View PDF Document

Total Page:16

File Type:pdf, Size:1020Kb

View PDF Document THE AMERICAN SOCIETY NEWS LEITER OF UNIVERSITY COMPOSERS SPRING-SUMMER, 1977/V1. 10, Nos. 1-2 1977 NATIONAL CONFERENCE IN URBANA Symphony" andLanyAustin's "Second Fantasy on Ives' 'Universe Symphony'" was delivered. In another room at The Twelfth Annual Conference of the American the same time a discussion with Fred Koenigsberg, Legal Society of University Composers was held in Champaign­ Staff of ASCAP; concerning "Thoughts on the New Urbana from March 3rd to the 7th, 1977. The Copyright Law" was held. These were followed by a well-attended event, boasting 160 Society members, was "Lecture-Concert-Demonstration on the Contemporary hosted by the University of Illinois. For its gracious Flute" by Robert Aitken (University of Toronto). One of hospitality, many thanks are extended to the host institu­ the tone-setting highlights of the conference was a lively tion and its representatives. Those of us· who attended presentation-discussion on "Music Criticism." Arranged i were impressed and delighted by the Krannert Center for and introduced by Randolph Coleman (Oberlin College), I ! the Performing Arts. The excellent acoustics of the many the panel included Herbert Brun (University of Illinois), !' theaters augmented the quality performances. Special Larry Austin (University of Southern Florida), Tom accolades must be offered for the successful planning of Johnson (critic, The Village Voice), and Hans G. Helms this smoothly run conference to program chairman (West German Radio-Television and Public Broad­ Randolph Coleman (Oberlin College) and conference casting System). A refreshing break at the Levis Center committee chairman Edwin London (University of concluded the afternoon session. Illinois). They were assisted by the local members of the The evening concert, featuring the Illinois Women's conference committee: Alfred Blatter, Ben Johnston, Glee Club, University Chorale, Wind Ensemble, and John Melby, Tom Yarber, and Paul Zonn. Others whose University Symphony, opened with two works by contributions were vital and to whom many thanks are Marshall Bialosky: 5 Nonsense Songs about Animals and due were the fine conductors of the various ensembles: Academic Graffiti. Also included on the program were Harold Decker, Robery Gray, Edwin London, Salvatore Notes in Silence by Leslie Bassett (University of Martirano, William Olson, Tom Siwe, and Paul Zonn. Michigan); Metalepsis II by Bernard Rands (University One of the best features of any national conference of of California, San Diego); White Lady by Robert the ASUC is the opportunity to hear members' composi­ Erickson (University of California, San Diego); tions performed. The Illinois meeting was outstanding in Murmurings by Edward Diemente (Hartt College, this regard. Participants heard one first-rate perfor­ University of Hartford); and Concerto for Brass Quintet mance after ·another in the acoustically and visually and Orchestra by Karel Husa (Cornell University). The magnificent spaces of the Krannert Center. In all, over excellence of these larger ensembles was appreciated by three dozen works by ASUC members were heard during all in attendance. the conference. Saturday began with several paper presentations. John Concert I, held Thursday evening in the Krannert White (University of Wisconsin) spoke on "An Approach Center Playhouse, featured performances of Divine to Musical Sounds in Style", Aurelio de la Vega (Califor­ Songs by Bernard Heiden (Indiana University); Music for nia State, Northridge) discussed "New Music in Latin English Horn and Piano by M. William Karlins (North­ America", and Robert Erickson (University of western University); Signature for Tempo four songs by California, San Diego) spoke about "Loops: An Informal Randall Shinn (University of New Orleans); Privacy One: Timbre Experiment". These were followed by a lecture­ Words Without Songs by Kenneth Gaburo (La Jolla, demonstration by Phillip Rehfeldt (University of California); Antiphon II "Quid Est Musica " by Richard Redlands) entitled "The Clarinet: Some Recent Hervig (University of Iowa); Lengeren by Sydney Thoughts on Multiphonics" and including the following Hodkinson (Eastman School); Klavierstuck by Curt compositions: Three Pieces by David Maslanka (Sarah