100-580: Voisey may refer to: Robert Voisey (born 1969), composer and impresario William Voisey (1891–1964), football player and manager Neuvelle-lès-Voisey , commune in France Voisey, Haute-Marne , a commune in the Haute-Marne department, France Voisey's Bay , a bay in eastern Canada Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
200-495: A 10-minute opera of Voisey's was premiered at Carnegie Hall and presented by the Remarkable Theater Brigade’s Opera Shorts. "Poppetjie" is a story about a little girl who projects her notions of marriage and relationships onto her doll and teddy bear. Poppetjie is an Afrikaans word meaning "little doll." Versatile in short form and miniatures Robert Voisey's chamber orchestra work "sic second chance"
300-641: A 23‑year‑old student, had begun frequenting and recording performances at Minton's Playhouse , where Monk was the house pianist, in 1940 after being introduced by bassist and vocalist Duke Groner . The 23 acetate disc recordings he made over 1941 constitute the earliest recordings ever made of Monk's playing. The broadcast recording was made by Newman and several CURC members on one afternoon, with Newman and another student alternating as master of ceremonies . Four sets were recorded featuring Monk, Don Byas , Joe Guy , Kenny Clarke , and Helen Humes , and were rushed back to Columbia and played on CURC in
400-486: A brief appearance to play a duet with Cale on the viola. The blues and jazz record label Oblivion Records was based at the WKCR studio from 1972 until 1976, when it ceased initial operations. The label was founded by staff member Fred Seibert , who would later go on to found MTV , along with Dick Pennington and folk musician Tom Pomposello . During his time at WKCR, Seibert recorded and published live performances made at
500-476: A double major in computer science and mathematics and the son of two accountants, Voisey was an unlikely student of classical composition. He met his first composition teacher, Oded Zehavi , while taking a composition class for non-majors at Stony Brook University . Zehavi then invited him to join his fledgling composition program at Tel-Hai Academic College in the Upper Galilee of Israel . Accepting
600-493: A life of its own such as David Morneau's 60x365, David McIntire's Putney Project . Several of the one-minute works written for 60x60 grow and stand on their own or as part of larger works like Daniel Weymouth's A Breath for Rob In 2007 as 60x60 Director, Robert Voisey began the 60x60 collaboration with dance. The first performance was held its premier at Jan Hus Presbyterian Church in New York City. It also received
700-465: A month. However, a day before the station was to install its new antenna, the Port Authority intervened, stating that the antenna was not built to withstand strong enough winds. Despite an earlier agreement that the Port Authority would cover the costs for any transmitter and antenna modification or replacement, when confronted by station officials, the Port Authority refused to pay, denying that
800-513: A performance at Galapagos Art Space in D.U.M.B.O. Brooklyn. Described as a "bold initiative" Of his 60x60 Dance collaboration with choreographer Jeramy Zimmerman in 2008, Roslyn Sulcas in The New York Times wrote: The idea—60 new dance pieces are performed to 60 new pieces of music, each lasting no more than 60 seconds—is quite mad. But it is this kind of madness that makes the cultural world go round, and so our thanks are due to
900-513: A platform for music that was neglected by commercial radio, adopting the slogan "The Alternative". In a time when most Latin programming focused on older music and romantic ballads, it became one of the first stations in the United States to broadcast salsa . It also welcomed experimental and contemporary classical music , featuring musicians including Karlheinz Stockhausen , John Zorn , Zeena Parkins , and John Cage , who, in 1987, used
1000-400: A show focusing on Charlie Parker that he started in 1981 and hosted every weekday for about forty years. The New Yorker described Bird Flight as "plac[ing] a degree of attention on the music of the bebop saxophonist Charlie Parker that is so obsessive, so ardent and detailed, that Schaap frequently sounds like a mad Talmudic scholar who has decided that the laws of humankind reside not in
1100-879: A single artist's recorded work, in addition to interviews and educational programming. Festival broadcasts generally last 150 hours or longer, and the longest festivals have included the 2000 Louis Armstrong Centennial Festival Part I, which lasted for 184 hours non-stop from June 30 to July 7, and the 1999 Duke Ellington Centennial Festival, which lasted for 240 hours from April 23 to May 1. Musicians that have participated live in their own festivals include Ornette Coleman (February 1975), Roy Eldridge (January 1978), Sonny Rollins (March 1978), Cecil Taylor (March 1979), Max Roach (March 1981), Steve Lacy (November 1981), Benny Carter (August 1982), Eddie Durham (Summer 1986), Sun Ra (April 1987), Dizzy Gillespie (May 1987), Art Blakey (November 1989), Lionel Hampton (May 1990), and Don Cherry (May 1992). In one notable incident, during
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#17327796373631200-605: A specific musician or ensemble. 15 works are selected and the musician premieres the works. In 2024 Mary Beth Orr a singer and horn player selected 15 works from living composers around the world and performed them at AllArtWorks in Grand Rapids. For the fifteenth anniversary of 9/11 , the West Point Band premiered fifteen one-minute works that honor the contributions of those men and women at Trinity Church in New York City. Through Vox Novus , Robert Voisey
