Reading & Listening Guide: John Cage and Experimental Music
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Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project. -
Digital Adaptions of the Scores for Cage Variations I, II and III
Edith Cowan University Research Online ECU Publications 2012 1-1-2012 Digital adaptions of the scores for Cage Variations I, II and III Lindsay Vickery Catherine Hope Edith Cowan University Stuart James Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/ecuworks2012 Part of the Music Commons Vickery, L. R., Hope, C. A., & James, S. G. (2012). Digital adaptions of the scores for Cage Variations I, II and III. Proceedings of International Computer Music Conference. (pp. 426-432). Ljubljana. International Computer Music Association. Available here This Conference Proceeding is posted at Research Online. https://ro.ecu.edu.au/ecuworks2012/165 NON-COCHLEAR SOUND _ I[M[2012 LJUBLJANA _9.-14. SEP'l'EMBER Digital adaptions of the scores for Cage Variations I, II and III Lindsay Vickery, Cat Hope, and Stuart James Western Australian Academy of Performing Arts, Edith Cowan University ABSTRACT Over the ten years from 1958 to 1967, Cage revisited to the Variations series as a means of expanding his Western Australian new music ensemble Decibel have investigation not only of nonlinear interaction with the devised a software-based tool for creating realisations score but also of instrumentation, sonic materials, the of the score for John Cage's Variations I and II. In these performance space and the environment The works works Cage had used multiple transparent plastic sheets chart an evolution from the "personal" sound-world of with various forms of graphical notation, that were the performer and the score, to a vision potentially capable of independent positioning in respect to one embracing the totality of sound on a global scale. -
The William Paterson University Department of Music Presents New
The William Paterson University Department of Music presents New Music Series Peter Jarvis, director Featuring the Velez / Jarvis Duo, Judith Bettina & James Goldsworthy, Daniel Lippel and the William Paterson University Percussion Ensemble Monday, October 17, 2016, 7:00 PM Shea Center for the Performing Arts Program Mundus Canis (1997) George Crumb Five Humoresques for Guitar and Percussion 1. “Tammy” 2. “Fritzi” 3. “Heidel” 4. “Emma‐Jean” 5. “Yoda” Phonemena (1975) Milton Babbitt For Voice and Electronics Judith Bettina, voice Phonemena (1969) Milton Babbitt For Voice and Piano Judith Bettina, voice James Goldsworthy, Piano Penance Creek (2016) * Glen Velez For Frame Drums and Drum Set Glen Velez – Frame Drums Peter Jarvis – Drum Set Themes and Improvisations Peter Jarvis For open Ensemble Glen Velez & Peter Jarvis Controlled Improvisation Number 4, Opus 48 (2016) * Peter Jarvis For Frame Drums and Drum Set Glen Velez – Frame Drums Peter Jarvis – Drum Set Aria (1958) John Cage For a Voice of any Range Judith Bettina May Rain (1941) Lou Harrison For Soprano, Piano and Tam‐tam Elsa Gidlow Judith Bettina, James Goldsworthy, Peter Jarvis Ostinato Mezzo Forte, Opus 51 (2016) * Peter Jarvis For Percussion Band Evan Chertok, David Endean, Greg Fredric, Jesse Gerbasi Daniel Lucci, Elise Macloon Sean Dello Monaco – Drum Set * = World Premiere Program Notes Mundus Canis: George Crumb George Crumb’s Mundus Canis came about in 1997 when he wanted to write a solo guitar piece for his friend David Starobin that would be a musical homage to the lineage of Crumb family dogs. He explains, “It occurred to me that the feline species has been disproportionately memorialized in music and I wanted to help redress the balance.” Crumb calls the work “a suite of five canis humoresques” with a character study of each dog implied through the music. -
Introduction to the Modern Calculus of Variations
MA4G6 Lecture Notes Introduction to the Modern Calculus of Variations Filip Rindler Spring Term 2015 Filip Rindler Mathematics Institute University of Warwick Coventry CV4 7AL United Kingdom [email protected] http://www.warwick.ac.uk/filiprindler Copyright ©2015 Filip Rindler. Version 1.1. Preface These lecture notes, written for the MA4G6 Calculus of Variations course at the University of Warwick, intend to give a modern introduction to the Calculus of Variations. I have tried to cover different aspects of the field and to explain how they fit into the “big picture”. This is not an encyclopedic work; many important results are omitted and sometimes I only present a special case of a more general theorem. I have, however, tried to strike a balance between a pure introduction and a text that can be used for later revision of forgotten material. The presentation is based around a few principles: • The presentation is quite “modern” in that I use several techniques which are perhaps not usually found in an introductory text or that have only recently been developed. • For most results, I try to use “reasonable” assumptions, not necessarily minimal ones. • When presented with a choice of how to prove a result, I have usually preferred the (in my opinion) most conceptually clear approach over more “elementary” ones. For example, I use Young measures in many instances, even though this comes at the expense of a higher initial burden of abstract theory. • Wherever possible, I first present an abstract result for general functionals defined on Banach spaces to illustrate the general structure of a certain result. -