Cacioppo (student composition contest co-winner from Lawrence); Echoes by Olly Wilson (University of New York University); Maud: A Monodrama for California, Berkeley); and RAN. I.X. by Victor Saucedo Soprano and Computer by Michael Dellarfo (student Tecayehatzin (Southwestern College, California). composition contest co-winner from Princeton Univer­ After a short break the afternoon session began with a sity); and Consort I by Brian Fennelly (New York lecture-demonstration by Karen Ervin (Sun Valley, University). California) on "New Techniques for Percussion: Welcoming remarks were given Friday morning· by Invention and Ingenuity". This was followed by three Robert Bays, director of the School of Music at paper presentations, including: "Whole Language University of Illinois. Greetings were extended by Language" by Kenneth Gaburo (La Jolla); "Kurt Marshall Bialosky (National Chairman) and remarks Schwitters' 'Ursonate' " by Dary John Mizelle (Oberlin offered by Ross Lee Finney (University of Michigan). College); and "Intensive Approach in Beginning Com­ The first presentation, "Remembering Dallapiccola", position through Motivic Development" by Charles was given by Marshall Bialosky (California State, Smith (Southeast Missouri State). Dominguez Hills), Bernard Rands (University of The 1977 general business meeting was held following California, San Diego), Henry Weinberg (Queens the afternoon's presentations. Outgoing National College), and Salvatore Martirano (University of Illinois). Council Chairman Marshall Bialosky gave a clear and Each reflected on their great teacher, now passed away. thorough overview of the Society's present situation. After a short break, a paper by Donald Walker Among his announcements was the election of Edwin (University of South Florida) on Charles Ives' "Universe London as the new Chairman. Richard Brooks has . J replaced Bruce Taub as chairman of the Executive (California State, Northridge) and Carlton Gamer Committee. Both Priscilla and Barton McLean are now (Colorado College). on the Executive Committee, since they do a two-person Concert V, unfortunately scheduled at three o'clock job keeping the radio show going. Sam Hope, a Society Sunday afternoon (after many members had left the member in Washington DC, has been asked to be the campus), included performances of Capriccios by Ursula Society's liaison with such matters as National Mamlok (Manhattan School of Music): Ludus: Chamber Endowment for the Arts. The National Council and Concerto by Donald Harris (New England Conservatory Executive Committee both approved a 1978 raise in dues of Music); Chamber Music - Percussion and Taped to $35 per year for full membership. A rebate of some of Electronic Sounds by Lukas Foss (Brooklyn Philhar­ this money is intended to go back to the Regions for their monic) and Joel Chadabe (SUNY, Albany); Black Topaz own activities. The price of Proceedings has been raised by Joan Tower (Bard College); Labdanum by Aurelio de to $8 a copy. Richmond Browne will edit the Newsletter la Vega (California State, Northridge); Three Poems (e.e. while Tom Cleman is in England. The Student Composi­ cummings) by James Lewis (University of South Florida); tion Contest will continue. Conversations by Walter Aschaffenburg (Oberlin Smith Music Hall was the location for Concert III, in College); and Welcome to Whipperginny by Barney which the Audubon String Quartet played Celestial Childs (Redlands University). Bodies, Concerto for Flute and String Quartet by Ezra The Twelfth Annual Conference was exciting and Laderman (SUNY Binghampton), with guest flutist Eric spirited, well planned and professionally executed, and Hoover; Dances - Real and Imagined by Will Bottje almost too full of excellent events. One looks forward (Southern Illinois University); and the String Quartets of with great expectations to the 1978 national meeting. Dennis Kam (University of Miami) and Lawrence Moss (University of Maryland). Report prepared by the Editor, from material Conference participants returned to the Playhouse for graciously supplied by Ann Noble (University of the final two concerts. Concert IV featured performances Redlands) and Stephen Scott (The Colorado College). of Nahua Songs by Walter Winslow (University of California, Berkeley); Blue Music for Jazz Actor, Tape 1978 