1300-412: A telescopic project which can grow to fit the needs of a venue or satisfy the appetite of a curious audience. The project has spanned more than 20 countries on 6 continents and has been presented in many different multimedia incarnations including 60x60 Dance, 60x60 Video, and 60x60 Images. 60x60 has inspired composers and artists alike where both the concept of 60x60 and the work created for it has taken on
1400-651: A thoroughly enjoyable and original hour", claimed by Paula Citron from Classical 96.3 who continues to rave, " All kinds of kudos to dance artist Vivien Moore who assigned the music to the choreographers, and shaped the show to have some kind of continuity. How she merged the various dancers, and figured out exits and entrances was miraculous." 60x60 Dance premiered in St. Louis at MadArt Gallery, and has been returning yearly to The Sheldon and has been presented on public television. "Robert Voisey collected and culled 60 musical arrangements from many more submissions, all to inspire
1500-456: A wide variety of musical styles and aesthetics. "Founder Robert Voisey said the 60-centric format – inspired by other intermission-free performances in New York – is designed to retain audiences' attention. And through "60x60," he hopes to expose newcomers to electronic music." "Part of the mission is to represent diverse composers from all walks of life," said Robert Voisey, who was quoted at
1600-511: Is a completely acoustic project written for orchestra which is based on the 60x60 concept, 60 one-minute orchestra works written by 60 different contemporary composers presented in a continuous hour performance. Orchestra 60x60 was first presented at the Conductors Guild Conference in 2009. Another miniature project of Robert Voisey is Fifteen-Minutes-of-Fame. This project calls for composers to write one-minute works for
1700-657: Is a duet commissioned by Agueda Pages and has been premiered by her in New York City, Bremen , Germany and Valencia , Spain. This song cycle has had several performances in New York City at Jan Hus Church at the Composer’s Voice Concert series; the Argentinean Consulate, and at Christ & St Stevens Church for the XL performance. "Dos Palabras" has also been performed in Barcelona, Spain. "Poppetjie"
1800-439: Is a representation of artistic ideas, styles, and aesthetics." "The project has grown exponentially and now regularly includes multiple mixes representing various geographic regions." 60x60’s primary focus is to create an artistic representation of the electronic music being created in society today and to present that music to a large audience. Giving composers a "voice" to express themselves. Each 60x60 performance mix contains
1900-470: Is a sample work dedicated to Noah Creshevsky and written for a performance at Klavierhaus in New York City honoring Creshevsky's 60th birthday. In 2005, Robert Voisey's work Bounce won best electroacoustic composition in Komposer Kombat. The work is based on samples provided by Kalvos & Damian New Music Bazaar which hosted the competition. Robert Voisey creates many electronic works in
2000-628: Is called Monkey Lab. He collaborated with Anne Cammon in India Songs described as "acoustic meditations each gesture happens in its own envelope of light, each word falls on the air like a drop of honey or rain." This included performances at the Bowery Poetry Club , the Nuyorican , Cornelia Street Cafe and Beauty Keeps Laying Its Sharp Knife Against Me , a compilation CD of poets and music. Another collaboration, Living Apart
2100-426: Is different from Wikidata All article disambiguation pages All disambiguation pages Robert Voisey Robert Voisey (born 1969) is a composer and producer of electroacoustic and chamber music . He founded Vox Novus in 2000 to promote the music of contemporary composers and in 2001 created The American Composer Timeline, the first in-depth listing of American composers, spanning from 1690 to
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#17327796373632200-612: Is named after the venue or project for which it was commissioned. The Constellations TRANSreveLATION Mix was the first constellations mix created for the TRANSreveLATION concert in New York City. This was followed by Constellations: EMM MIX , written for the Electronic Music Midwest Festival, Composer's Voice Mix, No Extra Notes Mix, Das Punk and Krooner Mix, Constellations 2CC Mix, and Constellations: Romeoville Mix. The Constellations project
2300-621: Is part of the 60x60 (2010) International Mix and received debuts at London.’s Stratford Circus as well as in St Louis and Japan. The works North Dakota, Oregon, Texas, West Virginia, Hawaii, Virginia, Maryland, and Illinois all debuted in New York City on the Vox Novus "Club" concerts. His work Shades of Forte described as a "...imaginatively offbeat work..." "...was woven from bursts of recorded music and sounds, striking out alone or overlapping, contrasting." This composition
2400-485: Is specifically designed for the one-minute miniatures to be performed singularly, sequenced one after another as a string of works or in a layer "mobile" fashion to create a new mix. Robert Voisey’s suite of six movements, Constellations, was for fixed media and dancers. Each miniature—a genre in which Voisey excels as he is the creator of 60x60, a concert series devoted to music lasting sixty seconds—was vocally based. I caught spinets of raga and Middle Eastern influence with
