Cut by Rashad Becker at Dubplates & Mastering, Berlin, Ocotber 2016
Analogue-to-digital transfers and digital mastering: Kees Tazelaar
Selection of works: François Bonnet and Kees Tazelaar
Translations: Valérie Vivancos, Richard Barrett
Layout: Stephen O'Malley
Photos: Sonology archives, Floris van Manen, Stichting Klankschap
GRM Coordination: Daniel Teruggi & François Bonnet
Executive Production: Peter Rehberg
Remerciements : Hans Kulk, Jo Scherpenisse, Floris van Manen, Jim O’Rourke
The Institute of Sonology in Utrecht has earned its international reputation mostly for pioneering work in the field of computer-assisted algorithmic composition and digital sound synthesis by composers such as Gottfried Michael Koenig, Werner Kaegi, Paul Berg and Barry Truax. Anyone familiar with the music of these composers would have to admit that even within this ‘genre’ there were no stylistic dogmas. The stylistic range of Sonology’s artistic output becomes even broader when the work of other staff and frequent guests is taken into account, for example the compositions based on field recordings and audio-visual projects by Frits Weiland, the radiophonic works and pieces for tape and instruments by Luctor Ponse, the cybernetic tape compositions by Roland Kayn, or the experiments with computer graphics by Peter Struycken, to name just a few. And then there was Jaap Vink.
Jaap Vink (Den Helder, 1930) studied engineering at first, but then became interested in electronic music. He attended courses in electroacoustics at Delft University of Technology and installed a pedagogical studio for electronic music in 1961 at the Gaudeamus Foundation in Bilthoven with the help of the Nederlandse Radio Unie (NRU). He was a staff member at the Institute of Sonology as a teacher in analogue studio techniques from 1967 until his retirement in 1993.
Cut by Rashad Becker at Dubplates & Mastering, Berlin, Ocotber 2016
Analogue-to-digital transfers and digital mastering: Kees Tazelaar
Selection of works: François Bonnet and Kees Tazelaar
Translations: Valérie Vivancos, Richard Barrett
Layout: Stephen O'Malley
Photos: Sonology archives, Floris van Manen, Stichting Klankschap
GRM Coordination: Daniel Teruggi & François Bonnet
Executive Production: Peter Rehberg
Remerciements : Hans Kulk, Jo Scherpenisse, Floris van Manen, Jim O’Rourke
The Institute of Sonology in Utrecht has earned its international reputation mostly for pioneering work in the field of computer-assisted algorithmic composition and digital sound synthesis by composers such as Gottfried Michael Koenig, Werner Kaegi, Paul Berg and Barry Truax. Anyone familiar with the music of these composers would have to admit that even within this ‘genre’ there were no stylistic dogmas. The stylistic range of Sonology’s artistic output becomes even broader when the work of other staff and frequent guests is taken into account, for example the compositions based on field recordings and audio-visual projects by Frits Weiland, the radiophonic works and pieces for tape and instruments by Luctor Ponse, the cybernetic tape compositions by Roland Kayn, or the experiments with computer graphics by Peter Struycken, to name just a few. And then there was Jaap Vink.
Jaap Vink (Den Helder, 1930) studied engineering at first, but then became interested in electronic music. He attended courses in electroacoustics at Delft University of Technology and installed a pedagogical studio for electronic music in 1961 at the Gaudeamus Foundation in Bilthoven with the help of the Nederlandse Radio Unie (NRU). He was a staff member at the Institute of Sonology as a teacher in analogue studio techniques from 1967 until his retirement in 1993.
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