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A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
The Harp Extended: an Exploration of Resonance, Mimicry and Improvisation
THE HARP EXTENDED: AN EXPLORATION OF RESONANCE, MIMICRY AND IMPROVISATION CLARE M. COOPER WRITTEN COMPONENT SUBMITTED IN PARTIAL FULFILMENT OF THE DEGREE OF MASTER OF FINE ART COLLEGE OF FINE ARTS, UNIVERSITY OF NEW SOUTH WALES, SYDNEY. 2008 CONTENTS INTRODUCTION…..……………………………………………... (Page 3) CHAPTER 1: Influence, Expectation and Evolving Ears……… (Page 4-19) Promises the Harp makes simply by being a Harp Cultural Baggage, Stereotype and Cliché The ‘whole’ Harp and its co-conspirators CHAPTER 2: “This Music” - the problem with defining approaches to extending the vocabulary of an instrument…………..………………………….. (Page 19- 29) “This Music” “Extended Technique” and “Non-traditional” playing “Preparation” Know the rules before you break them Lifting the sanctions CHAPTER 3: Improvisation and Necessitating Sounds………….. (Page 30- 34) CHAPTER 4: Mimicry……………………………………………….. (Page 35-37) Mimicking machines: Field Recordings CHAPTER 5: Exploring Physical Structure and Resonant Spaces (Page 38- 44) Exploring the instrument’s physical structure and resonant spaces Amplification and Electronic Extension Feeding tones CHAPTER 6: A Guide to Submitted Works …………………....… (Page 45-47) CONCLUSION ……………………………………………………...... (Page 48) References / Resources / Bibliography List of Interviews conducted via Email Performances / Collaborations / Residencies 2005-2007 1-2 Introduction This research project explores methods of extension of the pedal Harp vocabulary in an attempt to develop a unique language that challenges the instrument's stereotype and better responds to a range of contexts. I have investigated three key areas of extension: the physical structure of the Harp and its internal resonant spaces, mimicry as an exploratory tool useful in better understanding the Harp in relation to the Australian environment, and improvisation both free and structured used to challenge the vocabulary of the Harp in solo performance and collaborative contexts. -
Hcmf.Co.Uk Box Office 01484 430528 #Hcmf2019 Friday 15 – Sunday 24
Friday 15 – Sunday 24 November 2019 hcmf.co.uk Box Office 01484 430528 #hcmf2019 UK UK PREMIERE FESTIVAL DIARY W WORLD PREMIERE DATE NO EVENT TIME VENUE Fri 15 Nov Exhibition Launch: Claudia Molitor W 4pm Market Gallery, Temporary Contemporary, Queensgate Market edges ensemble: Grapefruit 5pm Temporary Contemporary, Queensgate Market Pre-Concert Talk: Naomi Pinnock + Ann Cleare 6pm St Paul’s Hall 1 Sonar Quartett + Juliet Fraser W UK 7pm St Paul’s Hall 2 The Riot Ensemble: Ann Cleare Portrait UK 9.30pm Huddersfield Town Hall Hanna Hartman: Solo Works UK 11.15pm Bates Mill Photographic Studio Sat 16 Nov Mini Pop-Up Art School 10am - 12pm Temporary Contemporary Queensgate Market Meet the Composer: Hanna Hartman 11am Phipps Hall 3 Ellen Arkbro + Marcus Pal W 1pm St Paul’s Hall 4 Iced Bodies UK 4pm Bates Mill Blending Shed 5 The Riot Ensemble W UK 7pm St Paul’s Hall 6 Decay / Sofia Jernberg 9.45pm Bates Mill Photographic Studio Sun 17 Nov Meet the Composer: Heiner Goebbels 11am Phipps Hall 7 Norrbotten NEO UK 1pm St Paul’s Hall 8 Hanna Hartman: Hurricane Season W 5pm Bates Mill Photographic Studio 9 Jenny Hval: The Practice Of Love 7pm Bates Mill Blending Shed 10 Heiner Goebbels + Gianni Gebbia 9pm St Paul’s Hall Isidore Isou: Juvenal Symphony No 4 UK 11pm Huddersfield Town Hall Mon 18 Nov Launch Event: cageconcert 10am - 5pm Richard Steinitz Building Atrium Installation: Georgia Rodgers W 11am - 5pm SPIRAL Studio, Richard Steinitz Building Group Chat W 11.30am Richard Steinitz Building Atrium John Butcher W 12pm Phipps Hall The Hermes Experiment -
Programme Notes
Thursday January 24th Wolff For Piano (I) (1952) Bread and Roses (1976) John Cage Seven Haiku (1951-2) Wolff For Piano II (1953) Tim Parkinson piano piece (2006)****** -- INTERVAL— Wolff For piano with preparations (1957) Eric Satie Nocturnes (1919) Wolff Piano Song (“I am a dangerous woman”) (1983) Pianist:Pieces (2001) *** Friday January 25th Wolff For prepared piano (1951) Eric Satie Air; Essai; Notes (1); Notes (2); Exercices; Notes (3); Harmonies; Choral (from 1 'Carnet d'esquisses et do croquis', 1900-13 ) Wolff A Piano Piece (2006) *** Charles Ives Three-Page Sonata (1905) Steve Chase Piano Dances (2007-8) ****** Wolff Accompaniments (1972) --INTERVAL— Wolff Eight Days a Week Variation (1990) Cornelius Cardew Father Murphy (1973) Howard Skempton Whispers (2000) Wolff Preludes 1-11 (1980-1) Saturday January 26th Christopher Fox at the edge of time (2007) *** Wolff Studies (1974-6) Michael Parsons Oblique Pieces 8 and 9 (2007) ****** 2 Wolff Hay Una Mujer Desaparecida (1979) --INTERVAL-- Wolff Suite (I) (1954) For pianist (1959) Webern Variations (1936) Wolff Touch (2002) *** (** denotes world premiere; *** denotes UK premiere) for pianist: the piano music of Christian Wolff Given the importance within Christian Wolff’s compositional aesthetic of music which involves interaction between players, it is perhaps surprising that there is a significant body of works for solo instrument. In particular the piano proves to be central 3 to Wolff’s output, from the early 1950s to the present day. These concerts include no fewer than sixteen piano solos; I have chosen not to include a number of other works for indeterminate instrumentation which are well suited to the piano (the Tilbury pieces for example) as well as two recent anthologies of short pieces, A Keyboard Miscellany and Incidental Music , and also Long Piano (Peace March 11) of which I gave the European premiere in 2007. -
Overcoming Form: Reflections on Immersive Listening Richard Glover & Bryn Harrison
overcoming form: reflections on immersive listening Richard Glover & Bryn Harrison Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2013 Text © The Authors 2013 Images © Mike Walker Every effort has been made to locate copyright holders of materials included and to obtain permission for their publication. The publisher is not responsible for the continued existence and accuracy of websites referenced in the text. All rights reserved. No part of this book may be reproduced in any form or by any means without prior permission from the publisher. A CIP catalogue record for this book is available from the British Library. ISBN 978-1-86218-120-5 Designed and printed by Jeremy Mills Publishing Limited 113 Lidget Street Lindley Huddersfield HD3 3JR www.jeremymillspublishing.co.uk COVER IMAGE: © Mike Walker Contents Acknowledgements 1 Introduction 3 Chapter 1 Sustained tones, sustained durations 7 Richard Glover Chapter 2 Performed installations 29 Richard Glover Chapter 3 Repetitions in extended time: recursive structures and musical temporality 41 Bryn Harrison Chapter 4 Listening through Morton Feldman’s Triadic Memories 61 Bryn Harrison Bibliography 75 Recommended listening 81 Biographies 85 iv Acknowledgements The authors Richard Glover and Bryn Harrison would like to thank: Graham Stone, Information Resources Manager, Computing and Library Services, University of Huddersfield, who provided essential project support and also all the staff at Jeremy Mills Publishing Ltd. In particular, we would like to thank Mike Walker for his contribution of artwork and Tim Rutherford- Johnson for his outstanding and thorough work as copyeditor. -
PDF (Phd Commentary)
Durham E-Theses Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition, University of Durham by Mariam Rezaei, 2016 REZAEI, MARIAM How to cite: REZAEI, MARIAM (2017) Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition, University of Durham by Mariam Rezaei, 2016, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11968/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition University of Durham by Mariam Rezaei 2016 The copyright of this work rests with the author. No quotation from it should be published without her prior written consent and information derived from it should be acknowledged. Acknowledgements Special thanks to: Prof. Richard Rijnvos, supervisor, University of Durham Dr. -
Éliane Radigue's Collaborative Creative Process William
Imagining Together: Éliane Radigue’s Collaborative Creative Process William Dougherty Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 William Dougherty All Rights Reserved Abstract Imagining Together: Éliane Radigue’s Collaborative Creative Process William Dougherty This dissertation examines Éliane Radigue’s collaborative compositional practice as an alternative model of creation. Using normative Western classical music mythologies as a backdrop, this dissertation interrogates the ways in which Radigue’s creative practice calls into question traditional understandings of creative agency, authorship, reproduction, performance, and the work concept. Based on extensive interviews with the principal performer-collaborators of Radigue’s early instrumental works, this dissertation retraces the networks and processes of creation—from the first stages of the initiation process to the transmission of the fully formed composition to other instrumentalists. In doing so, I aim to investigate the ways in which Radigue’s unique working method resists capitalist models of commodification and reconfigures the traditional hierarchical relationship between composer, score, and performer. Chapter 1 traces Radigue’s early experiences with collaboration and collective creativity in the male-dominated early electronic music studios of France in the 1950s and 60s. Chapter 2 focuses on the initiation process behind new compositions. Divided into two parts, the first part describes the normative classical music-commissioning model (NCMCM) using contemporary guides for composers and commissioners and my own experiences as an American composer of concert music. The second part examines Radigue’s performer-based commissioning model and illuminates how this initiation process resists power structures of the NCMCM. -