2500-754: Is the founder and producer of 60x60 , the Composer's Voice Concert Series , Fifteen-Minutes-of-Fame, Circuit Bridges, XMV , and the American Composer Timeline. He is the Organizational Advancement Director of the Electronic Music Midwest Festival since 2011. He is also the administrator for Composer's Site created and founded by Stephen Lias as well as the administrator for Music Avatar . Beginning his college career as
2600-674: The Columbia University protests of 1968 , WKCR was the only source of live news from the university. With 50 or 60 students working in shifts, it was able to provide near-nonstop coverage for the week of protests. During the protests, the station had several "special operations" groups—student experts on telephone systems, key collectors who were able to open every lock on campus, and experts in acquiring telephone equipment that, according to station engineer Jon Perelstein, "a college radio station probably shouldn't have had"—which, by breaking into telephone distribution panel rooms through
2700-975: The DuMont Building on Madison Avenue . Following a decade of bureaucratic struggle against the Port Authority of New York and New Jersey and the Federal Communications Commission , it began transmitting from an antenna atop the World Trade Center in 1985. After the towers' destruction in 2001, the station broadcast for a brief period of time from a backup transmitter on the roof of Carman Hall , before moving to 4 Times Square in 2003, where it remains today. Its studios are currently located in Alfred Lerner Hall . The first recorded instance of radio experimentation at Columbia took place in 1906, in
2800-558: The Manhattan Municipal Building due to the attacks. WKCR had been planning on moving to Lerner Hall from its temporary studio in Riverside Church before the attacks. In 2011, The New York Times reported that it was considering a move back to the World Trade Center . The station was fined $ 10,000 in 2012 due to a lapse in its record-keeping from 2001 to 2006, which WKCR directors attributed to
2900-695: The Romanian Athenaeum as well as a performance at the George Enescu Festival . The work was also included on a special memorial concert in New York City sponsored in part by the Romanian Cultural Institute . Rob Voisey has performed his ambient works himself 2nd Annual Composers Play Composers Marathon presented by COMPOSERS CONCORDANCE and his work melting was performed at Composers Concordance Festival 2 ("Evolution") Marathon @ Drom. "Voisey's Melting
3000-489: The SS Miramar . In February 1956, Columbia University applied for a construction permit for a new 10-watt station on 89.9 MHz. The FCC approved on April 5, and the first tests of the new station were carried out on May 14; full-time programming did not begin until October 8 for New York's third noncommercial radio outlet. It used a ten‑watt transmitter that once belonged to Armstrong, which it installed on
3100-693: The ambient or dark ambient music genres. He creates these works primarily by layering and manipulating audio samples. The first of his works; to exemplify this techniques are starfields (2002) and Hourglass: base, traverse, and land (2003). The Hourglass movement base was published on the Brooklyn College Electroacoustic CD. His work Lust (2003) was the first ambient piece of his to be performed with live voice in conjunction to electronic playback. Later in October 2010, Robert Voisey's piece, Flute Lust , (a flute version of
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3200-453: The 1968 protests at Columbia, the station started to heavily emphasize the genre, and has since hosted numerous prominent jazz musicians at its studio. By the 1990s, it had become one of the premier stations for jazz in the United States. As of 2022 , about 40% of WKCR's airtime is dedicated to jazz. In June or July 1941, within five months of its official debut, CURC aired the first radio performance by pianist Thelonious Monk . Jerry Newman,
3300-458: The 2007 Electronic Music Midwest festival, about which SEAMUS Journal said that Voisey "did an exemplary job of forming a sonic tapestry comprised of extremely diverse material by extremely diverse composers. Sensitive video accompaniment by Zlatko Cosic also helped organize the concert into a more coherent whole." Robert Voisey is also co-directing an ambitious project with Mike McFerron and David Morneau called Orchestra 60x60. Orchestra 60x60
3400-810: The 40 Thieves Electronic Music Event, A*Devantgarde festival, Birmingham New Music Festival 2024 Electronic Music Midwest festival, the International Electroacoustic Festival at Brooklyn College , ÉuCuE xxvii festival, Digital Art Weeks, the Spark Festival, and the ThreeTwo festival, as well as the TRANSreveLATION concert, the National University of Music in Bucharest The Brick Elephant, Fine and Dandy,
3500-535: The August Art concert, the Composer's Voice Concert Series , and the 60x60 project. His work routinely receives airplay on WKCR 's Arts & Answers and Art Wave radio programs as well as Max Shea's Martian Gardens on WMUA . Robert Voisey was featured on RadioAscoli program Classica-E in Italy presented by radio host Daria Baiocch. Voisey's piano solo work "persistence of melancholy"
3600-672: The Brooklyn College Electro-Acoustic Ensemble where his work was featured on three CDs and several concerts at the International Electroacoustic Festivals as well as composer concerts produced by the music department. WKCR WKCR-FM (89.9 FM ) is a radio station licensed to New York, New York . The station is owned by Columbia University and serves the New York metropolitan area . Founded in 1941,
