Digital Adaptions of the Scores for Cage Variations I, II and III
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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. -
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. -
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. -
© in This Web Service Cambridge University
Cambridge University Press 978-1-107-01432-9 - John Cage and David Tudor: Correspondence on Interpretation and Performance Martin Iddon Index More information Index Adams, John D. S. 196 Brown, Carolyn 13, 28, 32, 34, 63, 82, 99, 107, Adler, Stella 108 108, 109, 112, 115, 116, 122, 126, 128, 147, Agamben, Giorgio 213–15 148, 158, 211 Ajemian, Anahid 6, 8, 12 Brown, Earle 13, 28, 31, 32, 34, 46, 50, 82, 99, Ajemian, Maro 5, 6, 8, 9, 12 104, 106, 107, 109, 115, 119, 124, 147 Amey, Frank, 95, 111, 112, 114, 116, 121, December 1952 110, 211 128, 129 Four Systems (1952–54) 93 Amey, Nikky 111, 114 Indices (1954) 197, 211 Antheil, George 26, 34 Trio for 5 dancers (1953) 32 Antonio, Emile de 96 Brücher, Ernst 113, 116, 119 Artaud, Antonin 13, 29 Buhlig, Richard 25 Auster, Paul 1 Bussotti, Sylvano 96, 104, 105, 106, 107, 112 5 Piano Pieces for David Tudor 96, 113 Babbitt, Milton 133 Butterfield, Don 81, 82, 158 Composition for Viola and Piano (1950) 16 Bach, Johann Sebastian 30 Cage, John Barab, Seymour 4, 6, 8, 9, 34 0′00″ (1962) 114, 140, 204 Barber, George 8 1′5½″ for a String Player (1953) 32 Barrault, Jean-Louis 27, 29 26′1.1499″ for a string player (1955) 45 Bauermeister, Mary 113, 118, 126, 131, 166 27′10.554″ for a percussionist (1956) 45 Bauman, Alvin 16 31.57.9864″ for a pianist (1954) 45, 46, 48 1 Baumgarten, Alexander Gottlieb 215 33 /3 (1969) 156 Becker, John 31 34′46.776″ for a pianist (1954) 19, 45–47, 48, Beethoven, Ludwig van 114, 175 80, 160, 173, 211 Behrman, David 197 4′33″ (1952) 7, 19, 32, 41, 43–45, 46, 47, 48, Berberian, -
Schuermer.Pdf —
Auditive Perspektiven 4/2012 - 1 Anna Schürmer „…es wäre ein Akt der Nächstenliebe, sie zu zerschmeißen…“ John Cage und technische Medien: Random zwischen Differenz und Wiederholung You see I don’t have a sound equipment here... zipien – abhängt, unabhängig von den gewählten I didn’t enjoy listening to records. kompositorischen Mitteln, seien sie nun technischer I was always interested in sound. oder instrumentaler Natur. Dem soll durch eine Ge- genüberstellung John Cages sprachlicher und kompo- John Cage ist ein Paradox, auch in Bezug auf seinen sitorischer Äußerungen zur technischen Reproduzier- Umgang mit technischen Medien. Einerseits positio- barkeit von Musik und dem ästhetischen Einsatz von nierte er sich wie kaum ein anderer Künstler zur Me- Medientechniken auf der einen Seite sowie seinem in- dientechnik; er reflektierte die Thematik nicht nur in strumentalen Schaffen auf der anderen Seite nachge- Vorträgen und Schriften1, sondern war treibende Kraft gangen werden. Beispielhaft wird hier das Concert for für die Entwicklung der amerikanischen Tape Music Piano and Orchestra (1958) herausgehoben, in dem und schuf mit Werken für Plattenspieler, Tonband und Cage auf keinerlei technische Medien zurückgreift und Radio zahlreiche Medien-Kompositionen2. Anderer- das dennoch Aufschluss über die hier aufgeworfenen seits können oder müssen gerade diese als kritische Fragen verspricht. Das Klavierkonzert kann als Haupt- Auseinandersetzung mit der Kunstmusik im Zeitalter werk der 1950er Jahre gelten, seit deren Beginn sich ihrer technischen Reproduzierbarkeit betrachtet wer- Cage bedingungslos dem Zufall als kompositorischem den, die Cage immer wieder mit Unbehagen kommen- Prinzip zugewendet hat. Die Aleatorik, das instrumen- tierte. Einerseits setzte Cages kompositorisches tal eingesetzten Prinzip des Random, kann als anar- Schaffen auf einfache Wiederholbarkeit, andererseits chisches Manifest und als künstlerischer Akt gegen betonte er das Ereignis der Aufführung und die Aktion technische Reproduzierung und für die Betonung des des klingenden Augenblicks. -
Piano Sheet Music Samples
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Unterrichtsmaterialien Zu John Cage: Imaginary Landscape No
