PROBES #29.2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
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The Pennsylvania State University The Graduate School College of Arts and Architecture SPATIALIZATION IN SELECTED WORKS OF IANNIS XENAKIS A Thesis in Music Theory by Elliot Kermit-Canfield © 2013 Elliot Kermit-Canfield Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 The thesis of Elliot Kermit-Canfield was reviewed and approved* by the following: Vincent P. Benitez Associate Professor of Music Thesis Advisor Eric J. McKee Associate Professor of Music Marica S. Tacconi Professor of Musicology Assistant Director for Graduate Studies *Signatures are on file in the School of Music ii Abstract The intersection between music and architecture in the work of Iannis Xenakis (1922–2001) is practically inseparable due to his training as an architect, engineer, and composer. His music is unique and exciting because of the use of mathematics and logic in his compositional approach. In the 1960s, Xenakis began composing music that included spatial aspects—music in which movement is an integral part of the work. In this thesis, three of these early works, Eonta (1963–64), Terretektorh (1965–66), and Persephassa (1969), are considered for their spatial characteristics. Spatial sound refers to how we localize sound sources and perceive their movement in space. There are many factors that influence this perception, including dynamics, density, and timbre. Xenakis manipulates these musical parameters in order to write music that seems to move. In his compositions, there are two types of movement, physical and apparent. In Eonta, the brass players actually walk around on stage and modify the position of their instruments to create spatial effects. -
Blabla Bio Fred Frith
BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin. -
Popular Music Studies in Italian Universities —A Petition—
Popular Music Studies in Italian Universities: a petition — signatories 1 Popular Music Studies in Italian Universities —a Petition— Final list: 573 signatories from 47 nations (2015‐06‐14, 15:37 hrs BST) Signatory numbers by nation state Argentina 12 Australia 23 Austria 5Belgium 2Brazil 56 Bulgaria 2 Canada 34 Chile 8 China 1 Colombia 7Croatia 1Cuba 2 Cyprus 1Denmark 6Estonia 5Finland 21 France 16 Germany 18 Greece 3Iceland 1Ireland 10 Israel 4Italy 77 Jamaica 1 Japan 1 Lithuania 1Mexico 3 Mozambique 1Netherlands 9New Zealand 4 Norway 7Peru 1 Poland 1Portugal 6Singapore 1Slovenia 2 South Africa 8South Korea 1Spain 33 Sweden 5Switzerland 2South Africa 8 Turkey 3Uganda 1UK 108 Uruguay 5USA 43 THE FOLLOWING IS A LIST OF SIGNATORIES IN ALPHABETICAL ORDER OF FAMILY NAME. •There is a basic list of signatories in alphabetical order of nation state at http://tagg.org/html/Petition1405/PetitionResidence.htm •The ACTUAL PETITION can be viewed in English, Italian or Spanish by visiting http://tagg.org/html/Petition1405.html. List of 573 signatories to the petition A 1. Silvia Irene ABALLAY — Profesor Titular, Universida Nacional de Villa María (Argentina) 2. Lauren ACTON — Course Director, Centennial College/York University, Toronto (Canada) 3. Roberto, AGOSTINI — Professore a contratto, Conservatori di Cesena e di Sassari, Bologna (Italy) 4. Coriún AHARONIÁN — Composer and former professor, Escuela Universitaria de Música, Universidad de la República; Director, Centro Nacional de Documentación Musical Lauro Ayestarán; Emeritus researcher, National System of Researchers (Uruguay) 5. Michael AHLERS — Professor for music education and popular music, Leuphana University of Lüneburg (Germany) 6. Kaj AHLSVED — PhD Candidate in Musicology, Åbo Akademi University, Turku (Finland) 7. -
THE ARTIST's PRINT AS a STRATEGY for SOCIAL ENGAGEMENT Bess Frimodig a Thesis Submitted in Partial F