3700-480: The CURC provided programming. Originally an education-focused station, since the Columbia University protests of 1968 , WKCR-FM has shifted its focus towards alternative musical programming, with an emphasis on jazz , classical, and hip-hop . WKCR has been described as one of the premier stations for jazz in the United States, having been involved in the New York jazz scene from its founding; one of its first broadcasts
3800-729: The Harvard Wireless Club (W1AF) and the MIT Radio Society (W1MX), it is the oldest amateur radio society. It set up its first experimental station on the roof of University Hall, where Uris Hall now stands, in November of that year with the blessings of Professor Mihajlo Pupin , who donated a corner of his laboratory in Havemeyer Hall to the club, as well a large electromagnetic coil . Originally intended only for catching stray signals from passing ships,
3900-683: The Living Music Foundation. Robert Voisey's compositions fall under a few definitive genres: neo-romantic , ambient , mash-up , text-sound , and dramatic / operatic . His neo-romantic works tend to be chamber works for acoustic instruments while the other styles are electronic incorporating electronic playback of some form. Involved in various types of multimedia, Robert Voisey collaborates with video, dance, poetry, stage performers and others. He has written for film and theatrical stage performances. Voisey's compositions have been performed 12th Annual CompCord Festival: Ali Baba &
4000-530: The March 1976 festival dedicated to Thelonious Monk, a guest expert was explaining how Monk was able to create extraordinary music by playing "wrong notes" on the piano. Monk, who by this point had become a recluse, called the station and instructed them to "tell the guy on the air, 'The piano ain't got no wrong notes' ", before hanging up. WKCR annually celebrates the birthdays of prominent jazz musicians, including Monk, Louis Armstrong, and Charlie Parker, by playing
4100-543: The Twin Towers. The move was delayed once more until 1981, due to a legal dispute with an unnamed New York‑based station over transmitter interference. WKCR's Madison Avenue transmitter continued to deteriorate until it finally broke down on July 17, 1981. By then, the World Trade Center antenna had already been installed, though the station's FCC permit to finally move had recently expired while it
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4200-400: The United States and became the first North American radio station to rebroadcast this signal. The next morning, two FBI agents walked into the station and confiscated the tape. A Freedom of Information Act request was filed on June 28, 2018, requesting the declassification of all documents related to the confiscation of the tapes and their whereabouts. The request was rejected on account of
4300-650: The WKCR studios once to remix opera music . During a May 29, 1978, minimalist music marathon hosted by staff member Tim Page , the station presented the radio premiers of several leading minimalist compositions, including Einstein on the Beach by Philip Glass and Music for 18 Musicians by Steve Reich . Page also organized a WKCR charity concert which was held on April 1, 1979, in Carnegie Hall , and featured Glass and Reich, in addition to John Cale , Leroy Jenkins , and Ursula Oppens . David Bowie also made
4400-782: The Wireless Club was known as the Columbia University Radio Club (CURC). The CURC made its first broadcasts with its ham radio station , W2AEE. The call sign was assigned to the CURC as early as 1931 and still operates under the Columbia University Amateur Radio Club. Its first recorded broadcast was in 1933, and the station received its license in 1938. In 1933, FM broadcasting was invented by Professor of Electrical Engineering Edwin Howard Armstrong in
4500-593: The agreement was ever made in the first place. A new antenna, built to the Port Authority's specifications, was constructed in September 1978, and the Port Authority announced that it would grant the station its approval again in a few weeks. In January 1979, WKCR received a $ 43,912 grant from the Office of Education of the United States Department of Health and Human Services to aid in its move to
4600-462: The ancient Babylonian tractates but in alternate takes of ' Moose the Mooche ' and ' Swedish Schnapps .' " The red Naugahyde armchair for visitors in the WKCR studio is named the " Dizzy Gillespie chair", after the trumpeter sat there during an hours-long conversation with Schaap. Beginning in 1970, WKCR has held several jazz festivals a year, each one focusing on the presentation of the entirety of
4700-405: The basement of Philosophy Hall . As an undergraduate at Columbia, he had studied under Pupin and invented the regenerative circuit . Immediately after his graduation in 1913, he was offered a position at the university, and continued his experimentation with radios. In 1914, he strung up another antenna between Havemeyer and Schermerhorn Halls for a new radio. At the time, it was considered "one of
4800-476: The best on the eastern coast", and could reportedly receive signals from as far away as Honolulu , Hawaii. Following his invention of FM, Armstrong created W2XMN , the first regularly operated FM radio station, which made its first broadcast on July 18, 1939. Soon after its completion, the CURC began using W2XMN to test the potential of FM for college radio. The CURC made its first public and FM broadcasts on W2XMN, for which it provided programming. WKCR proper
4900-573: The composer Robert Voisey, who first came up with the concept in 2003. The November 14, 2008 performance at the World Financial Center Winter Garden Atrium attracted upwards of 1500 audience members, a number which is considered unusually high in the contemporary music and dance world. Since then 60x60 Dance has received international acclaim and has been presented in countries around the world. Rob Voisey presented 60x60 Dance at Stratford Circus which
