Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴

@marieroselab

microblogging about sounds and a few other things • textural and layering research all about listening \ instagram.com/marieroselabs

345 Siguiendo383 Seguidores1298 Publicaciones

Bluesky

¿Es tu perfil?Reclámalo y marieroselab.dirty.social es tuyo.Reclamar perfil

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· 13d

⇢loopqool⇠

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· 17d

| 𝘀𝘁𝘂𝗱𝗶𝗼 𝗱𝗶𝗮𝗿𝘆 | try creating a virtual soundstage where sound objects are positioned at different distances, just like instruments in acoustic music, and achieve this using only #eq and various types of #reverb • depth is a third dimension that should not be underestimated in #soundddesign •

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· 18d

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· 26d

||| fans of electroacoustic music when a track based on extreme sound design is played • [ the track played in this video is from my ep: marieelerose.bandcamp.com/album/oblivi... ] • it has been a promotional stunt, sorry •

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Jul 6

• shipping cds is still the best value_listening to cds is still the most immediate way to enjoy music_if you have cds, don’t throw them away_buy cds to support the musicians, and you’ll be able to listen to music whenever and however you like!

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Jun 30

WTF is THAT???!! || New EU customs fee coming July 1: what to expect |||

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Jun 24

tomorrow_3-4pm_CEST SloWfi on the Sofa • on @campradio.bsky.social • mix w/ sakamoto, pärt, bach,… title: “don’t move, don’t breathe, don’t sweat”

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Jun 21

dedicated to this hot #cassunday •

what a right mess! you can just make out an audio cassette amidst a mass of audio tape, with its characteristic colour. there are brown curls all around this cassette. if you happen to come across one: have a sniff and a touch.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Jun 7

fruityloops 1.0, 1998

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· May 28

timeline the use of their is very conspiratorial in style but sums up plurality and otherness well however I would use a more honest we in some cases because we let them do it

They removed CD/DVD drives from devices.
They made physical media harder to buy and use.
They removed expandable storage from phones.
They pushed us into streaming subscriptions.
They made always-online normal.
They made unlimited internet necessary.
Then slowly raised the price of everything.
Ownership quietly became renting.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· May 24

capitalism and music in late 2026

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· May 21

\|| no caption needed •

This project was started on 22/3/23 12:17.
Total time spent on it: 72 hours 28 minutes.
Plugins: 133, Channels: 221, Mixer Tracks: 45
Arrangements: 5, PL tracks: 111, PL clips: 1296, Notes: 26705

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· May 10

༛ ⇶ i put this here... temporarily... just as a reminder ꁒ ༞ ps. it goes without saying, but you never know: 𝘃𝗮𝗹𝗶𝗱 𝗳𝗼𝗿 𝗲𝘃𝗲𝗿𝘆 𝗮𝗿𝘁 𝗳𝗼𝗿𝗺 •

a twitter post from 2021: remember, if you buy an album from bandcamp, it's around the financial equivalent to the artist of you streaming their music every day for 3 years.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· May 3

• free \|| online \|| music • shineplayer-sp-01.netlify.app

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Apr 17

the end of march this year marked four years since mira calix passed away. now she is in another dimension for me. luckily she left her sounds and many other parts of her creativity here. mira i miss you (strictly in lower case, as you and i like it).

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Apr 12

𝚛𝚎𝚖𝚒𝚗𝚍𝚎𝚛

reminder: people who show you new music are important

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 30

Streaming Music, Streaming Capital. Eric Drott.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 25

Leaving the building. The lucrative afterlife of music estates. Eamonn Forde.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 23

André Boucourechliev 𝖴𝗅𝗒𝗌𝗌𝖾 pour flûte et percussion (ou flûte d'accompagement) (1980) youtu.be/Eg7fcJSmZVM?...

André Boucourechliev was born in 1925 in Sofia, Bulgaria. He began studying music at the conservatory there in 1946, and by 1948 had begun his career as a virtuoso pianist.