AN HONOURABLE PRACTICE: THE ARTIST’S PRINT AS A STRATEGY FOR SOCIAL ENGAGEMENT Bess Frimodig A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education University of the West of England, Bristol April 2014 Volume I 0 List of Illustrations Fig.3. Fukuzoku Koto Gakko High School Year Book, Kanazawa, Japan 1980 Plate I. She Still Rules Plate II. Twente Identity Robe Plate V. Stand Up To Hatred: Wall of Resistance Plate VI. To Let Plate VII. Mapping The Longest Print 1 CONTENTS Pg.4 AUTHOR DECLARATION Pg.5 ACKNOWLEDGEMENT Pg.6 ABSTRACT Pg.7 INTRODUCTION Pg.8 The dilemma Pg.10 Research Question Pg.10 Aims and Objectives Pg.10 Development of the research and its rationale Pg.12 Methodology Pg.14 Outline Pg.16 CHAPTER ONE: BACKGROUND Pg.17 Personal Context Pg.22 The Social Role of Art – A Debate Pg.27 Why print? Pg.27 History of Print Pg.35 Literature of Print – Texts, Websites and Blogs Pg.49 The Way Forward: The Individual Artist and Entering the Collective Pg.49 Models of practice Pg.58 Guiding principles Pg.59 CHAPTER TWO: CASE STUDIES Pg.60 CS1 Black History Month Pg.61 Introduction Pg.61 Aims and Objectives Pg.62 Context Pg.62 The Print Pg.63 Evaluation Pg.66 Conclusion Pg.67 The Way Forward Pg.68 CS2 AKI Twente Identity Robe Pg.69 Introduction Pg.69 Aims and Objectives Pg.70 Context Pg.70 The Print Pg.73 Evaluation Pg.74 Conclusion Pg.75 The Way Forward Pg.76 CS3 Stand up to Hatred: Wall of Resistance -
International Jazz News Festival Reviews Concert
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC INTERNATIONAL JAZZ NEWS TOP 10 ALBUMS - CADENCE CRITIC'S PICKS, 2019 TOP 10 CONCERTS - PHILADEPLHIA, 2019 FESTIVAL REVIEWS CONCERT REVIEWS CHARLIE BALLANTINE JAZZ STORIES ED SCHULLER INTERVIEWS FRED FRITH TED VINING PAUL JACKSON COLUMNS BOOK LOOK NEW ISSUES - REISSUES PAPATAMUS - CD Reviews OBITURARIES Volume 46 Number 1 Jan Feb Mar Edition 2020 CADENCE Mainstream Extensions; Music from a Passionate Time; How’s the Horn Treating You?; Untying the Standard. Cadence CD’s are available through Cadence. JOEL PRESS His robust and burnished tone is as warm as the man....simply, one of the meanest tickets in town. “ — Katie Bull, The New York City Jazz Record, December 10, 2013 PREZERVATION Clockwise from left: Live at Small’s; JP Soprano Sax/Michael Kanan Piano; JP Quartet; Return to the Apple; First Set at Small‘s. Prezervation CD’s: Contact [email protected] WWW.JOELPRESS.COM Harbinger Records scores THREE OF THE TEN BEST in the Cadence Top Ten Critics’ Poll Albums of 2019! Let’s Go In Sissle and Blake Sing Shuffl e Along of 1950 to a Picture Show Shuffl e Along “This material that is nearly “A 32-page liner booklet GRAMMY AWARD WINNER 100 years old is excellent. If you with printed lyrics and have any interest in American wonderful photos are included. musical theater, get these discs Wonderfully done.” and settle down for an afternoon —Cadence of good listening and reading.”—Cadence More great jazz and vocal artists on Harbinger Records... Barbara Carroll, Eric Comstock, Spiros Exaras, -
Table of Contents
Table of contents 1. Prologue 3 Introduction 3 “RIO” – categorical misuse 4 A “true” progressive 4 Arnold Schonberg 7 Allan Moore 11 Bill Martin 15 2. California Outside Music Assiciation 19 The story begins 19 Coma coming out 22 Demographical setting, booking and other challenges 23 An expanding festival 23 A Beginner’s Guide 26 Outside music – avant rock 27 1980’s “Ameriprog”: creativity at the margins 29 3. The Music 33 4. Thinking Plague 37 ”Dead Silence” 37 Form and melody 37 The song ”proper” 40 Development section 42 Harmonic procedures and patterns 45 Non-functional chords and progressions 48 Polytonality: Vertical structures and linear harmony 48 Focal melodic lines and patterns 50 Musical