virtual low E-flat fundamental (19.6 Hz, slightly sharp), which is now extended to the contrabass by halving the 3rd and 7th partials while maintaining the same open G as the cello. This allows the execution of unique sonorities very rapidly and with a great deal of precision through the use of natural harmonics. These three verticality types are often superimposed upon one another, with resultant voicings sometimes similar to an "E-type" symmetrical hexachord possessing interval content that I've become partial to (no pun intended). Entropy can be described as the "measure of the disorder or randomness in a closed system," the "loss of information in a transmitted message," the "tendency for all matter and energy in the universe to evolve toward a state of inert uniformity," or the "inevitable and steady deterioration of a system or society" -- taking poetic liberties in reducing the thermodynamic property of "entropy" to simply a unit of measurement for chaos, one might say that this work conveys a state of high entropy in music, thus reflecting the compositional process, the result of the technical demands made on the performers, as well as my state of mind throughout the creation of these works.

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      • Asymptotic Flux: Second Study in Entropy (Static Foxy Lump: [II] Second Nudist Tyre Pony) by Jason Thorpe Buchanan (with score)

        07:56

        from Jason Thorpe Buchanan / Added

        184 Plays / / 0 Comments

        Rough Mix from "Asymptotic Flux: Second Study in Entropy (Static Foxy Lump: [II] Second Nudist Tyre Pony)" by Jason Thorpe Buchanan Video of live performance: https://www.youtube.com/watch?v=ugS3ZFuMH3k Score: http://www.jasonthorpebuchanan.com/music.php http://issuu.com/jasonthorpebuchanan/docs/asymptotic_flux_second_study_in_ent Written for Alarm Will Sound World Premiere: July 27, 2013 - 4th Annual Mizzou International Composers Festival *2014 ASCAP Morton Gould Young Composer Award *2014 Howard Hanson Orchestral Prize awarded by the Eastman School of Music Rough audio mix for this video is from a stereo field recorder in the audience below the stage. HQ version with close mics/multitracked audio will be available in early 2014. For more information on the composer, please visit: http://www.jasonthorpebuchanan.com ______________________________________________ "Asymptotic Flux: Second Study in Entropy (Static Foxy Lump: [II] Second Nudist Tyre Pony)" was written between February and April of 2013 for Alarm Will Sound as the second work in a cycle utilizing shared musical objects and compositional devices. The first, for amplified bass clarinet, violin, viola, and cello, was composed over a three-month period while traveling and hitchhiking throughout Europe, surrounding time spent in Paris and Darmstadt. The experience of frantically seeking opportunities to compose while on the move proved challenging, mostly due to the awkward, impromptu workspaces available to me such as cafes, restaurants, hostels, and the apartments of my various hosts. These were typically quite busy, noisy, and chaotic spaces, influencing the character of the music, as well as the title. "Asymptotic Flux" describes an arguably conceptual device: the low E-flat that simultaneously pervades the work and is non-existent. In the quartet, I imagined that the ensemble is always reaching towards this E-flat as a point of centricity, but never quite arriving, analogous to an asymptote as it approaches infinity. In this "Second Study", the low E-flat is finally provided by a contrabass subharmonic that both initiates and concludes the work, scarcely audible as a definite pitch, completely unstable, and on the lower threshold of human hearing. The parenthetical subtitle, an anagram of the title proper, alludes to the structural design of the work, borrowing musical snapshots from the quartet while fragmenting and re-contextualizing them throughout stages proportionally related to the 19.6 Hz E-flat in both temporal and harmonic centricity. Originally, I had set out to explore the timbral possibilities of the bass clarinet, utilizing a variety of techniques to produce rich, complex soundscapes and microtonal sonorities that would provide germinal material for the work while unifying the ensemble. This second work is an extension of that same process of exploration. In addition to spectral analysis of bass clarinet multiphonics in various states, additional pitch content is generated through an acoustic analogue to a process known in electronic music as "single-sideband modulation," resulting in a series of combination tones with intervals that grow exponentially (a shape inverse to that of the harmonic series). Many instrumental techniques in this work are employed explicitly to destabilize or distort the timbral qualities of each instrument; the use of vocalizations, scratch tones, and other techniques color the sound to modulate or destabilize the written pitch material, leaving it quite disfigured. The last element regarding organization of pitch material revolves around the scordatura tuning of the cello to the 3rd, 5th, 7th, and 11th partials of a virtual low E-flat fundamental (19.6 Hz, slightly sharp), which is now extended to the contrabass by halving the 3rd and 7th partials while maintaining the same open G as the cello. This allows the execution of unique sonorities very rapidly and with a great deal of precision through the use of natural harmonics. These three verticality types are often superimposed upon one another, with resultant voicings sometimes similar to an "E-type" symmetrical hexachord possessing interval content that I've become partial to (no pun intended). Entropy can be described as the "measure of the disorder or randomness in a closed system," the "loss of information in a transmitted message," the "tendency for all matter and energy in the universe to evolve toward a state of inert uniformity," or the "inevitable and steady deterioration of a system or society" -- taking poetic liberties in reducing the thermodynamic property of "entropy" to simply a unit of measurement for chaos, one might say that this work conveys a state of high entropy in music, thus reflecting the compositional process, the result of the technical demands made on the performers, as well as my state of mind throughout the creation of these works.

