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LP
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PIANO 003LP
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Original copies, limited stock. Released in 1980. Recorded by Steve Beresford and David Cunningham. Instruments used include: acoustic guitar (with microphone and battery amplifier), percussion, piano, synthesizer (toy), euphonium, trumpet, toy piano, drums, whistling, bass, cymbal, drums, ukulele, cymbal, tape (previous performance), electronics, piano (with toy piano inside), and performer (with whirled bee, whirled tube, clarinet mouthpiece, footclickers, blechtrommel, giggle stick, musicbox, bath water, nailbrush, body, tubes, reeds, balloons, cowbox, musical toothbrush, duck call, electronic bird, squeaky chops, chicken box, toy record player, plastic horn, talking telephone, astro-phaser.
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CD-ROM
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PIANO 511
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"This is a CD-ROM anthology of much of the diverse video and sound work collaborations produced by the artist Stephen Partridge and David Cunningham over the last twenty five years. David Cunningham is a leading figure in the world of new music. He is a founder member of The Flying Lizards and has worked with Michael Nyman, Peter Greenaway, Peter Gordon and John Greaves, composing music for feature films and soundtracks for artists such as Gillian Wearing and Sam Taylor-Wood. The video artist Stephen Partridge is well known in the contemporary art world. This CD-ROM is a game of image, representation and reference. Both artists see this project as an independent art work, allowing the user freedom to move through overlapping paths, to reach the last sentence -- if there is one. "
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CD
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PIANO 505
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1992 CD reissue of an album originally released only in Japan. "This music is not only concerned with voices. The voice is the element which unifies the differing treatments. Through this point of reference the processes are exposed and allowed an identity beyond the role of pure manipulation. The technical procedures are not in themselves important. They are devices. A vocabulary of musical electronics (as opposed to electronic music) to structure the voicings of other musics. The important element in the construction of much of this music is the exploration of 'soft' systems, responsive systems as opposed to pure process.The studio and associated machines draw on the grain. The physical properties, of the source material. This overall approach deals with music as texture and as a time-based activity as well as rhythm, melody and harmony. For the most part it can only exist as recorded sound."
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