temporality – ”the time of music” 53 Production 55 5. Motor Totemist Guild / U Totem 58 ”Ginger Tea” 62 Motives and themes 63 Harmonic patterns and procedures 67 Orchestration/instrumentation 68 Production 69 ”One Nail Draws another” and ”Ginger Tea” 70 1 6. Dave Kerman / The 5UU’s 80 Bought the farm in France… 82 Well…Not Chickenshit (to be sure…) 84 Motives and themes / harmony 85 Form 93 A precarious song foundationalism 95 Production, or: Aural alchemy - timbre as organism 99 7. Epilogue 102 Progressive rock – a definition 102 Visionary experimentalism 103 Progressive sensibility – radical affirmation and negation 104 The ”YesPistols” dialectic 105 Henry Cow: the radical predecessor 106 An astringent aesthetic 108 Rock instrumentation, -background and –history 109 Instrumental roles: shifts and expansions 109 Rock band as (chamber) orchestra – redefining instr. roles 110 Timbral exploration 111 Virtuosity: instrumental and compositional skills 114 An eclectic virtuosity 116 Technique and “anti-technique” 117 “The group’s the thing” vs. -
IN EXTREMIS" (Cuneiform Rune 113) UPC Code: [0 45775 0113 2 5]
Bio information: THINKING PLAGUE Title: "IN EXTREMIS" (Cuneiform Rune 113) UPC code: [0 45775 0113 2 5] Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://members.aol.com/Cuneiform2/cuneiform.html Thinking Plague is a Colorado-based ensemble that explores the frontiers where rock, folk, jazz and modern symphonic music meet. Through these explorations, the band has created what Journal Wired called "a genre of music unto itself, eclectically derivative in a bold way and spectacularly innovative in the old-fashioned sense of genuine originality." Guitarist/composer Mike Johnson's music combines lyricism with intense and sophisticated rhythmic and harmonic ideas. The band grew out of the basement recording experiments of Johnson and bassist/drummer Bob Drake in the early eighties. In 1982 they formed an ensemble for live performance. They released their first LP, "..a thinking plague," in 1984 on their own Endemic label. They produced and engineered the record themselves, and used minimal funds borrowed from friends or scraped together amongst themselves to press it. Each album cover was hand painted by Bob Drake. Intent on making more powerful recordings and dissatisfied with the chemistry of that first lineup, Johnson and Drake disbanded the group. They began recording new songs and began working with a singer/songwriter named Suzanne Lewis. In 1987 their second album, "Moonsongs," was released by Dead Man's Curve in London. The record was described as "stunning" by Option. In early 1989 reed player Mark Harris joined the group, making clarinet, saxes and flute permanent features of the sound. -
Pierre Schaeffer an Interview with the Pioneer of Musique Concrete by Tim
Pierre Schaeffer an interview with the pioneer of musique concrete by Tim Hodgkinson, 2 April 1986 from Recommended Records Quarterly Magazine, volume 2, number 1, 1987 Introduction: What is Musique Concrete and why is it so important today? Musique Concrete is music made of raw sounds: thunderstorms, steam-engines, waterfalls, steel foundries... The sounds are not produced by traditional acoustic musical instruments. They are captured on tape (originally, before tape, on disk) and manipulated to form sound-structures. The work method is therefore empirical. It starts from the concrete sounds and moves towards a structure. In contrast, traditional classical music starts from an abstract musical schema. This is then notated and only expressed in concrete sound as a last stage, when it is performed. Musique Concrete emerged in Paris in 1948 at the RTF (Radio Television Francais). Its originator, leading researcher and articulate spokesman was Pierre Schaeffer - at that