NATIONAL CONFERENCE IN FLORIDA and Light by Jonathan Kramer (Yale University); Narrative for Solo Cello and 14 lnstrumentalists by Ross The Society's Thirteenth annual meeting will be ,held Lee Finney (University of Michigan); Second Fantasy on March 23-26, 1978 at the University of MiamJ under the Ives' "Universe Symphony" . .. the heavens by Larry sponsorship of that University and the University of Austin (University of South Florida); Faces by Stuart South Florida. The deadline for submission of scores is Smith (University of Maryland - Baltimore County); At October 15, 1977: scores should be sent to Dennis Kam at the End of the Parade, Six Songs by Yehuda Yannay the University of Miami School of Music (Coral Gables (University of Wisconsin, Milwaukee); Nad by Michael 33124). Musical forces available will include soloists, Hunt (St. Louis, Missouri); and Rituals for 40 Flutes by string quartet, woodwind and brass quintets, large and Robert Ceely (New England Conservatory of
Recommended publications
  • Live-Electronic Music
    live-Electronic Music GORDON MUMMA This b()oll br.gills (lnd (')uis with (1/1 flnO/wt o/Ihe s/u:CIIlflli01I$, It:clmulogira{ i,m(I1M/;OIn, find oC('(uimwf bold ;lIslJiraliml Iltll/ mm"k Ihe his­ lory 0/ ciec/muir 111111';(", 8u/ the oIJt:ninf!, mui dosing dlll/J/er.f IIr/! in {art t/l' l)I dilfcl'CIIt ltiJ'ton'es. 0110 Luerd ng looks UfI("/,- 1,'ulIl Ihr vll l/laga poillt of a mnn who J/(u pel'smlfl.lly tui(I/I'sscd lite 1)Inl'ch 0/ t:lcrh'Ollic tccJlIlulogy {mm II lmilll lIellr i/s beg-ilmings; he is (I fl'ndj/l(lnnlly .~{'hooletJ cOml)fJj~l' whQ Iws g/"lulll/llly (lb!Jfll'ued demenls of tlli ~ iedmoiQI!J' ;11(0 1111 a/rc(uiy-/orllleti sCI al COlli· plJSifion(l/ allillldes IInti .rki{l$. Pm' GarrlOll M umma, (m fllr. other IWfI((, dec­ lroll;c lerllll%gy has fllw/lys hetl! pre.telll, f'/ c objeci of 01/ fl/)sm'uillg rlln'osily (mrl inUre.fI. lu n MmSI; M 1I11111W'S Idslur)l resltllle! ",here [ . IIt:1lillg'S /(.;lIve,( nff, 1',,( lIm;lI­ i11g Ihe dCTleiojJlm!lIls ill dec/m1/ ;,. IIII/sir br/MI' 19j(), 1101 ~'/J IIIlIrli liS exlell­ siom Of $/ili em'fier lec1m%gicni p,"uedcnh b111, mOw,-, as (upcclS of lite eCQllol/lic lind soci(ll Irislm)' of the /.!I1riotl, F rom litis vh:wJ}f)il1/ Ite ('on,~i d ".r.f lHU'iQII.f kint/s of [i"t! fu! r/urmrl1lcI' wilh e/cclnmic medifl; sl/)""m;ys L'oilabomlive 1>t:rformrl1lce groU/JS (Illd speril/f "heme,f" of cIIgilli:C'-;lIg: IUltl ex/,/orcs in dt:lllil fill: in/tulmet: 14 Ihe new If'dllllJiolO' 011 pop, 10/1(, rock, nllrl jllu /Ill/SIC llJi inJlnwu:lI/s m'c modified //till Ille recording studio maltel'
    [Show full text]
  • David Tudor: Live Electronic Music
    LMJ14_001- 11/15/04 9:54 AM Page 106 CD COMPANION INTRODUCTION David Tudor: Live Electronic Music The three pieces on the LMJ14 CD trace the development of David Tudor’s solo electronic music during the period from 1970 to 1984. This work has not been well docu- mented. Recordings of these pieces have never before been released. The three pieces each represent a different collaboration: with Experiments in Art and Technology (EAT), with the Merce Cunningham Dance Company (MCDC) and with Jacqueline Matisse Monnier [1]. The CD’s cover image, Toneburst Map 4, also arises from a collaboration, with the artist Sophia Ogielska. Anima Pepsi (1970) was composed for the pavilion designed by EAT for the 1970 Expo in Osaka, Japan. The piece made extensive use of a processing console consisting of eight identi- cal processors designed and built by Gordon Mumma and a spatialization matrix of 37 loud- speakers. Each processor consisted of a filter, an envelope follower, a ring modulator and a voltage-controlled amplifier. Anima Pepsi used this processing capability to transform a library of recordings of animal and insect sounds together with processed recordings of similar sources. Unlike most of Tudor’s solo electronics, this piece was intended to be performed by other members of the EAT collective, a practical necessity as the piece was to be performed repeatedly as part of the environment of the pavilion for the duration of the exposition. Toneburst (1975) was commissioned to accompany Merce Cunningham’s Sounddance. This recording is from a performance by MCDC, probably at the University of California at Berke- ley, where MCDC appeared fairly regularly.
