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

Torso : 1998 / Kees Tazelaar

Genre: Chamber music
Subgenre: Electronic music
Scoring: soundtrack

Phalanxes : electronische muziek, 2005 / Kees Tazelaar

Genre: Chamber music
Subgenre: Electronic music

Muziek voor het Maasproject I & II : electronic music, 1988- 1994/1995 / Jan Boerman

Genre: Chamber music
Subgenre: Electronic music
Scoring: tape

Papagika : for voice, baglama (or other traditional instrument), 12 strings and electronics / Yannis Kyriakides

Genre: Vocal music
Subgenre: Voice and large ensemble
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Depths of Field no. 3 : 1997 / Kees Tazelaar

Publisher: Amsterdam: MuziekGroep Nederland / NEAR, 2004
Publisher's number: 10912
Genre: Chamber music
Subgenre: Electronic music
Scoring: soundtrack
Remarks: Elektronische muziek. - Tijdsduur: 17'14''
Duration: 18'00"
Year of composition: 1997
Status: not yet digitized (expected delivery time 14 days)

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

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