time working as an electro-acoustic engineer with the RTF. Almost immediately, Musique Concrete found itself locked in mortal combat not only with its opponents within traditionally notated music, but also with Electronic Music, which emerged in Cologne in 1950 at the NWDR (Nord West Deutscher Rundfunk). Electronic Music involved the use of precisely controllable electronic equipment to generate the sound material - for example, the oscillator, which can produce any desired wave-form, which can then be shaped, modulated, etc... At the time, the antagonism between Musique Concrete and Electronic music seemed to revolve largely around the difference in sound material. Over the decades, this difference has become less important, so that what we now call 'Electroacoustic Music' is less concerned with the origin of the sound material than with what is done with it afterwards. -
History of Madness
Bio information: THINKING PLAGUE Title: HISTORY OF MADNESS (Cuneiform Rune 180) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://members.aol.com/Cuneiform2/cuneiform.html FILE UNDER: ROCK Led by composer/ guitarist Mike Johnson, Thinking Plague is a Colorado-based ensemble that explores the aural frontier where rock (in all its manifestations), modern classical, folk, and jazz music meet. Journal Wired called Thinking Plague’s work "a genre of music unto itself, eclectically derivative in a bold way and spectacularly innovative in the old-fashioned sense of genuine originality." Defining this genre further, Alternative Press places them, along with the 5uus and “a select array of contemporary Japanese units” in the “vanguard of groups riding the crest of a largely unheralded avant-progressive tsunami… an idiom responsible for some of the 20th century’s most significant musical achievements. …the manner in which Thinking Plague…have condensed only the most fertile (and often the most pulverizing) aspect of the last 30 years of progressive exploration into an nth-degree endgame is nothing short of awe-inspiring.” Thinking Plague grew out of the recording experiments of Johnson and bassist/drummer Bob Drake in the early 1980s. Johnson recalls being: “a classical fan since childhood, which led me to Stravinsky, Prokofiev, Bartok, Shoskatovich, W. Schumann, Britten, etc,…I developed the desire to achieve that kind of expression and depth while using the power or “rawness” of rock instruments or styles. When Bob and I met [1978] we clicked on these lines instantly”[Audion]. They were also inspired by the Art Bears and Henry Cow, who Johnson calls “The true pathfinders…[who] showed the rest of us a new way out of the limited old progressive rock/ jazz of the 70s”[ProgVisions]. -
PROBES #10.2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #10.2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. Auxiliaries PROBES takes Marshall McLuhan’s conceptual The PROBES Auxiliaries collect materials related to each episode that try to give contrapositions as a starting point to analyse and expose the a broader – and more immediate – impression of the field. They are a scan, not a search for a new sonic language made urgent after the deep listening vehicle; an indication of what further investigation might uncover collapse of tonality in the twentieth century. The series looks and, for that reason, most are edited snapshots of longer pieces. We have tried to at the many probes and experiments that were launched in light the corners as well as the central arena, and to not privilege so-called the last century in search of new musical resources, and a serious over so-called popular genres. This auxiliary wonders what the human new aesthetic; for ways to make music adequate to a world voice can’t do. transformed by disorientating technologies. Curated by Chris Cutler 01. Playlist PDF Contents: 00:00 Programme icon 01. Playlist Gregorio Paniagua, ‘Anakrousis’, 1978 02. Notes 03. Credits 00:05 Britney, ‘Girl Pig Squeal’, YouTube post, 2008 04. Acknowledgments 05. Copyright note 00:34 Lambert, Hendricks & Ross, ‘Halloween Spooks’ (excerpt), 1962 In 1959, Dave Lambert and Jon Hendricks, who had already set texts to jazz compositions decided to try to replace all the parts in the Count Basie band with voices – a choir a different singer assigned to each instrument. -