2018 Building a Jazz Library
John Butcher By JOHN EYLES November 9, 2018 17,211 Views In the Building a Jazz Library article on Evan Parker, it says that seasoned Parker followers would describe him as the finest improvising saxophonist of his generation. Curiously, many of those same people would use exactly that phrase about John Butcher. The simple explanation for this apparent contradiction is that we are talking about two generations; Parker (born 1944) is a member of the "first generation of free improvisation" (along with Derek Bailey, Tony Oxley, John Stevens, Paul Rutherford, Barry Guy...) whereas Butcher (born 1954) is from the second generation (along with the similarly-aged Chris Burn, Phil Durrant, John Russell, Alan Wilkinson...) This is well illustrated by their discographies; Parker's first recording, Challenge (Eyemark), was released in 1966, while Butcher's first, Fonetiks (Bead)—a duo with Burn—came out in 1984. One reason for Butcher's first disc being released when he was slightly older is that after he had graduated with a B.Sc. in Physics from Surrey University he then studied for and obtained a doctorate in Theoretical Physics, before focussing on music. Although they are easy to tell apart, Butcher and Parker have a number of things in common; they both play tenor or soprano saxophone; they are the only saxophonists to have performed at Company Week, been a member of the Spontaneous Music Ensemble and the London Improvisers Orchestra, and been a guest player with AMM. In addition, each of them (alone or with others) has been responsible for setting up two independent record labels to release their music, in Parker's case Incus (1970 to 1985) and Psi (2001 onwards), in Butcher's case Acta (1988 to 2001) and Weight of Wax (2004 onwards). -
University of Huddersfield Repository
University of Huddersfield Repository Glover, Richard and Harrison, Bryn Overcoming Form: reflections on immersive listening Original Citation Glover, Richard and Harrison, Bryn (2013) Overcoming Form: reflections on immersive listening. University of Huddersfield Press, Huddersfield. ISBN 978-1-86218-120-5 This version is available at http://eprints.hud.ac.uk/18500/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ overcoming form: reflections on immersive listening Richard Glover & Bryn Harrison Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2013 Text © The Authors 2013 Images © Mike Walker Every effort has been made to locate copyright holders of materials included and to obtain permission for their publication. The publisher is not responsible for the continued existence and accuracy of websites referenced in the text. -
Inventive Musicians, Curious Devices Curated by Sarah Washington Leonardo Music Journal CD Series Volume 17
LEOMJ17_pp067-082.ps - 10/29/2007 9:02 AM LMJ17 CD COMPANION The Art of the Gremlin: Inventive Musicians, Curious Devices curated by Sarah Washington Leonardo Music Journal CD Series Volume 17 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/lmj.2007.17.80b by guest on 29 September 2021 LEOMJ17_pp067-082.ps - 10/29/2007 9:02 AM LMJ17 CD The Art of the Gremlin: Inventive Musicians, Curious Devices Curated by Sarah Washington Leonardo Music Journal CD Series Volume 17 1. DAN WILSON: PRINTAR (STUDY ONE) 9. HACO: PENCIL ORGAN ’04 (EXCERPT) (02:17) [EDIT] (04:17) Performed, recorded and edited by Haco. Recorded live for In- Recorded and dubbed on 4-track cassette in a garage, September strumentalize #2 at Kawasaki City Museum, 22 August 2004. 2006. 10. LEONARDO DI CRAPPIO: AMERICA, 2. NOTTHESAMECOLOR: BIN_OP (04:02) TORTURE CAPITAL OF THE WORLD (04:25) Performed by Billy Roisz (TV, Hi8 cam, EQ Killer, audio and video Performed by Leonardo Di Crappio using various instruments, mixing desk) and dieb13 (klopfer [self-built embedded computer including The Old Hoptonian (adapted ring modulator), Species with self-written audio software]). Recorded at Sperrmuecc Stu- Derilictus (remote head tape and speaker combination), Bald dios, Vienna, and mastered by Dieter Kovacic. Web site: Skweeker (badly constructed highly unstable state variable EQ) <kluppe.klingt.org>. and The Ignoble Schmook (deliberately crappy, low-frequency generator). Captured using a mixture of microphones: Røde, 3. ROTTED ORANGE: BIRTHDAY BULL (01:51) Blue, SM 57 and one delightful specimen from the “everything Performed by Rotted Orange: César Dávila-Irizarry (circuit-bent for one Euro” shop (brand name: Mitochiba). -
Call for Adventurous Musicians!
