Judy Klein

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Judy Klein (born 14 April 1943, in Chicago) is an American composer, music educator. She is the founder of the Computer Music Studio at New York University and served as its director in 1980's. [1] Her music is primarily acousmatic, [1] and includes works for the electronic medium, sound installations, music for theatre and collaborations with visual artists. [2]

Contents

Education

Judy Klein earned her Bachelor in Arts at the University of California, Berkeley (1967), and continued her studies at the Music Academy in Basel, Switzerland (Diploma, 1977). She graduated with a Master of Arts degree from New York University (1987), after studying with Thomas Kessler, Reynold Weidenaar, Lilli Friedemann and Ruth Anderson. She continued her studies in computer generated music at the Brooklyn College Center for Computer Music with Charles Dodge. [3]

Musical career

Klein began teaching electro-acoustic music composition at New York University (SEHNAP) in 1985, and later founded and directed the New York University Computer Music studio. [1] She has served as a consultant for the New York Public Library for the Performing Arts (Lincoln Center) where she worked to create the Library's Archive of Electro-Acoustic Music(1990 -2006). [1] She has been an artist-in-residence at places such as Bregman Studio at Dartmouth College, The Brooklyn College Center for Computer Music, Elektronische Musik Studio in Basle, Switzerland, Institute of Electroacoustic Music (Bourges, France), and guest composer and lecturer at Brooklyn College Center for Computer Music, [1] the Cincinnati College Conservatory, and the Computer Music Center at Columbia University, among others. [4]

Klein composes almost exclusively in the C programming language and the C sound computer music language. Her works are primarily acousmatic and increasingly combine her interest in sound with her commitment to animal rights, which she speaks about in an interview with Peter Shea about her piece “The Wolves of Bays Mountain”, as well as other aspects of her work. [4] She currently resides in New York City and serves on juries and selections committees for electroacoustic music competitions, festivals and conferences. [1] She is a member of the Steering Committee for the New York City Electroacoustic Music Festival and is a contributing editor for The Open Space Magazine and for Perspectives of New Music. [1] Her music is recorded on ICMA, SEAMUS, Cuneiform and Open Space compact discs. [4]

Musical works

Selected works include: [2]

Discography

Further reading

Related Research Articles

Musique concrète is a type of music composition that utilizes recorded sounds as raw material. Sounds are often modified through the application of audio signal processing and tape music techniques, and may be assembled into a form of montage. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. The technique exploits acousmatic sound, such that sound identities can often be intentionally obscured or appear unconnected to their source cause.

Acousmatic sound is sound that is heard without an originating cause being seen. The word acousmatic, from the French acousmatique, is derived from the Greek word akousmatikoi (ἀκουσματικοί), which referred to probationary pupils of the philosopher Pythagoras who were required to sit in absolute silence while they listened to him deliver his lecture from behind a veil or screen to make them better concentrate on his teachings. The term acousmatique was first used by the French composer and pioneer of musique concrète Pierre Schaeffer. In acousmatic art one hears sound from behind a "veil" of loudspeakers, the source cause remaining unseen. More generally, any sound, whether it is natural or manipulated, may be described as acousmatic if the cause of the sound remains unseen. The term has also been used by the French writer and composer Michel Chion in reference to the use of off-screen sound in film. More recently, in the article Space-form and the acousmatic image (2007), composer and academic Prof. Denis Smalley has expanded on some of Schaeffers' acousmatic concepts. Since the 2000s, the term acousmatic has been used, notably in North America to refer to fixed media composition and pieces.

Acousmatic music is a form of electroacoustic music that is specifically composed for presentation using speakers, as opposed to a live performance. It stems from a compositional tradition that dates back to the introduction of musique concrète in the late 1940s. Unlike musical works that are realised using sheet music exclusively, compositions that are purely acousmatic often exist solely as fixed media audio recordings.

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References

  1. 1 2 3 4 5 6 7 Helmuth, Mara (2019). "Sound and Video Anthology: Program Notes". Computer Music Journal . 43, issue 4: 110, 113 – via JSTOR.
  2. 1 2 Hinkle-Turner, Elizabeth (2001). "Grove Music Online". Grove Music Online. Retrieved 9 May 2022.{{cite web}}: CS1 maint: url-status (link)
  3. ↑ Hinkle-Turner, Elizabeth (2006). Women Composers and Music Technology in the United States: Crossing the Line. England, USA: Ashgate Publishing Limited. p. 56. ISBN   978-0754604617.
  4. 1 2 3 Di Castri, Hisama, Liu, Cordery (2021). "Unsung Stories: Women at Columbia's Computer Music Center" (PDF). Retrieved 9 May 2022.{{cite web}}: CS1 maint: multiple names: authors list (link) CS1 maint: url-status (link)
  5. ↑ Karpen, Richard (1990). "The 1989 International Computer Music Conference: An Overview of the Concerts". Perspectives of New Music . 28: 336–342 – via JSTOR.
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