Programmaboek the Theatre of John Cage
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Perry Smt 2019 Handout
Sketching and Imitating: Cage, Satie, Thoreau, and the Song Books Jeff Perry ([email protected]) Society for Music Theory • Columbus, OH • November 10, 2019 Some examples from my talk aren’t reproduced here, since they include images that belong to the John Cage Trust or NYPL Special Collections. Example 1. Socrate is an incredibly beautiful work. There is no expression in the music or in the words, and the result is that it is overpoweringly expressive. The melody is simply an atmosphere which floats. The accompaniment is a continuous juxtaposition of square simplicities. But the combination is of such grace! --JC to Merce Cunningham, 1944 (Kuhn 2016, 66) With clarity of rhythmic structure, grace forms a duality. Together they have a relation like that of body and soul. Clarity is cold, mathematical, inhuman, but basic and earthy. Grace is warm, incalculable, human, opposed to clarity, and like the air. Grace is… the play with and against the clarity of the rhythmic structure. The two are always present together in the best works of the time arts, endlessly, and life-givingly, opposed to each other. --JC, 1944 (Silence, 91-92) Example 2. I am getting more and more involved with thoughts about society—the situation is so depraved. Have been reading Thoreau —Civil Disobedience. Getting his Journals, the new 2-vol. set. I want somehow to examine the situation, the social one, as we did the musical one, to change it or change “my” part of it so that I can “listen” to my “life” without self-consciousness, i.e., moral embarrassment. -
What Cant Be Coded Can Be Decorded Reading Writing Performing Finnegans Wake
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output What cant be coded can be decorded Reading Writing Performing Finnegans Wake http://bbktheses.da.ulcc.ac.uk/198/ Version: Public Version Citation: Evans, Oliver Rory Thomas (2016) What cant be coded can be decorded Reading Writing Performing Finnegans Wake. PhD thesis, Birkbeck, University of London. c 2016 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email “What can’t be coded can be decorded” Reading Writing Performing Finnegans Wake Oliver Rory Thomas Evans Phd Thesis School of Arts, Birkbeck College, University of London (2016) 2 3 This thesis examines the ways in which performances of James Joyce’s Finnegans Wake (1939) navigate the boundary between reading and writing. I consider the extent to which performances enact alternative readings of Finnegans Wake, challenging notions of competence and understanding; and by viewing performance as a form of writing I ask whether Joyce’s composition process can be remembered by its recomposition into new performances. These perspectives raise questions about authority and archivisation, and I argue that performances of Finnegans Wake challenge hierarchical and institutional forms of interpretation. By appropriating Joyce’s text through different methodologies of reading and writing I argue that these performances come into contact with a community of ghosts and traces which haunt its composition. In chapter one I argue that performance played an important role in the composition and early critical reception of Finnegans Wake and conduct an overview of various performances which challenge the notion of a ‘Joycean competence’ or encounter the text through radical recompositions of its material. -
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. -
Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance Sarah Lucie The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3828 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ACTING OBJECTS STAGING NEW MATERIALISM, POSTHUMANISM AND THE ECOCRITICAL CRISIS IN CONTEMPORARY PERFORMANCE by SARAH LUCIE A dissertation submitted to the Graduate Faculty in Theatre and Performance in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2020 © 2020 SARAH LUCIE All rights reserved ii Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance by Sarah Lucie This manuscript has been read and accepted by the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________________________________________________________________ Date Peter Eckersall Chair of Examining Committee __________________________________________________________________________ Date Peter Eckersall Executive Officer Supervisory Committee: Erika Lin Edward Miller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance by Sarah Lucie Advisor: Peter Eckersall I investigate the material relationship between human and nonhuman objects in performance, asking what their shifting relations reveal about our contemporary condition. -
Download Mijn CV