5000-421: The composers showing creativity in getting music heard. One of Voisey’s most notable projects which he produces, and directs is 60x60 . Robert founded 60x60 in 2003 with it premier performance in New York City. 60x60 started as an electronic audio project presenting 60 recorded audio works by 60 different composers, each of the works 60 seconds or less in duration. The works are presented in sequence one after
5100-432: The darkness of the stage and hall according to each constellation’s implied persona. – Eclectic electronics By Lee Hartman KCMetropolis.org Tue, Oct 4, 2011 Ursa Minor and Sagittarius are constellations selected for 60x60 mixes. Rob Voisey collaborated with David Morneau in a contemporary new music ensemble called Elevator Machine Room (aka EMR). In this ensemble, Robert created several narrative works, one of them
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#17327796373635200-664: The debut of the 60x60 UnTwelve Mix for the Magical Musical Showcase series at the Museum of Contemporary Art in Chicago, Illinois. "The point of the project is that it enables an audience to take in and enjoy a cross section of different approaches to new music within a reasonable duration. The purpose of Robert Voisey is to promote new music ... "A strong advocate for contemporary composition, Voisey finds innovative formats in which to produce and promote his music and
5300-425: The embellishments. Though in six movements with an ever-so-slight pause in between each, the sounds remained similar throughout. At first I was nonplussed, but by the end was won over by the steadfastness and singularity of purpose and idea. The choreography was clever; white clad dancers used various light sources (hand-held light strands, single-bulb palm flashlights, and a Christmas light-wrapped dancer) to manipulate
5400-548: The entire catalogue of the artist's work in one broadcast. The station also holds jazz marathons on prominent death anniversaries and other special occasions, such as the beginning of a concert series featuring the Association for the Advancement of Creative Musicians held at Columbia, which the station celebrated with a 90‑hour broadcast starting on May 14, 1977, of the completed recorded works of every member of
5500-410: The evening. The recordings were later released as Midnight at Minton's in 1973. In a review, WEMU broadcaster Michael G. Nastos described the recordings as "priceless, the document of a transitional period from swing to bop". WKCR made the first stereo live broadcast of jazz music in 1960. The performance was by Red Allen 's band, in which J. C. Higginbotham was the trombonist at the time, and
5600-414: The first station to transmit from the World Trade Center. A nine-day, 200-hour long Louis Armstrong festival was planned to inaugurate the station's new transmitter. The move was delayed again when the Port Authority declared two of the application forms to be incomplete. The applications were resubmitted, and in November, the Port Authority announced that the station would be able to make the move within
5700-554: The invitation, Voisey was soon heard on Kol Yisrael Israel Radio and received his first contemporary performances at the College. Voisey went on to study music in the Master's Program at Brooklyn College with composers Noah Creshevsky and George Brunner . Using his voice as a primary instrument, Voisey applied electronic techniques of sampling, digital processing and multi-track layering to his own work. Robert Voisey belonged to
5800-595: The mammoth Christ the Redeemer statue ." His work "run rabbit run" was set to dance by the organization Vision of Sound, a collaborative project between composers and choreographers. Voisey's work 50-second miniature Oregon , was selected for Jon Nelson 's 50/50 project. The "50/50" CD release by Recombinations/mnartists 2010 with 49 other DJ’s composers, and sound artists. Inspired by this project Voisey continued this post-modern style creating other 50 second miniature he calls States . New York, another miniature,
5900-514: The name CURC, the station made its unofficial debut on December 31, 1940, with a broadcast of audio from a New Year's Eve party in John Jay Dining Hall. Its official maiden broadcast was made on February 24, 1941, and opened with a recording of " Roar, Lion, Roar ", followed by light classical music, a 15‑minute sports show, 40 minutes of jazz, a campus news summary, and symphonic music. The station soon moved its headquarters to
6000-558: The news department would travel to Washington, D.C. annually to interview political figures, while WKCR became the only station in the New York area to carry United Nations General Assembly meetings in full. While the station's musical programming mainly focused on classical, it also played jazz, folk, bluegrass, and show tunes . Guests who were interviewed on the station during this time period included Martin Luther King Jr. , William F. Buckley Jr. , and Jimmy Hoffa . During
6100-400: The next sixteen years. From 1990 to 1998, WKCR broadcast The Stretch Armstrong and Bobbito Show , hosted by DJ Stretch Armstrong and Bobbito Garcia . The show served as an alternative to commercial hip hop radio, airing mostly obscure, unsigned artists, a number of whom would later dominate the hip hop scene in the late 1990s and early 2000s. The show has been credited with introducing