    [Show full text]
  • Holmes Electronic and Experimental Music
    C H A P T E R 3 Early Electronic Music in the United States I was at a concert of electronic music in Cologne and I noticed that, even though it was the most recent electronic music, the audience was all falling asleep. No matter how interesting the music was, the audience couldn’t stay awake. That was because the music was coming out of loudspeakers. —John Cage Louis and Bebe Barron John Cage and The Project of Music for Magnetic Tape Innovation: John Cage and the Advocacy of Chance Composition Cage in Milan Listen: Early Electronic Music in the United States The Columbia–Princeton Electronic Music Center The Cooperative Studio for Electronic Music Roots of Computer Music Summary Milestones: Early Electronic Music of the United States Plate 3.1 John Cage and David Tudor, 1962. (John Cage Trust) 80 EARLY HISTORY – PREDECESSORS AND PIONEERS Electronic music activity in the United States during the early 1950s was neither organ- ized nor institutional. Experimentation with tape composition took place through the efforts of individual composers working on a makeshift basis without state support. Such fragmented efforts lacked the cohesion, doctrine, and financial support of their Euro- pean counterparts but in many ways the musical results were more diverse, ranging from works that were radically experimental to special effects for popular motion pictures and works that combined the use of taped sounds with live instrumentalists performing on stage. The first electronic music composers in North America did not adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with mixed skepticism and amusement the aesthetic wars taking place between the French and the Germans.
    [Show full text]
  • Electronic Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2018 Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Kopcienski, Jacob A., "Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music" (2018). Graduate Theses, Dissertations, and Problem Reports. 7493. https://researchrepository.wvu.edu/etd/7493 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Thesis submitted To the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D.
    [Show full text]
  • Gordon Mumma Was Born in 1935 in Framingham, Massachusetts. He
    Gordon Mumma was born in 1935 in Framingham, Massachusetts. He studied piano and horn in Chicago and Detroit, and his early performing career was as a horn player in classical symphonic and chamber music. In 1952 he entered the University of Michigan, where he engaged with the group of young composers in the class of Ross Lee Finney. In Ann Arbor he co-founded with Robert Ashley the Cooperative Studio for Electronic Music (1958–66), and again with Ashley collaborated in Milton Cohen’s Space Theatre (1957–64) along with a group of uniquely creative individuals in art, architecture, and film. Mumma was one of the organizers of the historic ONCE Festival (1961–66), which made Ann Arbor an important site for the performance of innovative new music. The Ann Arbor years demonstrate the early significance of collaboration in Mumma’s creative process. Working connections with other musicians and artists in many disciplines—especially dance and film—have inspired and nourished much of his work as a composer, performer, instrument builder, and electronics wizard. From 1966 to 1974 he was, with John Cage and David Tudor, one of the composer-musicians with the Merce Cunningham Dance Company, for which he composed four commissioned works, including Mesa (1966) and Telepos (1971), and worked closely with Cunningham on his solo choreography for Loops (1971). During those years he also performed in the Sonic Arts Union with Robert Ashley, David Behrman, and Alvin Lucier. He has collaborated with such diverse artists as Tandy Beal, Anthony Braxton, Fred Frith, Pauline Oliveros, Yvonne Rainer, Tom Robbins, Stan VanDerBeek, and Christian Wolff.
    [Show full text]
  • Interactive Electroacoustics
    Interactive Electroacoustics Submitted for the degree of Doctor of Philosophy by Jon Robert Drummond B.Mus M.Sc (Hons) June 2007 School of Communication Arts University of Western Sydney Acknowledgements Page I would like to thank my principal supervisor Dr Garth Paine for his direction, support and patience through this journey. I would also like to thank my associate supervisors Ian Stevenson and Sarah Waterson. I would also like to thank Dr Greg Schiemer and Richard Vella for their ongoing counsel and faith. Finally, I would like to thank my family, my beautiful partner Emma Milne and my two beautiful daughters Amelia Milne and Demeter Milne for all their support and encouragement. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………… Table of Contents TABLE OF CONTENTS ..................................................................................................................I LIST OF TABLES..........................................................................................................................VI LIST OF FIGURES AND ILLUSTRATIONS............................................................................ VII ABSTRACT..................................................................................................................................... X CHAPTER ONE: INTRODUCTION.............................................................................................