Curriculum Vitae Sander Roeleveld | 26 januari 1973 Eindhoven Cameraman 2005 – 2014 2009-2013 Team Facilities Hilversum Televisie: 2013 Heel Holland Bakt De zoektocht naar Nederlands meest getalenteerde huisbakker. Regie: Armando de Boer 2013 Eureka Programma over wiskundige formules. Regie: Tom Roes 2013 Een Vandaag Actualiteiten programma 2013 Beth Juliana Serie over een tehuis voor ouderen in Israël. Regie: Lian Priemus 2013 Nieuwsuur: Actualiteiten programma 2013 KRO Kinderdocu’s Kleine verhalen voor en door kinderen. Regie: Astrid Bussink 2011-2013 Keuringsdienst van Waarde Informatief programma over ons voedsel. Regie: Marijn Frank, Maurice Dekkers, Remco Kappelhof Awards: 'Best short film', Food Film Festival, New York | Nominatie 'Gouden televisier ring' 2011-2013 De Rekenkamer Wat betalen we, waarom en waarvoor? Regie: Lian Priemus, Tom Roes 2011-2013 Kunstuur Programma over makers van kunst. Ruud Pelgrim 2010-2013 Labyrint Wetenschapsprogramma Regie: Thijs Brandsma 2010-2013 Huisje Boompje Beestje Schooltelevisie Regie: Frank van Eijk, Barry Annes 2009-2013 Promo’s SBS6 en RTL7 Film en Documentaire: 2012 Wij in het heelal, een heelal in ons Een beeld van Kees Boeke met zijn visie op het oneindig grote en oneindig kleine. Regie: Nouschka van Brakel 2012 Niets Blijft NCRV Document over een middenstands-familie in Amsterdam Zuid Regie: Natasja van Wijk 2012 In Extase Film over dance. Regie: Ruud Pelgrim 2009 Maria Documentaire over Maria Heiden, eigenaresse boekwinkel Van Gennip in Rotterdam. Regie: Jan Louter 2008 TED Documentaire -
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. -
“Turuncu Günler”
İstanbul Modern Sinema’da güncel Hollanda sinemasından bir seçki “Turuncu Günler” İstanbul Modern Sinema , 4 - 21 Ekim tarihleri arasında Hollanda’nın prestijli film merkezi EYE Film Enstitüsü ve Hollanda Başkonsolosluğu 'nun işbirliğiyle Hollanda sinemasından bir seçki sunuyor. Hollanda ve Türkiye arasındaki diplomatik ilişkilerin 400. yılı kutlamaları kapsamında gerçekleşen program beş farklı bölümden oluşuyor: Uzun Metrajlar , Kısalar , Frank Scheffer Retrospektifi , Cinedans Filmleri ve Salon filmleri. Turuncu Günler ’in bölümleri arasında, son zamanlarda büyük beğeni toplayan ve ödül alan sekiz uzun metraj film; EYE Film Enstitüsü’nün son dönemden seçtiği, animasyon ve belgesel türünde 20 kısa film; dans filmlerini ekrana taşıyan, kreatif direktörü Janine Dijkmeijer ’in gösterimleri sunmak için katılacağı, Cinedans Festivali ile ortak bir program ve İstanbul Tasarım Bienali kapsamında yer alan, sanat, tasarım ve moda arasında ilham verici diyaloglar ve deneyimler yaratan bir merkez olan SALON/Amsterdam ’ın 20 filmlik seçkisi yer alıyor. Programda gösterilecek bir diğer bölüm ise Edgard Varesé , Frank Zappa , John Cage gibi müzik tarihinin efsane isimleri üzerine belgeseller çeken Frank Scheffer ’ın sekiz filmlik retrospektifi. Günümüz müziğinin üç önemli ismi Brian Eno , Steve Reich ve Philip Glass ’ı New York şehrinde konu edinen Okyanusta; alternatif rock müzik tarihinin efsane ismi Frank Zappa ’nın hayatı ve eserleriyle ilgili Frank Zappa, Faz II, Büyük Nota; dünyanın en önemli çağdaş bestecilerden biri sayılan Elliot Carter ’ı -
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. -
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. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
Imaginary Landscape -- Electronics in Live Performance, 1989 and 1939
Imaginary Landscape -- Electronics in Live Performance, 1989 and 1939 by Nicolas Collins lecture presented at Audio Arts Symposium, Linz, September 1988 Consider John Cage's Imaginary Landscape #1. Written in 1939 for two record players, test records of electronic tones, muted piano, and cymbal, it is one of the first pieces of live electronic music, and on this rests its fame. But less obvious aspects of the composition are worth noting as well. Instead of using any of the expensive electronic instruments of the time, such as the Ondes Martinot or Theremin, Cage chose the record player -- an affordable appliance, never before thought of as an "instrument," which could theoretically be played by anyone. With a prophetic eye toward alternative performance venues, the score specifically suggested that the piece be performed for "recording or broadcast." Finally, the sounds were indeed placed in a landscape, organized in a radical new way that mimicked the way sounds exist in life, rather than forcing them to "sound like some old instrument" (as Cage complained in his 1937 manifesto, The Future of Music: Credo). This intertwining of technology with its musical and social implications distinguished this piece from any other music of the time and also from any electronic music produced by other composers for over 25 years. Imaginary Landscape was truly New Music. If 1939 can be declared the birthdate of Live Electronic Music, it was a birth that was in many ways premature. As a genre it did not come of age until the late 1960's and early 1970's, with the music of Alvin Lucier, David Behrman, Robert Ashley, Gordon Mumma, Pauline Oliveros, Steve Reich, Terry Riley, Phil Glass, Maryanne Amacher, LaMonte Young, David Tudor, and their contemporaries and students.