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#17327796373636200-405: The organization. Poet and critic Molly McQuade has praised WKCR's jazz programming, stating that "WKCR's inspired programming feels more like dream logic than traditional radio" and that she is "willingly indebted and harmlessly addicted" to several of the station's programs. When Sputnik 1 was launched on October 4, 1957, WKCR staff recorded its signal during the satellite's first pass over
6300-400: The other with each minute synchronized to an analog clock. Voisey describes 60x60: "Each work is a microcosm of the larger "marco-work". Because there are no pauses between works, each minute influences another. Some works complement each other while others contrast with their differing aesthetics and styles. The 60x60 performance hour is a representation of our community of artists as much as it
6400-455: The performers and stimulate the audience." -Minute to Win It, By Alison Sieloff. In a colossal presenting endeavor, Robert Voisey produced a video collaboration with Patrick Liddell for 360 degrees of 60x60 containing 6 hours of video for each of the 6 RED Mixes of 360 degrees of 60x60 originally created for the 2010 ICMC. Voisey presented 60x60 in collaboration with video artist Zlatko Cosic at
6500-452: The phone on the next desk over and continued his report. Station staff also tapped a New York City Police Department phone line that ran from a university telephone distribution panel to a command vehicle outside, and, on radios loaned from W2AEE, stalked frequencies known to be used by the NYPD when planning large operations. I'm in a room on the seventh floor [of Hartley Hall ] overlooking
6600-473: The present, to appear on the Internet. A producer of new music and multi-media concerts and events, Voisey is best known for producing the 60x60 project, which he started in 2003 in order to promote contemporary composers and their music. He also founded and directs the Composer's Voice Concert Series as well as the chamber music project Fifteen Minutes of Fame as well as vice president of programs for
6700-478: The project is that it enables an audience to take in and enjoy a cross section of different approaches to new music within a reasonable duration. And the purpose of Robert Voisey is to promote new music" 60x60 is "to represent diverse composers from all walks of life" The project boasts producing over 30 different mixes and presenting more than 2000 composers from the thousands of submissions it receives from its call for works. Robert Voisey designed 60x60 to be
6800-470: The protests, they were interviewed on WKCR. Following the station's involvement in the protests, the university administration has treated the station with animosity. After 1968, WKCR sought to rid itself of its reputation as a "classroom of the air". The AM carrier current service was discontinued, while the FM station shifted its emphasis from education to music, particularly jazz. The station sought to provide
6900-427: The recorded vocal tracks to create sonic ambient landscapes. One of these music projects is called Constellations where he creates one-minute ambient works where each miniature is named after one of the 88 constellations used in modern astronomy . Robert Voisey then layers and sequences one or more of the ambient constellations forming a sonic " mobile " to create a larger acoustic work. Each mix of sonic constellations
7000-429: The records having been destroyed in 1975. WKCR was allegedly hijacked mid-broadcast once around 1995. The interruption reportedly began with eerie screeches and was followed by silence, then by a woman reciting obituaries, including those of Frank Oppenheimer and several victims of the 1988 bombing of Pan Am Flight 103 . After a couple of minutes, the station took control and came back on air as usual. A recording of
7100-442: The roof of Philosophy Hall, as well as $ 25,000 worth of master control equipment donated by WMCA . A third of the student volunteers for WKCR-FM were women from the affiliated Barnard College . Until the 1970s, the carrier current WKCR, focused largely on music broadcasting and restricted to campus, coexisted with WKCR‑FM, which covered the entire New York metropolitan area with a greater emphasis on education. Programming
7200-529: The same year as the first AM radio transmission made by Reginald Fessenden . Records indicate that a Columbia University Experimental Wireless Station had set up a cage‑type radio antenna between the chimneys of Havemeyer Hall and Schermerhorn Hall . What is now WKCR‑FM originated as the Wireless Telegraph Club of Columbia University, now under the name Columbia University Amateur Radio Club. Founded in 1908, one year before
7300-475: The scene... Candles are being lit in various windows of Hamilton Hall ... There has been a lot of egg-throwing... The crowd is milling about... Someone is playing " The Marseillaise "... Roger Berkley on WKCR, reported in The New York Times WKCR coverage only stopped for a period of time on April 26, when the university ordered the station to suspend operations. Students demanded
7400-473: The space between Hartley Hall and Hamilton Hall . Within its first year, CURC was broadcasting 18 hours a day, including 10 + 1 ⁄ 2 hours of rebroadcasts from W71NY and W2XMN. After the FCC officially recognized college radio stations in 1946, the station received the official call sign of WKCR (standing for "King's Crown Radio"); the designation was originally used by a Merchant Marine ship,
