composer

Tazelaar, Kees

Tazelaar is by far the most important practitioner of autonomous electronic music of his generation. In his work, he reconciles modern techniques with the thinking and principles of some 50 ...

related works

Paradigma : (1993) / Kees Tazelaar

Genre: Chamber music
Subgenre: Electronic music
Instruments: soundtrack

Red junction : (2001), for two or four audio tracks / René Uijlenhoet

Genre: Chamber music
Subgenre: Electronic music

Selected Blend 84 : (1984) / Peter Plompen

Genre: Chamber music
Subgenre: Electronic music
Instruments: soundtrack

Drieluik : (2002) / Bas Kalle

Genre: Chamber music
Subgenre: Electronic music
Instruments: soundtrack

 

composition

Depths of Field no. 3 : 1997 / Kees Tazelaar

Publisher: Amsterdam: MuziekGroep Nederland / NEAR, 2004
Publisher's number: 10912
Genre: Chamber music
Subgenre: Electronic music
Instruments: soundtrack
Remarks: Elektronische muziek. - Tijdsduur: 17'14''
Duration: 18'00"
Status: not yet digitized (expected delivery time 14 days)

Description:
Program note (English): Two-track version on CD CV-NEAR 13. Version 5.1. on tape is available at Donemus. This CD is not intended for concert performance. In comparison to D.O.F. no. 1, the initial material for D.O.F. no. 3 is much more static, meaning here that it has no real development in it self. No spectra were defined on forehand as in D.O.F. no.1. The material (of much less timbral complexity) originates in a synthesis-model in which all parameters are selected from limited random sources. From the results, a sound-structure of one minute long with a certain thematic quality was selected. It is exposed in the beginning of the piece.
From this sound-structure, five main groups were produced by means of transpositions and superpositions (Single, Double, Quadra, High Cluster, Low Fifth). These five groups formed the basis for the transformation-processes.

D.O.F. no. 3 is divided into three sections (red, blue, yellow) that each consist of five material groups. These groups are selected from the five main groups in a repetitive sequence, but in every section the material originates from a lower part of the family-tree, by which the sounds recede more and more from the basic material while the piece continues.
In every new section, the overlapping between material-groups is increased. - KEES TAZELAAR

Interest
Do you have interest in buying the sheet music of this work? Please let us know so we can digitize this work with priority without any obligation of you.
Name
Email