Call for adventurous musicians! IOU is seeking up to 10 wind instrumentalists (wood and brass instruments), to volunteer to work with Netherlands- based composer and musician Yannis Kyriakides, and acclaimed saxophonist John Butcher, to present a rare live performance of ‘Vortex’, a piece composed especially to accompany IOU Theatre’s Speaking Tubes installation, soon to be exhibited at 20-21 Visual Arts Centre, Scunthorpe. Proficient musicians need to be available to take part in performances at 20-21, on Saturday 11 May 2019 and for the rehearsal periods (listed below). The selected musicians will be performing in front of a ticketed audience and it is anticipated that the project will receive significant press interest. The performance will take place within IOU’s extraordinary, gleaming steel installation and musicians will be required to move around the installation whilst playing. The piece will be 40-60 minutes long and blend the instrumentation with electronic manipulation of sound within in a contemporary musical approach. If you are selected, this is an unparalleled opportunity for you to gain experience working with a prominent and highly respected international musicians together with one of the UK’s most adventurous theatre and arts companies. You will gain experience performing experimental, innovative music, within an extraordinary sound installation. Key dates (all at 20-21 Visual Arts Centre): 6 April to 6 July 2019 – IOU Speaking Tubes exhibition on display at 20-21 Visual Arts Centre Thursday 9 May- 4:30pm to 7:30pm – Workshop/ Rehearsal sessions 1 Friday 10 May 4:30pm to 7:30pm – Workshop/ Rehearsal session 2 Saturday 11 May – 1-3pm Dress-rehearsal, 4pm/7pm Public performances (each 40-60mins) Rehearsal times and any rehearsals prior to the dates above will be confirmed once the musicians are chosen. -
STRANGE ATTRACTOR 1 - 30 April a Residency Developing Sound and Visual Possibilities Through Live Events, Collaborative Performances and Video Documentation
ANTHONY KELLY DANNY McCARTHY IRENE MURPHY MICK O’SHEA DAVID STALLING STRANGE ATTRACTOR 1 - 30 April a residency developing sound and visual possibilities through live events, collaborative performances and video documentation CRAWFORD ART GALLERY EMMET PLACE, CORK, IRELAND www.crawfordartgallery.ie THE UESTHOUSE STRANGE ATTRACTOR Strange Attractor is a dynamic multi-dimensional series of collaborative ventures between five artists, Anthony Kelly, Danny McCarthy, Irene Murphy, Mick O’Shea and David Stalling and guests exploring sound-based cross- disciplinary relationships to create non-verbal communication. Strange Attractor, began in November 2010, with a highly successful series of monthly four hour durational sound performances, within the gallery spaces inviting, international guests including David Toop & Mary Nunan, Stephen Vitiello, Alessandro Bosetti and Rhodri Davies. The performances have attracted large audiences who have experienced, with the artists developing relationships between sound, visual art, music and choreography. This collaboration now takes its form in a month long residency in Crawford Art Gallery where the artists will work in the galleries both as a group and as individuals creating components to form an evolving instrument that the listener/viewer can explore resulting in an experience that offers multiple points of entry for the audience. The residency is a platform for the exploration of ideas and process with open-ended outcomes thus creating sound and visual possibilities using sound installation, still and moving images, video documentation with ‘informal’ performances and live events in the various spaces of the Crawford Art Gallery. Dawn Williams Curator forthcoming live performances 2 April Steve Roden 12 - 4pm 14 April Lee Patterson 7- 9 pm 29 April ‘System Deconstructed’ 12 - 4pm farpoint recordings farpoint recordings Strange Attractor live performances with invited guests open new cross- disciplinary relationships between sound, visual art, music and choreography, and features internationally renowned artists.