He continued his musical studies in France at the Ecole Normale de Musique de Paris, studying piano and harmony, as well as counterpoint with Andrée Vaurabourg.

After this time, he devoted himself to composition and to teaching, as well as to his own, highly personal thinking on the nature of musical language.

Alongside his instrumental pieces, such as Musique à trois (1957) and Sonate pour piano (1959), Boucourechliev also composed works for tape during stays in Milan at the RAI's Studio di fonologia de la RAI, as well as a stint with the ORTF's Groupe de recherche musicale: Texte 1 (1958) and Texte 2 (1959). At the GRM in Paris, he also composed Thrène, based on an unfinished poem by Mallarmé (1974).

Although not a serialist, Boucourechliev nevertheless made a place for himself in the musical avant-garde of the time, primarily with his open works, including the Archipel series (1967 to 1970), composed for various musical formations, which won him international acclaim. After Ombres for string orchestra, Faces, and his Concerto pour piano (1970-1975), he composed an opera titled Le nom d'Œdipe (1978), then Lit de Neige and Le Miroir, both for voice and orchestra (1984 and 1987, respectively).

Boucourechliev's oeuvre also includes numerous pieces for piano, including his Six études d’après Pianèse (1975), and chamber music - including three quartets (1968-1989-1994). Trois fragments de Michel-Ange (1995) for soprano, flute, alto flute, and piano, was his last work.

Boucourechliev wrote books on Schumann, Beethoven, Stravinsky, Chopin, and Debussy, as well as an overview of his research on Musical Language (Le Langage Musical, published by Fayard, 1993). He also wrote many articles chronicling the musical world of his era and many radio and television broadcasts.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 18

𝖲𝖾𝗋𝗀𝖾𝗂 𝖹𝖺𝗀𝗇𝗒 Horizontal Antistars Expanded from Magic Stars (1982–2008) score ks15.imslp.org/files/imglnk... scores clara.imslp.org/person/Zagny... video youtu.be/lp6YiysKzHY?...

Sergei Zagny
Horizontal Antistars Expanded from Magic Stars
(1982–2008)

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 12

∙ 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 \|| about #electroacousticmusic composition and noise \|| • what is noise? • is noise a chronological marker? • does noise relate us to our sound identity as individuals and as a group? • does noise partially define our relationship to silence? • digital noise vs analogue noise

the first page of SILENCE, lectures and writings by John Cage

THE FUTURE OF MUSIC: CREDO

I BELIEVE THAT THE USE OF NOISE
Wherever we are, what we hear is mostly
noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now
possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of the imagination.
Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.
TO MAKE MUSIC
If this word "music" is
sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound.
WILL CONTINUE AND INCREASE UNTIL WE REACH A MUSIC PRODUCED THROUGH THE AID OF ELECTRICAL INSTRUMENTS.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 10

Continuum György Ligeti (1968) for clavicembalo (harpsichord) youtu.be/1AJoyqbMv_I?... [see ALT text for details]

a page of the score Continuum by Ligeti.

in the score is the author's name and the title of the composition. it’s composed in 1968, and dedicated to the contemporary harpsichordist, Antoinette Vischer.

there is an indication of time: 'prestissimo'.
at first innocent glance, there are a lot of notes, but one can notice many details, including: the absence of barlines and the presence of (groups of) the same notes repeating with little variation.

the composer describes the creation:
“I thought to myself, what about composing a piece that would be a paradoxically continuous sound, something like Atmosphères, but that would have to consist of innumerable thin slices of salami? a harpsichord has an easy touch; it can be played very fast, almost fast enough to reach the level of continuum, but not quite (it takes about eighteen separate sounds per second to reach the threshold where you can no longer make out individual notes and the limit set by the mechanism of the harpsichord is about fifteen to sixteen notes a second). as the string is plucked by the plectrum, apart from the tone you also hear quite a loud noise. the entire process is a series of sound impulses in rapid succession which create the impression of continuous sound.”