7500-499: The station be allowed to return to the air, and within half an hour the administration relented. The New York Times described WKCR's reporting as "clear and concise with a sound of informality and immediacy". The station contradicted the narratives offered by commercial news outlets, which only broadcast statements made by politicians and university administrators, by offering student perspectives to its audience. When civil rights activists H. Rap Brown and Stokely Carmichael joined
7600-675: The station broadcast from its backup transmitter atop Carman Hall . Its range was severely reduced, its signal barely reaching past a 20-mile radius until 2003, when the station was able to set up a new antenna at 4 Times Square , where it remains today. WKCR was one of four FM radio stations that transmitted from the World Trade Center at the time of its destruction, the others being WNYC-FM , WKTU , and WPAT-FM . For three weeks beginning on September 17, WKCR loaned its new studio in Lerner Hall to WNYC, which continued broadcasting over its AM adjunct but could not access its headquarters in
7700-400: The station suspended its regular programming to cover the pro-Palestinian campus occupation . Jazz has been a staple of WKCR's programming since its very founding, in part due to its proximity to Harlem , where bebop was developing during the 1940s. Its first broadcast as an official station with FCC approval began with "Swing is Here", a record with Gene Krupa and Roy Eldridge . After
7800-457: The station traces its history back to 1908 with the first operations of the Columbia University Radio Club (CURC). In 1956, it became one of the first college radio stations to adopt FM broadcasting , which had been invented two decades earlier by Professor Edwin Howard Armstrong . The station was preceded by student involvement in W2XMN , an experimental FM station founded by Armstrong, for which
7900-640: The station was soon used to communicate with stations from other universities and other stations in New York City. It engaged in its first test with the Wireless Association at Princeton University in 1909, and in March of that year, it was used to receive the results of a basketball game against the University of Pennsylvania from The Bellevue-Stratford Hotel in Philadelphia , the first such use of radio by college students. By 1915,
8000-542: The station; notable albums that were recorded or edited at WKCR include Live in New York , featuring Mississippi Fred McDowell and Blues from the Apple , featuring Charles Walker and the New York City Blues Band. WKCR began making plans in 1975 to move its transmitter to 1 World Trade Center , citing deteriorating signal quality due to the construction of the nearby Citigroup Center . Fundraising
8100-409: The title Voisey . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Voisey&oldid=888107243 " Categories : Disambiguation pages Place name disambiguation pages Disambiguation pages with surname-holder lists Hidden categories: Short description
8200-425: The turmoil at the station after the 9/11 attacks. WKCR was one of several college radio stations which had been fined by the FCC in recent years, a practice that was criticized as punitive for its lack of distinction between commercial stations and those run by students, which are generally characterized by high turnover and lower budgets. The FCC's policy towards college stations was relaxed in 2013. In April 2024,
8300-426: The university tunnel system , were able to appropriate campus phone lines so that reporters could instantly communicate with station headquarters from any of the occupied buildings. According to one story, when the police stormed Low Memorial Library , a staff member picked up one of the phones and began reporting on the events. When a policeman came over and destroyed the phone he was using, the student simply picked up
8400-408: The work of his colleagues. "His 60x60 project... brings packaged electroacoustic concerts to venues worldwide..." He is quoted as saying, "My belief is that there is a hungry audience out there waiting to be inspired and touched by the music and ideas that today's composer has to offer." 60x60 is a contemporary music project putting 60 one minute works together in a one-hour performance. "The point of
8500-617: The work) would premier at Electronic Music Midwest at Lewis University in Romeoville, Illinois, performed by flutist Rebecca Ashe. The ambient work ripples in sand would be selected for the 60x60 International Mix of that project and later published on the 60x60 (2003) by Capstone Records . Lament and Sorrow was commissioned by Serban Nichifor and dedicated to Nichifor's departed wife Liana Alexandra and premiered on her memorial concert in Bucharest , Romania and performed at
8600-516: The world including New York City, German and Bucharest. Voisey's short work for flute solo "Before Corcovado ," was selected for Fifteen Minutes of Fame and performed by Carolina Cavalcanti] . She premiered it in Buenos Aires and New York City. In New York City, a reviewer explained, "avidly conveys feelings of anticipation experienced by pious travelers willing to ascend great heights by way of rail, road, and foot to pay their respects to
8700-529: The world to Biggie Smalls , Eminem , Jay-Z , Big L , Big Pun , Fat Joe , Wu Tang Clan , Mobb Deep , and the Fugees , among others. The Stretch Armstrong and Bobbito Show was voted the "best hip-hop show of all time" by The Source in 1998. WKCR's transmitter was destroyed on September 11, 2001, when a hijacked plane destroyed the North Tower of the World Trade Center . For the next two years,
8800-463: Was a six-second work selected by Vine Orchestra for recording with 51 other six second miniatures. He has also written the work "Music is Poetry in Motion" for high voice and instrument accompaniment. He is both the composer and the author for the text of this short song cycle which contains: "blank pages," "flowing streams," "poetry gone," and "heavy clouds." This work has received performances around
