It is argued that Koehne's music has much in common aesthetically with the neo-realism that has emerged in literary circles as a counterweight to postmodernism. Like Marc Augé in his promotion of a more anthropologically orientated supermodernity, Lipovetsky is concerned, as is Koehne, with the way we as individuals negotiate the complexities, excesses, paradoxes, and anxieties of twenty-first-century life. Koehne's approach is to chronicle the vicissitudes of life in what Gilles Lipovetsky argues is today's hypermodern world. Intellectually, the world that the three works inhabit can no longer be described accurately as postmodern.
Philosophically, Koehne's creative locus intersects with the idea of the ecstatic quotidian, as articulated by Jennifer Anna Gosetti-Ferencei.
Garritan personal orchestra 5 out of tune performance issue pro#
The age of the sampled orchestral super-library is upon us, as grandly named titles like Vienna Symphonic Librarys Pro Edition and East West/Quantum Leaps Symphonic Orchestra testify. Focusing on three recent works by Koehne (In-Flight Entertainment, The Ringtone Cycle, and Mass for the Middle Aged), the study maps his aesthetic and praxis onto philosophical, intellectual, and aesthetic strategies aligned with the everyday, or quotidian, and its artistic expression. Gary Garritan takes on the orchestral behemoths with a small but perfectly formed library packed with extra features. Now on version 5, GPO proves that it is still as just as capable as costlier orchestra plug-ins. But strategic updates and a continuing emphasis on quality and ease of use have kept GPO from obsolescence. This article evaluates the compositional aesthetic of the Yale-educated, Virgil Thomson-trained Australian composer Graeme Koehne (b. Garritan Personal Orchestra (GPO) has been around for more than 16 years, which practically makes it a relic in the virtual instruments world.