Nam June Paik Und Die Zeit
Technische Universität Berlin Fakultät I – Geisteswissenschaften Institut für Sprache und Kommunikation Studiengang: Medienberatung Vertiefungsfach: Kunstgeschichte Nam June Paik und die Zeit Diplomarbeit Vorgelegt von Birgitta Wolf Erstgutachter: Prof. Dr. Friedrich Knilli Zweitgutachterin: Prof. Dr. Barbara von der Lühe Eingereicht am …………………………….. 1 INHALT I. Einleitung II. Kompositionen - Musik als „Zeitabfolge“: Bewusste Wahrnehmung von Bewegung, Veränderung und verschiedenen Geschwindigkeiten 1. Symphony for 20 Rooms: Partizipation und Indeterminismus, Langeweile und Veränderung, Vielfalt und Intensität 2. DO IT YOURSELF – Antworten an La Monte Young 3. Eine Sonate – für Radio 4. Metro-Musik 5. Symphonie Nr. 5 III. Von der Musik zum elektronischen Fernsehen 1. Performance – „Aktionsmusik“: Variabilität und Intensität; Zeitstrukturierung durch Geschwindigkeitswechsel a. Hommage à John Cage b. Auftritt in Karlheinz Stockhausens Originale c. One for Violin Solo 2. Experimente mit Radios und Fernsehern - „Zeit-Kunst“ 3. Fernsehtechnik in der bildenden Kunst - Vorläufer der Videokunst a. Fritz Wilhelm Winckel: Vom Ton zum Bild b. Oszillographenbilder von Ben F. Laposky: „Visuelle Musik“ c. Der Oszillograph im abstrakten Film - John und James Whitney: „Intensivierung und Verflüchtigung“ d. Karl Otto Götz: Kinetische Malerei - Fernsehen und Indeterminismus 2 4. Die Ausstellung Exposition of Music. Electronic TV a. Musik: Partizipation, Zufall und Random Access b. Fernsehen: Partizipation und Indeterminismus c. Post-Music:: Das „WANN“ in der Musik – Zufall und Aufführungszeitpunkt d. Indeterminismus, Überwindung des Dualismus und Langeweile (Text auf Ausstellungsflyer) e. Indeterminismus und Aufführungspraxis: Partizipation, Variabilität und freie Gestaltung der Zeit des Rezipienten (Über die Ausstellung der Musik) f. „Physikalische Musik“ : Simultaneität, Synchronizität und Verräumlichung des Zeitverlaufs (Nachspiel zur AUSSTELLUNG des EXPERIMENTEL- LEN FERNSEHENS) IV. Video und Zeit 1. -
John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums. -
Bird in a Cage Senior Workshop Plan Revision
Tic Ashfield Music"WSA Senior School Choral Workshop A Bird In A Cage The following document details an outline for creative musical composition workshops, aimed at student between the ages of 14 - 18. Although the workshops are specific to the A Bird In A Cage project many of the ideas and techniques designed to encourage the students to create their own music within a group setting are entirely transferable and could be employed within a different workshop setting. The workshops aim to facilitate song writing as well as encouraging more advanced musical compositional skills with reference to idiom, harmonic language, compositional technique and historical context. Furthermore it aims to inspire artistic creativity through the employment of graphic notation whilst emphasising the importance of working effectively and creatively in a group. Although technology is not an absolute necessity in regards to the running of this workshop, in this instant music technology is incorporated towards the end of the session to record the music created by the young musicians. If you do not wish to utilise technology in the workshops the suggested timings may require amendment. Key Words Relating to the Chosen Compositional Idiom (French Impressionism of the Early 20th Century) To be printed out for studentʼs reference. Hemiola Impressionism Polyrhythm Imitation Sforzando Sequence Binary Drone Pedal Ternary Inversions Through composed Modulation Cyclic Antiphony Coda Augmentation Treble clef Motivic development Rubato Key signatures consisting of up to 6 sharps or flats Cross-rhythms Tic Ashfield Music"WSA Work Shop Plan Specific Work Shop Timings: 3.10 pm - 5.15 pm Reference Scores for Printing: John Cage - Williams Mix Karlheinz Stockhausen - Helikopter Gyorgy Ligeti - Artikulation Krysztof Penderecki Contextual Information Surrounding Graphic Notation: ʻThis is a score (192 pages) for making music on magnetic tape. -
Liner Notes, Visit Our Web Site
“Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music. -
Cage's Credo: the Discovery of New Imaginary Landscapes of Sound By