    [Show full text]
  • Gordon Mumma Witchcraft, Cybersonlcs, Folkloric Virtuosity
    Gordon Mumma Witchcraft, Cybersonlcs, Folkloric Virtuosity In the 18th Century a mechanical landscape-automaton, the Jacquet-Droz grotto, was exhibited throughout Europe. Approximately one meter square in area, it was an exceptional example of complex clockwork art. The clockwork landscape con­ taining grazing cattle and sheep, singing birds and barking dogs, flowing streams and fountains and people in promenade. The sun and moon followed their exact daily paths. Like Wolfgang Amadeus Mozart, who was also a travelling performer in Europe at that time, the Jacquet-Droz grotto was a celebrated entertainment. However, when the grotto travelled to Spain it was confiscated by the Spanish authorities and destroyed. It was considered to be a deamonic manifestation, a threat not only to the church but a danger to the culture of Spain. The Spanish of the time were also settling in the New World and establishing reli­ gious missions in California. The spiritual influence of that early Spanish culture is still important in California. It is now mixed with the spiritual ways of the indigenous indians and the immigrant Asians and European Protestants. Witch­ craft and occultism are part of the spiritual ambience, and sometimes the political manifestations of California. I have been in Northern California this past year, establishing contemporary performance arts activities at the new University of California at Santa Cruz. Santa Cruz is an incredibly beautiful part of California, in an area of giant, ancient Redwood trees overlooking Monterey Bay on the Pacific Ocean. My collaborators in the project include the composer and musicologist William Brooks, students at the University, and people from the surrounding community.
    [Show full text]
  • A Power Stronger Than Itself
    A POWER STRONGER THAN ITSELF A POWER STRONGER GEORGE E. LEWIS THAN ITSELF The AACM and American Experimental Music The University of Chicago Press : : Chicago and London GEORGE E. LEWIS is the Edwin H. Case Professor of American Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2008 by George E. Lewis All rights reserved. Published 2008 Printed in the United States of America 16 15 14 13 12 11 10 09 08 1 2 3 4 5 ISBN-13: 978-0-226-47695-7 (cloth) ISBN-10: 0-226-47695-2 (cloth) Library of Congress Cataloging-in-Publication Data Lewis, George, 1952– A power stronger than itself : the AACM and American experimental music / George E. Lewis. p. cm. Includes bibliographical references (p. ), discography (p. ), and index. ISBN-13: 978-0-226-47695-7 (cloth : alk. paper) ISBN-10: 0-226-47695-2 (cloth : alk. paper) 1. Association for the Advancement of Creative Musicians—History. 2. African American jazz musicians—Illinois—Chicago. 3. Avant-garde (Music) —United States— History—20th century. 4. Jazz—History and criticism. I. Title. ML3508.8.C5L48 2007 781.6506Ј077311—dc22 2007044600 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. contents Preface: The AACM and American Experimentalism ix Acknowledgments xv Introduction: An AACM Book: Origins, Antecedents, Objectives, Methods xxiii Chapter Summaries xxxv 1 FOUNDATIONS AND PREHISTORY
    [Show full text]
  • Gordon Mumma Music for Solo Piano 1960–2001
    GORDON MUMMA MUSIC FOR SOLO PIANO 1960–2001 DAAN VANDEWALLE, PIANO 80686-2 [2CDs] DISC 1:73:04 Jardin (1958–97), for Michelle Fillion 13:57 1. poplars 1:50 2. tricycle and fence 2:40 3. coulisse pour Michelle 1:33 4. lunar asparagus, d’après Max Ernst 1:56 5. planted song 1 1:45 6. planted song 2 1:18 7. planted song 3 1:19 8. planted song 4 1:36 9 Songs without Words (1990s) 25:58 9. for Christian Wolff 3:40 10. soprapensiero, for Dominic Gill 2:35 11. for Richard Felciano 2:39 12. for Younhie Kim 1:31 13. for Jon Barlow 3:01 14. for Merril Lynn Taylor 2:09 15. for David Tudor . who went on ahead of us 3:24 16. for George Exon 3:12 17. for David Revill 3:47 18. Suite for Piano (1960) 4:45 I. 76/104 II. 50/64 III. 96/104 IV. 52/72 Graftings (1990–96), for Daan Vandewalle 7:41 19. scion 1:21 20. recitative 1:29 21. scion 1:15 22. scion 1:30 23. grafting & slipwaltz 1:10 24. scion :56 Four Pack Ponies (1996), for the Taylor cousins 10:10 25. Bay 1:37 26. Connemara 2:32 27. Dun 3:21 28. Chestnut dreams 2:40 Basket of Strays 9:46 29. Treble Song (1996) 2:49 30. Soft Saloon Song (1977) 2:34 31. Tearing off: a piece (2001) 1:02 32. Clavichord at 18 (1997) 1:27 33. Un bocado de tango (de los desaparecidos) (1970) :52 34.