Amy Bauer (2004, p. 130) describes the piece as trompe-l'œil, creating "a sense of stasis through extremely rapid activity." she compares it to a patient's description of the schizophrenic experience of, "an intense cerebral activity in which inner experiences took place at greatly increased speed, so that much more than usual happened per minute of external time. the result was to give an effect of slow motion."

removing barlines is a common strategy in 20th-century music to avoid metric accents and reinforce a sense of continuous time.
obviously each performer has his own strategies for reinforcing the composer's intentions. that's why you will find many scores with lots of notes and notes taken by the performers.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 8

| 𝘀𝘁𝘂𝗱𝗶𝗼 𝗱𝗶𝗮𝗿𝘆 | #cassunday special edition find a #walkman, no glamorous toy, just a cheap one_poke around and ask old or new friends_you can put the walkman back together and even modify it_by working on it you can relax with a bit of #diy and have a great tool for #listening to music •

a small hacked walkman with a knob, a photocell and a switch.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 6

#supportmusic #supportartists #bandcampfriday burn digital feudalism and learn to recognise the beautiful. it won't hurt.

muted words in the bluesky settings. one of many: the name of the green void.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Mar 2

Andrzej Dobrowolski • Muzyka na Taśmę Magnetofonową nr 1 (Music for Magnetic Tape No.1) • ~ 1963 ~ www.youtube.com/watch?v=kNEV...

a page from Music for Magnetic Tape No.1.
Andrzej Dobrowolski’s work is extremely varied, comprising symphonic, chamber and electronic compositions. In the electronic strand, particularly noteworthy is Muzyka na taśmę magnetofonową nr.1 (‘Music for Magnetic Tape no.1’), the performance of which at the Warsaw Autumn festival in 1962 and 1963 was an important event for Polish music and a watershed in the composer’s output. In the wake of its first performance, electronic music became a characteristic element of Dobrowolski’s style. He was also interested in harmony, as evidenced by the publication, in 1967, of Metodyka nauczania harmonii w szkołach muzycznych II stopnia (‘A method of teaching harmony in secondary schools of music’).

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Feb 23

very very interesting. for teaching too. thanks a lot.

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Feb 23

Prelude no. 1 in C major from Bach's WTC_BWV846 •

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Feb 22

hand written note showing three guitar chord hand positions labelled respectively “this is a chord”, “this is another” and “this is a third”. beneath them is written “now form a band”

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Feb 21

101% mind uploading (2015) Elena Rykova • for three performers, prepared piano, objects and percussion • www.elenarykova.rocks/101-mind-upl... #musicalscore #drawingmusic #scoring #contemporarymusic #musiccomposer #music #art

a part of the score by Elena Rykova.

in Rykova words:“Since 2015, I draw my scores by hand. With the piece 101% mind uploading, I started my research on graphic notation. Since then, I obsessively draw figures, symbols, music signs, sometimes ornaments and pictures. Whatever might be necessary to represent the idea of the piece, whatever it calls for - I immediately draw it on paper.

In this way, my scores communicate the essence of their worlds from the very first glance on them. As the sound world of each piece is different, each score of mine has its own face as well. I don't like to repeat ideas, that's why each time I invent new visual language. In some ways, my scores can be connected, as sometimes I use similar symbols, but, for instance, in such pieces like Life expectancy. Experience #1. The Sun (2016) or ...#2. The Moon (2016), the notational language stays unique.”

Marie Rose ∙ 𝘍𝘪𝘹𝘐𝘯𝘛𝘩𝘦𝘔𝘪𝘹𝘓𝘢𝘣𝘴@marieroselab· Feb 18

Éliane Radigue 𝘊𝘩𝘳𝘺-𝘱𝘵𝘶𝘴 elianeradigue.bandcamp.com/album/chry-p...