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        • BERILIUM by Logarritmo

          01:35

          from Logarritmo / Added

          7 Plays / / 0 Comments

          Music & Illustrations by Logarritmo

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          • Bold Worlds - NZSO Season 2014

            00:30

            from New Zealand Symphony Orchestra / Added

            433 Plays / / 0 Comments

            BOLD WORLDS / NZSO concert series (October 2014) Film features the music of MUSSORGSKY – Pictures at an Exhibition Performed by New Zealand Symphony Orchestra, conducted by Pietari Inkinen - 2009 Used by kind permission of Radio New Zealand Concert

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            • Brahms Piano Concerto in D I.II.III.

              03:09

              from Pink Cloud Productions / Added

              29 Plays / / 0 Comments

              New York City Concerti Sinfonietta

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              • Concert "Impétueux destins": interview de Julien Laloux

                06:00

                from HEP Vaud / Added

                138 Plays / / 0 Comments

                Le vendredi 31 octobre 2014, six poèmes épiques, six histoires de compositeurs aux destins impétueux seront offerts au public par le Chœur HEP et l'Ensemble vocal Arpège lors d'un concert à l'Auditorium Stravinski. Julien Laloux, chef de chœur et d'orchestre, nous parle de ce projet élaboré depuis plus d'une année.

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                • Crowdfunding Video

                  05:15

                  from David Pocknee / Added

                  128 Plays / / 1 Comment

                  A new project to be crowdfunded inspired by Steve Reich's new Radiohead-inspired work to be premiered by the London Sinfonietta on 5 March 2013. Please donate! The Inspiration: http://www.sponsume.com/project/radio-rewrite-new-commission-steve-reich http://www.guardian.co.uk/music/2013/mar/01/steve-reich-schoenberg-coltrane-radiohead

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                  • David Baran: Piling up profits from Japan M&A boom which is missed by most investors due to 'can't make money in Japan' bias

                    25:11

                    from OpalesqueTV / Added

                    9 Plays / / 0 Comments

                    David Baran, Co-Founder of Symphony Financial Partners, has over 20 years of experience investing in Asia. He has lived in Asia and Japan for nearly 3 decades and is fluent in Japanese. Baran's SFP Value Realization Fund was launched in September 2003 when Nikkei was about 9,500. The index has fallen since then, yet his fund is still up 56% after fees. The secret to achieving returns in Japan is that you'll have to do more than just long-only investing. The unloved, under-covered nature of the Japanese market creates opportunities that ordinary fund managers are not capable of pursuing because it’s too hard to extract the value. Many Japanese firms, particularly the smaller ones, can boast about 40+% operating profits and 30+% EBITDA margins. They can have net cash positions and trade at 50+% net cash to market cap. Hundreds actually trade at over 100% net cash to market – which means the market is valuing these viable businesses at zero. “Investors in the U.S. equity markets would be falling over themselves to invest in a company like these - net cash, strong business moat and growth prospects," says Baran. But being “cheap” isn't enough – you need catalysts to unlock the value. M&A activity flourishing in Japan Corporate activity is such a catalyst. MBOs have an average premium of 50% (!) and sometimes reach triple digit numbers. Many of the large Japanese conglomerates started to buy back listed subsidiaries. Baran also advises on the Sinfonietta Asia Macro hedge fund, one of the best performing Asian hedge funds in 2001. Hear David speak about: * The 8 reasons why management buyouts are gaining popularity * Why you need catalysts to unlock value in Japan equities * What investors are missing by considering Japan as an "asset class" * How to avoid "value traps" * Considering tail risk: Why Baran's Sinfonietta hedge fund is "geared towards a disorderly market" Symphony Financial Partners was set up by David Baran and Kazuhiko Shibata. Founders' expertise included equity trading, arbitrage, corporate advisory and M&A.Mr. Baran has over 20 years of experience investing in Asia. He takes lead responsibility for market-related analysis and investment assessment. Prior to forming Symphony, Mr. Baran held senior management positions at Lehman Brothers, Goldman Sachs, and Barclays Capital in Tokyo. During those assignments he developed and managed Japanese equities and equity derivative proprietary trading activities. He moved to the buy side to establish and manage the Japanese public and private equity investment activities of a U.S. based hedge fund. Mr. Baran graduated cum laude with a B.A. in political economy from the University of California, Berkeley and a Masters in international finance from Columbia University. He has lived in Asia and Japan for nearly 3 decades and is fluent in Japanese.

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                    • ECYS 2013: Mindy Cheng playing Grieg Concerto with Sinfonietta Orch

                      00:35

                      from H / Added

                      106 Plays / / 0 Comments

                      ECYS Lunar New Year Concert Feb 2, 2013 Edvard Grieg: Piano Concerto in A Minor Sinfonietta Orchestra Camilla Kolchinsky, Conductor Mindy Cheng, piano

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