    [Show full text]
  • Wire No.234 Revised
    THE WIRE WWW.THEWIRE.CO.UK ISSUE 234 AUGUST 2003 Robert Ashley Meet the electronic pioneer who took opera into the multimedia age. By Thom Holmes Built for Speed Textually hyperdense and accellerated for the televisual age, the multimedia music theatre of composer Robert Ashley has been called the future of opera, as well as the first to exploit the unique rhythms of the American voice. Following this year’s premiere of his new work Celestial Excursions, Thom Holmes meets the composer to discuss his founding role in the Sonic Arts Union, his love of TV, and his celebration of life on the margins. Photos: Chris Buck other for their living space. Today, the windows are open due to the warm weather. Ashley’s computers, keyboards and recording equipment are clustered in the centre of the space underneath a marquee-like canopy. The tent is there to protect the equipment from falling crumbs of concrete and ceiling plaster while the roof undergoes repairs. Despite the disruption, Ashley never loses his train of thought.’“That’s why so much popular music has to do with love,” he continues. “It puts a label on it and when it’s good, that label really works. It can’t do anything but that, no matter how hard people try. No matter how hard Bob Dylan tried or John Lennon tried, you can’t make popular music into anything except a labelling of your own experience that you never realised needed a label.” He sits up straight and places the palms of his hands firmly on the table in front of him.
    [Show full text]
  • Press Release
    MoMA EXHIBITION LOOKS AT MUSIC’S WIDE-RANGING INFLUENCE ON ARTISTS, ACROSS MEDIA, BEGINNING IN THE 1960s The Work of David Bowie, Laurie Anderson, Nam June Paik, and The Residents, Among Others, Brought Together in Looking at Music Looking at Music August 13, 2008—January 5, 2009 The Yoshiko and Akio Morita Gallery, second floor August 18—December 21, 2008 The Roy and Niuta Titus Theaters Press Preview: August 13, 2008, 9:30 a.m. to 10:30 a.m.; Screening at 10:30 a.m. NEW YORK, August 13, 2008—The Museum of Modern Art presents Looking at Music, an exhibition that explores music’s role in the interdisciplinary experimentation of the 1960s, when a dynamic cross-fertilization was taking place among music, video, installation, and what was known as “mixed media” art. In the decade between 1965 and 1975, an era of technological innovation fostered this radical experimentation, and artists responded with works that pushed boundaries across media. Comprising over 40 works from the Museum’s collection, the exhibition includes video, audio, books, lithographs, collage, and prints, by artists such as Laurie Anderson, Nam June Paik, Bruce Nauman, and John Cage. Their work in the exhibition is accompanied by related experimental magazines such as West Coast poet Wallace Berman’s Semina, along with drawings, prints, and photographs by John Cage, Jack Smith, and other radical thinkers. The exhibition, organized by Barbara London, Associate Curator, Department of Media, The Museum of Modern Art, is on view from August 13, 2008, to January 5, 2009; the accompanying film and video series in The Roy and Niuta Titus Theaters, which includes 12 programs of nearly 50 works of documentary and experimental films along with music videos, will be on view August 18 to December 21, 2008.
    [Show full text]
  • A Personal Reminiscence on the Roots of Computer Network Music
    A Personal Reminiscence on the Roots of Computer Network Music S C o T G R e S h am -L ancast e R This historical reminiscence details the evolution of a type of electronic music.” I would add the impact of Sonic Arts Union and the music called “computer network music.” Early computer network music ONCE festival in Ann Arbor in the late 1960s, which neces- had a heterogeneous quality, with independent composers forming sarily includes the contributions of Gordon Mumma, Alvin a collective; over time, it has transitioned into the more autonomous ABSTRACT form of university-centered “laptop orchestra.” This transition points to Lucier, Robert Ashley, David Behrman and, of course, David a fundamental shift in the cultural contexts in which this artistic practice Tudor. was and is embedded: The early work derived from the post-hippie, When I browse the ubiquitous music applications (iTunes, neo-punk anarchism of cooperatives whose members dreamed that Spotify, etc.) that are tagging audio files and examine the machines would enable a kind of utopia. The latter is a direct outgrowth choices for “electronic music,” I am mystified. The history of the potential inherent in what networks actually are and of a sense of that I have experienced over the last four decades is not rep- social cohesion based on uniformity and standardization. The discovery that this style of computer music-making can be effectively used as a resented at all. Cage, Xenakis, Stockhausen, etc., and their curricular tool has also deeply affected the evolution and approaches fundamental electronic music contributions are nowhere to of many in the field.
    [Show full text]