Jon Theodore
12 Modern Drummer June 2014 Booth #1219 Always on the go, Daru Jones desired a highly portable cymbal set for hip-hop sessions, DJ Jams, and other sit-ins that spontaneously present themselves, enabling him to preserve his personal sound in modern urban mobility. The concept was developed in the PST X series, which provides a suitable basis for the type of fast and dry sounds that perfectly fit the world of Hip-hop & Electronica percussion. It is executed with the DJs 45 set consisting of a 12" Crash, 12" Ride and 12" Hats. INTRODUCING ?MbcRaf^aYbE^]WPERZRPcEVRZZDRPW_Rb͜ŬeRQWbcW]PcZh d]W`dRS^a\dZMb͜QRbWU]RQ͜PaRMcRQM]QcRbcRQc^_RaS^a\ ^_cW\MZZhW]cVRR]eWa^]\R]ccVMcORMabWcb]M\R͙ studio heritage modern dry stadium urban ?MbcRaf^aYbGaOM]bVRZZbSRMcdaRMa^d]QRQ ʎORMaW]URQUR P^\OW]RQfWcV^da6eR]BZhEWgOZR]Q^S3WaPVΧ8d\Χ3WaPVfWcV?M_ZR aRW]S^aPR\R]caW]Ubc^_a^\^cR_a^]^d]PRQZ^fR]QMccMPYfWcV b\^^cV͜ReR]QRPMh͙Ada\W]W\MZP^]cMPcEF>bfWeRZZdUb͜P^\OW]RQ fWcV^da ͙ \\Ed_Ra:^^_ZZhoops increase projection without W\_RQW]U_RaS^a\M]PRMPa^bbcVRcd]W]Ub_RPcad\͙ FVWbWbcVRWQRMZb^d]QS^aB^_͜D̿3^a8^b_RZ͙ ?MbcRaf^aYbGaOM]bV^f]W]ORMdcWSdZ3ZMPY lacquer fWcV:^Z^UaM_VWPůMYRb͙>WbcR]c^cVR GaOM]aRPW_R_ZMhRQOh3aWM]7aMbWRa?^^aR Mc_RMaZQad\͙P^\ CONTENTS Volume 41 • Number 12 CONTENTS Cover and Contents photos by Andreas Neumann FEATURES 28 MODERN DRUMMER 2018 56 ELI KESZLER READERS POLL The multidisciplinary artist has Make your voice heard in the most dedicated much of his career important poll in the drumming to exploring the solo drumset’s world! expressionistic capabilities, leading to new creative and career 30 THE PSYCHEDELIC FURS’ opportunities. -
C:\Documents and Settings\Hubert Howe\My Documents\Courses
Musical works of Karlheinz Stockhausen (b. 1928) [Information taken from www.stockhausen.org.] Nr. Chöre für Doris for choir a capella, 1950 Drei Lieder for chorus and chamber orchestra, 1950 Chorale for four-part choir a capella, 1950 Sonatine for violin and piano, 1951 Kreuzspiel (“Cross-play”) for oboe, bass clarinet, piano, percussion, 1951 Formel (“Formula”) for orchestra, 1951 Etüde, musique concrète, 1952 Spiel (“Play”) for orchestra, 1952 Schlagtrio (percussion trio), for piano and 3x2 timpani, 1952 Punkte (“Points”) for orchestra, 1952 (revised, 1962) 1 Kontra-Punkte (“Counter-points”) for 10 instruments, 1952-3 2 Klavierstücke I-IV (Piano pieces I-IV), 1952-3 (Klavierstück IV revised 1961) 3/I Studie I, electronic music, 1954 3/II Studie II, electronic music, 1954 4 Klavierstücke V-X, (Piano pieces V-X), 1954-5 (Klavierstück X revised 1961) 5 Zeitmasze (“Tempi”) for woodwind quintet, 1955-6 6 Gruppen (“Groups”) for three orchestras, 1955-57 7 Klavierstück XI (Piano piece XI), 1956 8 Gesang der Jünglinge (“Song of the Youths”), electronic music, 1955-6 9 Zyklus (“Cycle”) for one percussionist, 1959 10 Carré for four orchestras and choruses, 1959-60 11 Refrain for three players, 1959 12 Kontakte (“Contacts”) for electronic sounds, 1959-60 Kontakte for electronic sounds, piano and percussion, 1959-60 Originale (“Originals”), musical theater with Kontakte, 1961 13 Momente (“Moments”) for soprano, four choral groups and 13 instruments, 1962-4 (Revised 1965, 1998) 14 Plus/Minus 2 x 7 pages for elaboration, 1963 15 Mikrophonie I (“Microphony