Unterrichtsmaterialien zu John Cage: Imaginary Landscape No. 4 SWR-Vokalensemble Stuttgart: attacca - Geistesgegenwart.Musik CAGE/ROTHKO-Projekt mit Werken von John Cage und Morton Feldman Sa, 24. 11. 2012, 20h Veranstaltungsort: Theaterhaus Stuttgart Siemensstraße 11 70469 Stuttgart S-Feuerbach erstellt von: Cosima Linke/Matthias Handschick Pädagogische Hochschule Freiburg, Institut für Musik Inhalt: I) Hintergrundinformationen 2 o 1) Kurzbiographie 2 o 2) Zu Imaginary Landscape No. 4 2 o 3) Kompositionsprozess und ästhetischer Kontext 3 II) Materialien 4 o 1) Partiturausschnitte 4 o 2) Textausschnitte 11 o 3) Hörbeispiele 24 III) Arbeitsvorschläge/Ideen 25 o 1) Einstieg 25 o 2) Kompositionswerkstatt 25 o 3) 4’10 für 5 + x Radios 25 o 4) Aktualitätsbezug 25 o 5) Gegenüberstellung Boulez/Cage 26 IV) Ausführungshinweise 27 V) Literatur 30 1 I) Hintergrundinformationen: 1) Kurzbiographie: John Cage, *1912 in Los Angeles als Sohn eines Ingenieurs und Erfinders, †1992 in New York, gehört zu den einflussreichsten Künstlerpersönlichkeiten des 20. Jahrhunderts: Komponist, Ma- ler, Autor und Hobby-Mykologe, bildete er gemeinsam mit Morton Feldman, Christian Wolff, Earle Brown und David Tu- dor die so genannte »New York School« in Anlehnung an die gleichnamige Gruppe bildender Künstler, mit der Cage in en- gem Austausch stand. Seine musikalische Ausbildung fand u.a. bei Henry Cowell und Arnold Schönberg in New York und Los Angeles statt. 1953 gründete er mit seinem Lebensgefährten, dem Tänzer und Choreographen Merce Cunningham, die »Merce Cunningham Dance Company«, für die Cage als musikalischer Leiter verantwortlich war. Cage setzte sich intensiv mit indischer Philosophie und Zen-Buddhismus sowie mit den Schriften von Meister Eckhart, James Joyce und Henry David Thoreau auseinander. -
A John Cage Realization
Designing for Emergent Behavior: a John Cage realization Christopher Burns Center for Computer Research in Music and Acoustics (CCRMA), Stanford University [email protected] Abstract 2 Score and Realization A new software realization of John Cage’s Electronic Music There are an enormous number of potential realizations for Piano is described. Inspired by dedicatee David Tudor’s of Electronic Music for Piano. Indeed, it would be difficult work with feedback circuits in live electronic music, the to specify criteria for the validity of a performance. principal audio component of the software is an audio Nevertheless, the score provides a rich interpretive context feedback network with a number of chance-determined, for realization. A number of fragments from the score were time-varying parameters. The behavior of this feedback crucial stimuli for our performing version of the work. system is unpredictable, so the software interface is Cage’s notations include the phrases “feedback” and organized around higher-level, statistically-oriented “for David Tudor.” During the 1960s and 70s, Tudor controls. The result is an instrument which displays gradually reoriented his career from the performance of emergent behavior, guided but not controlled by its audio avant-garde works for piano to the creation of live electronic inputs and its operator. music, with electronic feedback systems as the defining component of his work. (Adams 1997, Chadable 1997). In 1 Introduction appreciation of Cage and Tudor’s work in the domain of feedback, we designed this realization around an acoustic Electronic Music for Piano (1964), by John Cage, is one feedback network, implemented in software. -
Reading & Listening Guide: John Cage and Experimental Music
John Cage and Experimental Music If asked to name one person who has been the most important influence on avant-garde music in the last half of the 20 th century, our answer unquestionably would be “John Cage.” Cage’s originality and ideas will resonate throughout our entire course. In this lesson we listen to a few pieces that illustrate various stages in his musical development. 1. Read the Wikipedia article about John Cage. You will need information in this article to help answer many of the questions in this lesson. • With what famous composer did Cage study? What vow did Cage make that convinced the composer to give the lessons for free? Why did Cage eventually quit? • Why was his stint at the Cornish School of the Arts in Seattle important to him? What did he accomplish there? What musical instrument did he invent? • What kind of crisis did Cage experience in the mid-1940s? What did he turn to and how did this influence the Sonatas and Interludes , some of which you will listen to for this assignment. • What did Cage discover in the 1950s that had a major influence on his compositional methods? In the early 1950s, what became Cage’s standard tool for composition and how did he use it? • Among other things, Cage composed several “Variations” pieces in the late 1950s and 1960s. The Wikipedia article says that these were in fact “happenings,” an art form that Cage and his students had established earlier. What are happenings? Why are they more than merely musical compositions? • Cages “Experimental Composition” classes in New York inspired the Fluxus movement. -
No Ear for Music the Scary Purity of John Cage
