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Npfai.1/Palmos/Npfai.3/Praxis
Dimitri Voudouris
Npfai.1/Palmos/Npfai.3/Praxis
 
  •  Track Listings (4) - Disc #1

South African composer Dimitri Voudouris (b.1961 Athens, Greece) began composing in the 90 s. He composes for acoustic instruments, electronic sound sources, multimedia, including dance and theatre. He bases his technical ...  more »

     
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CD Details

All Artists: Dimitri Voudouris
Title: Npfai.1/Palmos/Npfai.3/Praxis
Members Wishing: 0
Total Copies: 0
Label: Pogus
Original Release Date: 1/1/2007
Re-Release Date: 12/18/2006
Number of Discs: 1
SwapaCD Credits: 1
UPC: 760342104322

Synopsis

Product Description
South African composer Dimitri Voudouris (b.1961 Athens, Greece) began composing in the 90 s. He composes for acoustic instruments, electronic sound sources, multimedia, including dance and theatre. He bases his technical and theoretical compositional approach in research of cognitive psycho-acoustic behavioral patterns in humans and the behavior of sound in relationship to continued environmental changes. His socio-cultural interests have led him to research the survival of music in the 21st century and the impact that media and technology have on the composer. NPFAI. 1 (New Possibilities for African Instrument) is an electro-acoustic composition for kundi and m'bira with computer assisted processing. Kalimba or m'bira is a finger piano made of wood and metal strips used in ceremonial music. In Western Africa this instrument is known as m'bira and in Eastern Africa it is called a kalimba. The kundi a bowed harp is a ceremonial instrument originating from the Mangbetu tribe of the Congo. In NPFAI.1, working with each individual layer gave Voudouris better control in the change of sound characteristics as some sound phenomena changed, disappeared and new sound phenomena surfaced creating new possibilities. In Palmos, Voudoris chose three Western instruments - the Hammond organ, oboe, and the bandoneon - whose overtone and harmonic capabilities allowed for interlocking moments to take place, a phenomenon that is ever present in African traditional music. Spectrographic analysis of sounds produced by each individual instrument was carefully monitored which allowed for a deeper understanding of timbre [harmonic content], attack, decay and vibrato. Subtractive synthesis further allowed for the isolation of certain inaudible frequencies to be enhanced to an audible level and the elimination of others. These compositional elements allow the listener to perceive the sound as stable individual tone and noise spectra, frequently of surprising purity. NPFAI. 3, third in a ser