JOHN CAGE: The Works for Percussion 1 Cage’s Credo: The Discovery of Percussion Group Cincinnati New Imaginary Landscapes of Sound by Paul Cox ENGLISH 1. CREDO IN US (1942) 12:58 “It’s not a physical landscape. It’s a term discovery of new sounds. Cage found an ideal for percussion quartet (including piano and radio or phonograph. FIRST VERSION reserved for the new technologies. It’s a land- incubator for his interest in percussion and With Dimitri Shostakovich: Symphony No.5, New York Philharmonic/Leonard Bernstein scape in the future. It’s as though you used electronics at the Cornish School in Seattle, Published by DSCH-Publishers. Columbia ML 5445 (LP) technology to take you off the ground and go where he worked as composer and accompa- 2. IMAGINARY LANDSCAPE No. 5 (1952) 3:09 like Alice through the looking glass.” nist for the dance program. With access to a for any 42 recordings, score to be realized as a magnetic tape — John Cage large collection of percussion instruments and FIRST VERSION, using period jazz records. Realization by Michael Barnhart a radio studio, Cage created his first “Imagi- 3. IMAGINARY LANDSCAPE No. 4, “March No. 2” (1942) 4:26 John Cage came of age during the pioneer- nary Landscape,” a title he reserved for works for 12 radios. FIRST VERSION ing era of electronic technology in the 1920s. using electronic technology. CCM Percussion Ensemble, James Culley, conductor With new inventions improving the fidelity of The Cornish radio studio served as de facto 4. IMAGINARY LANDSCAPE No. 1 (1939) 6:52 phonographs and radios, a vast array of new music laboratory where Cage created and for 2 variable-speed turntables, frequency recordings, muted piano and cymbal, voices, sounds and music entered the American broadcast the Imaginary Landscape No. -
Cage's Early Tape Music
The Studio as a Venue for Production and Performance: Cage’s Early Tape Music Volker Straebel I When John Cage produced his Imaginary Landscape No. 5, probably the first piece of American tape music, in January 1952, he had been researching means of electronic sound production for at least twelve years. The main layer of his text The Future of Music: Credo, falsely dated 1937 in Cage’s collected lectures and writings Silence, but probably written between 1938 and 1940,1 places sound production by means of electrical instruments at the end of a development which increases the use of noise to make music, which would extend the variety of sounds available for musical purposes. The influence of Luigi Rus- solo’s L’arte dei rumori of 1913 is obvious, a manifesto that appeared in print in English translation for the first time in Nicolas Slonimsky’s Music since 1900 in 19372 and that Cage must have been aware of in 1938, when he stated in the program notes of a Percus- sion Concert presented by his ensemble in Seattle on December 9, that »percussion music really is the art of noise and that’s what it should be called.«3 In 1939, Cage created Imaginary Landscape No. 1 utilizing test-tone records played at variable speeds at the radio studio of the Cornish School in Seattle. The score, engraved and published by C. F. Peters in the early 1960s, specifies the Victor Frequency Records being used and indicates the resulting frequencies when played at 33 1/3 or 78 rpm. -
Taxonomy and Notation of Spatialization
TAXONOMY AND NOTATION OF SPATIALIZATION Emile Ellberger Germán Toro Pérez Linda Cavaliero Institute for Computer Music Institute for Computer Music Institute for Computer Music and and Sound Technology and Sound Technology Sound Technology Zurich University of the Arts Zurich University of the Arts Zurich University of the Arts [email protected] [email protected] [email protected] Johannes Schütt Giorgio Zoia Basile Zimmermann Institute for Computer Music Institute for Computer Music Faculty of Humanities and Sound Technology and Sound Technology University of Geneva Zurich University of the Arts Zurich University of the Arts [email protected] [email protected] [email protected] ABSTRACT that include implementation of spatialization have been limited in their capacity to propose adequate notation The SSMN Spatial Taxonomy and its symbols libraries, possibilities to convey spatial information within musical which are the corner stone of the Spatialization Symbolic scores. In spite of the availability of a variety of strategies Music Notation (SSMN) project, emanates from research and tools for spatialization within the context of electroa- into composers’ attitudes in this domain. It was con- coustic music composition, decisions about position and ceived as the basis for the development of dedicated movement of sound in space, or the general question of notation and rendering tools within the SSMN project. virtual space quality remain often a secondary formal The taxonomy is a systematic representation of all rele- issue; in many cases these decisions are left to a post- vant features necessary to specify sound spatiality: shape production stage instead of being fully integrated and acoustic quality of the space, structure, position and throughout the composition process.