This CD used on random play mode only.It has various scales included in the 99 tracks. When using the "random" function, the CD will automatically select random tones, and make a new melody. And when selecting random and return function simultaneously, the new melody will play endless.
This phonograph record plays endlessly. The grooves in the record forms a circle. It endlessly plays rain sounds and the sound of rain drops.
In 1951, the first electronic music studio was conceived from scratch at the WDR Radio of Cologne (Germany) to enable the composition of electronic music sounds. Briefly, the concept of studios evolved up to the 1955 design of the Phonology studio in Milan by Luciano Berio and Bruno Maderna. With nine oscillators, various filters and other sophisticated equipment , the presence of a technician/musician (Marino Zuccheri), the studio was the best equipped in the world at that time.
In C consists of 53 short, numbered musical phrases, lasting from half a beat to 32 beats; each phrase may be repeated an arbitrary number of times. Each musician has control over which phrase he or she plays: players are encouraged to play the phrases starting at different times, even if they are playing the same phrase. The performance directions state that the musical ensemble should try to stay within two to three phrases of each other. The phrases must be played in order, although some may be skipped. As detailed in some editions of the score, it is customary for one musician ("traditionally... a beautiful girl," Riley notes in the score[2]) to play the note C (in quavers) in repeated eighth notes. This functions as a metronome and is referred to as "The Pulse".
In C has no set duration; performances can last as little as fifteen minutes or as long as several hours, although Riley indicates "performances normally average between 45 minutes and an hour and a half." The number of performers may also vary between any two performances. The original recording of the piece was created by 11 musicians (through overdubbing, several dozen instruments were utilized), while a performance in 2006 at the Walt Disney Concert Hall featured 124 musicians.
The piece begins on a C major chord (patterns one through seven) with a strong emphasis on the mediant E and the entrance of the note F which begins a series of slow progressions to other chords suggesting a few subtle and ambiguous changes of key, the last pattern being an alteration between B♭ and G. Though the polyphonic interplay of the various patterns against each other and themselves at different rhythmic displacements is of primary interest, the piece may be considered heterophonic.
The main elements of the music, piano and sine waves, are represented by two elements. Abstract keys fade away like the piano sounds fade out of your mind. Horizontal stripes display the sine waves frequencies with their vertical position.
Stripsody è una composizione vocale di Cathy Berberian, la cui notazione è stata disegnata da Roberto Zamarin.
Esiste una versione della notazione che risale allo stesso anno realizzata da Eugenio Carmi.
“Berberian was looking for a text for one of her musical performances, and thought of developing a kind of sound world using only the onomatopoeic inventions of the comic strips. Gradually the idea grew that this musical action had no need of music; thus, while Cathy began to sing these sounds, Carmi went on to write the score. The two aspects of the work were born together, and Cathy’s voice contributed more than one graphic suggestion while Carmi’s imagination produced more than one vocal solution.” E. Carmi, Stripsody – Interpretazione vocale di Cathy Berberian. Testo introduttivo di Umberto Eco, Arco d’Alibert – Kiko Galleries, Roma – Houston (Texas) 1966.
“Ad Libitum is a simple web project designed to generate simple automatic (and pure random) counterpoints. It consists in three flash objects embedded in a html page, inside each module three cells try to connect random points, when a cell will reach a point it play an audio sample. Users could only turn on or off modules to get a thicker or lighter sonic texture. Samples are divided into three pentatonic sets, any set has a different timbre (one for each cell), because using pentatonic modes gives always consonant intervals (both harmonic and melodic) an euphonic soundscape is the final result.”