34 No Ear for Music The Scary Purity of John Cage David Revill, The Roaring Silence (New York: Arcade, 1992; 375 pp.) Richard Kostelanetz, ed., Conversing with Cage (New York: Limelight, 1988; 300 pp.) Pierre Boulez and John Cage, Correspondance et documents, edited by Jean-Jacques Nattiez (Winterthur: Amadeus, 1990; 234 pp.); trans. Robert Samuels, The Boulez- Cage Correspondence (Cambridge: Cambridge University Press, 1993; 168 pp.) John Cage, The Complete Quartets; Arditti Quartet (Mode 17 & 27, 2 CDs) John Cage, The Perilous Night; Four Walls; Margaret Leng Tan (New Albion 37) John Cage, Lecture on Nothing; Works for Cello; Frances-Marie Uitti (Etcetera 2016) Lenny Bruce had a routine in which he sent audiences into paroxysms by classifying any artifact of contemporary culture to which they referred him as Jewish or goyish. The high point, on the recording that I heard, came when someone shouted, I think, “instant scrambled eggs,” and Bruce went, “ooh . scary goyish.” There is no better way of understanding what John Cage has meant to us, why he was so notorious and then so famous, and why his name will long remain an emblem. For half a century he stalked the world of music as its scariest goy. This had nothing to do with religion, or with the ethnic complexion of modern America. It wasn’t even a question of Us and Them. What made the classification funny was that all the mundane items classified belonged to Us. The classification showed up the contradictions in the shared culture, and in its values. What was “Jewish” confirmed our cherished notions of ourselves; what was “goyish” disconfirmed them. -
VARIATIONS #1 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > VARIATIONS With this section, RWM continues a line of programmes VARIATIONS #1 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. Transition 'Variation' is the formal term for a musical composition based The first episode of this overview of appropriative collage in music covers the on a previous musical work, and many of those traditional years 1909 through 1961, beginning with Charles Ives, who composed in a cut methods (changing the key, meter, rhythm, harmonies or and paste style with sheet music in a way that anticipated what later composers tempi of a piece) are used in much the same manner today would do with multi-track tapes and mixers. We skip through decades to arrive at by sampling musicians. But the practice of sampling is more 'Twisting The Dials', the Happiness Boys' 1928 tribute to late night radio surfing, than a simple modernization or expansion of the number of before moving to John Cage's proto-sampling pieces for radio and tape, 'Credo In options available to those who seek their inspiration in the US' and the 'Imaginary Landscapes'. We witness the million-selling cut-in records refinement of previous composition. The history of this music of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated traces nearly as far back as the advent of recording, and its dissection of a single recording of Elvis: 'Collage No. 1', the first remix . emergence and development mirrors the increasingly self- conscious relationship of society to its experience of music. -
John Cage's "The Wonderful Widow of Eighteen Springs"
John Cage's "The Wonderful Widow of Eighteen Springs" Lauriejean Reinhardt John Cage's setting of "The Wonderful Widow of Eighteen Springs" signals the beginning of what would become a profound and enduring fascination with the writings of James Joyce. Subsequent to this setting, composed in the fall of 1942, Cage would return to Joyce repeatedly throughout his career, using Joyce's words as the basis not only for a variety of musical compositions,1 but also a series of literary projects including the mesostichic2 and chance-inspired "writings" through Finnegans Wake and Ulysses.3 It is Finnegans Wake, however, a novel Cage once described as "endless and attractive,"4 that exerted the greatest influence on his work, and it is Finnegans Wake on which this early setting is based. The centrality of Joyce's novel to Cage's aesthetic outlook is captured in the composer's observation some forty years after his first encounter with the work that "we live, in a very deep sense, in the time of Finnegans Wake."5 Cage composed "The Wonderful Widow" in response to a commission from the soprano Janet Fairbank (1903-1947), whom he had met during his brief appointment at the Chicago Institute of Design in 1941-1942. Fairbank was an ambitious amateur singer from a wealthy family with close ties to the Chicago arts community. Her grandfather, the turn-of-the-century industrialist Nathaniel K. Fairbank, had been a trustee and major benefactor of the Art Institute of Chicago, the Chicago Symphony Orchestra and the Chicago Club. Her mother was the novelist and political activist Janet Ayer Fairbank; and her aunt, Margaret Ayer Barnes, was a popular, Pulitzer prize-winning author.