musique concrete

Luigi Nono (29 January 1924 - 8 May 1990) was an Italian composer. He studied at the Venice Conservatoire where he became acquainted with serialism. (He married Arnold Schönberg's daughter Nuria in 1955). He became a leading composer of instrumental and electronic music. In 1950, he attended the "Ferienkurse für neue Musik" in Darmstadt, where he met composers such as Edgard Varèse and Karlheinz Stockhausen. Works from this first period include: Polifonica-Monodica-Ritmica (1951), Epitaffio per Federico García Lorca (1952-1953), La victoire de Guernica (1954) and Liebeslied (1954).

Read more about Luigi Nono on Last.fm.

Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, and a member of the Wandelweiser Composers Ensemble. He has composed over 80 works for a great variety of instrumental combinations, including several pieces for variable instrumentation. A particularly large category of his works is solo works, notably a series of 36 pieces (grouped into 6 longer works) for the three-year, 156-concert series organized by Carlo Inderhees at the Zionskirche in Berlin-Mitte from 1997-1999.

Luc Ferrari (February 5, 1929 – August 22, 2005) was a French composer, particularly noted for his tape music. Ferrari was born in Paris and studied the piano under Alfred Cortot, musical analysis under Olivier Messiaen and composition under Arthur Honegger. His first works were freely atonal. In 1954, Ferrari went to the United States to meet Edgard Varèse, whose Déserts he had heard on the radio, and had impressed him. This seems to have had a great effect on him, with the tape part in Déserts serving as inspiration for Ferrari to use magnetic tape in his own music.

Read more about Luc Ferrari on Last.fm.

When Craig Harris exploded onto the jazz scene in 1976, he brought the entire history of the jazz trombone with him. From the growling gutbucket intensity of early New Orleans music through the refined, articulate improvisation of the modern era set forth by J.J. Johnson, and into the confrontational expressionism of the '60s avant-garde, Craig handled the total vernacular the way a skilled orator utilizes the spoken word.