8900-548: Was a sudden change of pace (just vocals with electronics), a very well done performance of a moving piece delivered with care, making an instant connection with the audience." - Kevin Williams. He also performs his ambient works regularly on Composer's Voice Concert Series by Vox Novus . Being a singer who is trained in using extended vocal techniques, Robert uses samples of his voice to create ambient works. He records his voice using polyphonic throat-singing and layers
9000-468: Was accused of failing to replace broken equipment, which had caused the station's frequency to creep up from 89.9 to 89.95 MHz. WKCR Manager Andy Caploe responded that the station could not have known whether there were any problems with the transmitter in the first place, because its testing equipment was also broken. The station finally made the move in April 1985, where it would continue broadcast from for
9100-405: Was broadcast from the university sundial . Spearheading WKCR's post-1968 transition into a jazz-oriented radio station was Phil Schaap , one of the foremost jazz experts of the late 20th century. He became a disc jockey at the station as a freshman in 1970, and continued to work there pro bono after his graduation until his death in 2021. He was most well known on the station for Bird Flight ,
9200-551: Was completed in September, and the station was given until March 31, 1976, to build its new transmitter. Due to a bureaucratic stalemate, the deadline was missed, and the station had to apply for a new lease. The Columbia Daily Spectator reported on September 14, 1976, that negotiations with the Port Authority of New York and New Jersey were in their final stages, and that the move was projected to take place before January 1, 1977. In July 1977, The New York Times announced that WKCR would move by September 15 of that year, and would
9300-508: Was dealing with a hum which had interfered with broadcasts for the past three weeks. The station began transmitting from the Twin Towers for the first time at 9:30 a.m. on July 20, though the broadcast was shut down after 45 minutes by the FCC, forcing WKCR to repair and continue to use its old antenna. In July 1982, the FCC fined the station $ 8,000 for violations of federal equipment and licensing regulation, which were discovered during an allegedly routine and random inspection. The station
9400-415: Was endorsed by the 2012 London Olympics for their Open Weekend. Time Out London says: Either a genius or crazy concept for a dance show, depending on how you look at it: 60 choreographers each create 60 seconds of movement to be performed in succession, making one hour of fast-changing, switched up dance … there's one thing you can say for sure, it won't be boring. In Toronto, 60x60 Dance "turned out to be
9500-522: Was founded in 1940. The original station was built almost single‑handedly by electrical engineering student William Hutchins in his room in John Jay Hall . Armstrong donated a microphone and turntables to the fledgling station. While setting the station up, the Radio Club engaged in illegal experimentation, exceeding FCC minimum power regulations for carrier current transmission . Under
9600-505: Was largely university sports, lecture series, classical music, and broadcasts from the United Nations, including many interviews with representatives of foreign nations. WKCR‑FM began broadcasting from the DuMont Building on Madison Avenue in 1958, and in 1964 it became the first noncommercial radio station to broadcast in stereo. During the 1960s, the station would continue to develop its educational content. Members of
9700-430: Was presented at Weil Recital Hall at Carnegie Hall by pianist Matthew McCright. This work was also included on the album "Endurance" which features the same artist and program presented in that hall. Rob Voisey’s romantic art songs "Dos Palabras" (Spanish for "Two Words", an idiom meaning "I Love You" [Spanish: Te quiero. ]). The text of the art songs are based on the work of Argentinean poet Alfonsina Storni . It
9800-567: Was selected for Electronic Music Midwest as well as the Composer's Voice Concert Series and Fine and Dandy. "I Want My Bottle" was commissioned for and performed at the EM-NY Festival, Electroacoustic Speakeasy and Burlesque Show and performed by Darlinda Just Darlinda. Several of Rob Voisey's 60-second miniatures featuring samples and are examples of mash-ups were selected for 60x60 mixes including: Sullen , Electric Trains , Executive Decision , and We Are All 60x60 . TainTed T
9900-545: Was selected for Digital Art Weeks SOUNDSCAPE & HOERSPIEL 08 A Diamond in the Mud. Robert Voisey is regarded as having ambitious ideas not only for the dissemination of contemporary music and art performance but for the number of audience members interested in such productions, routinely bringing rarefied forms of artistic expression into the mainstream. Chris Pasles of the Los Angeles Times listed him as one of
10000-468: Was the earliest performance by Thelonious Monk on radio. Through The Stretch Armstrong and Bobbito Show , it has played an instrumental role in the development of hip hop since the 1990s. It was also one of the first stations in the United States to broadcast salsa music . The station made its first AM broadcast out of John Jay Hall and its first FM broadcast from Philosophy Hall , where Armstrong had invented FM. In 1958, it moved its transmitter to
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