György Ligeti: Artikulation (1958 Musique Concrete Avant Electronic)
Hungarian born György Ligeti is most famous for his work with the director Stanley Kubrick. If you felt uneasy watching The Shining or 2001: A Space Odyssey, then feel free to blame the creepy, dissonant sounds layered on the soundtrack by this challenging composer. Before his acclaimed film work, Ligeti ran into trouble with the communist state over ’subversive piano pieces’, before travelling to Germany to make pioneering electronica at the legendary WDR studio. Some of his mid 50s recordings almost rival the work of his one time colleague Karlheinz Stockhausen. 1957’s Glissandi is probably his most famous piece, but I’ve always had a soft spot for the freaky Artikulation. This version (with more than a few vinyl crackles) is from from a compilation of wonderful experimental noise called ‘A Panorama of Experimental Music’… The video is lifted from a public domain science flick called “Everyday Radioactivity” which explains the joys of alpha beta and gamma rays. The film features Don Herbert (aka Mr. Wizard) who tried to make science fun and accessible. Think of him as an American Johnny Ball without the hideous knitwear and DJ daughter.
Duration : 0:3:15
Calls at a distance
Bay Country(clucker guts), Bay Country( flyway x guts), Lynch Mob Slipknot Hybrid, Eastern Shoreman, Mac Island M10-40, Freestyle Duck Calls proto-type(my call I am working on), Allan Stanley Deceiver, and Echo poly Timber
Duration : 0:3:53
2001 A Space Odyssey – Space Sequences Tribute Part 2of4
And here the “Mother” (well the real mother is probably “Metropolis”) of all Science Fiction Movie Special Visual Effects: Stanley Kubricks “2001 – A Space Odysee” from 1968. All seen here is of course handmade. All photographic effects, no CGI. And all SFX Scenes from the Movie are cut toghether in full length and in chronological order.
The Music at 1:20 and 6:42 is right out of the Movie. Gayane Ballet Suite (Adagio) Aram Khachaturian. You should find it on the Originial Movie Soundtrack. It was also used “extracted” in the ALIENS Movie!
Because it’s more than 36 Minutes of FX, including the “changing Dimensions” FX, i had to split in into 4 parts. And don’t adjust your volume when there’s nothing to hear. It’s meant that way 
Music heard at the Monolith Scene: The Requiem for soprano, mezzo-soprano, five-voice chorus and orchestra, by Gyorgy Ligeti, is a four-movement work in the same totally-chromatic style as Atmosphères (a portion of this work too received wide currency in the scene on the movie 2001: A Space Odyssey, in the scene of the proto-humans approaching the monolith). The first movement of Requiem, the “Introitus”, has a thin texture, but the “Kyrie/Christe” is a stunning, brilliant evocation of searing appeal.[citation needed] It is a massive (twenty-part choral) quasi-fugue where the counterpoint is re-thought in terms of the material, consisting of melismatic masses interpenetrating and alternating with complex skipping parts. It was a part of this movement that accompanied the enigmatic monolith scenes in Kubricks 2001: A Space Odyssey. The last instance quoted in the movie (at Jupiter: Beyond the Infinite), this movement (interrupted by a loud radio-tone screech from the monolith) segues to the opening of Atmosphères. The penultimate movement, “de Die Judicii Sequentia” (Day of Judgement Sequence) is a colossal montage of contrasts: fff loud versus ppp soft, masses of sound versus soloists, etc. In the final movement, “Lacrimosa” (weeping), the chorus is muted, and only a reduced orchestra accompanies the plangent singing of the soloists.
Lux Aeterna is a 16-voice a cappella piece whose text is also associated with the Latin Requiem, which also was partially used in Kubricks movie (for the moon-bus scene en route to the TMA-1 monolith in the crater Tycho). The piece is strongly modeled after the masterful mensuration canons of Johannes Ockeghem and accomplishes much the same effect, but with secundal, rather than tertian harmony, in a paradoxically thick-but-transparent 16-voice texture.
The third Kubrick use of Ligetis music was from his mimodrama Aventures (in the even more cryptic final scenes), distorted by an echo chamber.”
Quote Stanley Kubrick (source:Wikipedia): “I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content. I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does; to „explain” a Beethoven symphony would be to emasculate it by erecting an artificial barrier between conception and appreciation. You’re free to speculate as you wish about the philosophical and allegorical meaning of the film — and such speculation is one indication that it has succeeded in gripping the audience at a deep level — but I don’t want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he’s missed the point.”
Stanley Kubrick 1922 – 1999.
Duration : 0:9:59
Proto Cosmos
Proto Cosmos -
Dallton Santos
MSN: dallton.santos@hotmail.com
Duration : 0:1:57
