Archives for September, 2022

Zeena Parkins

udo matthias drums electronic software – afrigal           Zeena Parkins   (* 1956 in Detroit, Michigan)

Posted in Afrigal, Art Kunst allgemein, Ästhetik, Computer Music, elektronische Klangmusik, experimental, NOISE, Udo matthias drums Tagged with: 2003 in Bonn, Aarau, Ableton, Afrigal, Afrika, Akkordeon, Anthony Braxton, Art in general, Artrock, Avantgarde Jazz, Bard College, Basel, Berliner Schule, Bern, Björk, Bruno Spoerri, Butch Morris, C++, Christian Marclay, Chuck, Cosa Brava, Courtney Love, Detroit, Don Byron, Downtown-Szene, Elektronik, Elliott Sharp, ETH Zürich, Experimentelle Musik, Fred Frith, Freiburg im Breisgau, freier Improvisation, Gangster Band, Hamid Drake, Harfenistin, Harry Lehmann, Ikue Mori, Improvisierte Musik, Janene Higgins, Jazz, Jennifer Monson, Jenseits, Jim O’Rourke, jimi hendrix, john coltrane, John Zorn, Kandern, Karl Friedrich Gerber, Kazzkritik, Keyboard, Klaus Weinhold, Kraftwerk, Kunst(neue)Musik, Live-Elektronik, Lorenz Raab, Lörrach, Luzern, MATMOS, MAXMSP, Müllheim, Nebenau, Nels Cline, Neue Musik, New York City, Nightmare Alley, No Safety, No Way Back, Noisemusik, Pauline Oliveros, Perkussion, Peter Giger, Pierre Favre, Pionier der elektrischen Harfe, Puredata, Resin Binzen, Rheinfelden, Schichten von Sounds, Sex Machine, Skeleton Crew, Sonic-Youth-Gitarrist Lee Ranaldo, Soundart, Streichinstrumenten, Susie Ibarra, Thurston Moore, Tom Cora, Udo Matthias, Udo Matthias drums/electronic/software, ungewöhnliche Spieltechniken, Vespertine, Wahwah, Weil am Rhein, Werner Fritschs, Wilfrid Kirner Berlin, William Hooker, Wolf Kampmann, Wollbach, Zeena Parkins, Zürich