ICAD 2007 Proceedings
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WXU Und Hat Hut – Stets Auf Der Suche Nach Neuem Werner X
r 2017 te /1 in 8 W ANALOGUE AUDIO SWITZERLAND ASSOCIATION Verein zur Erhaltung und Förderung der analogen Musikwiedergabe Das Avantgarde-Label «Hat Hut» Wenig bekannte Violinvirtuosen und Klavierkonzerte Schöne klassische und moderne Tonarme e ill R Aus der WXU und Hat Hut – stets auf der Suche nach Neuem Werner X. Uehlinger, Modern Jazz und Contemporary Music Von Urs Mühlemann Seit 42 Jahren schon gibt es das Basler Plattenlabel «Hat Hut». In dieser Zeit hat sich die Musikindust- rie grundlegend verändert. Label-Gründer Werner X. Uehlinger, Jahrgang 1935, Träger des Kulturprei- ses 1999 der Stadt Basel, hält allen Stürmen stand – und veröffentlicht mit sicherem Gespür immer wieder aussergewöhnliche Aufnahmen. «Seit 1975, ein Ohr in die Zukunft»: Dieses Motto steht als Signatur in allen E-Mails von Werner X. Uehlinger (auch als ‚WXU‘ bekannt). Den Gründer des unabhängigen Schweizer Labels «Hat Hut», das u.a. 1990 von der progressiven New Yorker Zeitschrift «Village Voice» unter die fünf weltbesten Labels gewählt wurde und internationale Wertschätzung nicht nur in Avantgarde-Kreisen geniesst, lernte ich vor mehr als 40 Jahren persönlich kennen. Wir verloren uns aus den Augen, aber ich stiess im Laufe meiner musikalischen Entwicklung immer wieder auf ‚WXU‘ und seine exquisiten Produkte. Nun hat er – als quasi Ein-Mann-Betrieb – sein Lebenswerk in die Hände von «Outhere» gelegt; das Unterneh- men vereint verschiedene Labels für klassische und für zeitgenössische Musik unter einem Dach. Das war für mich eine Gelegenheit, wieder Kontakt aufzunehmen. Wir trafen uns im Februar und im Mai 2017 zu längeren Gesprächen und tauschten uns auch schriftlich und telefonisch aus. -
The Influence of Berio Sequenza V on Trombone Repertoire and Technique
The Influence of Berio Sequenza V on Trombone Repertoire and Technique K J BALDWIN PHD 2020 The Influence of Berio Sequenza V on Trombone Repertoire and Technique KERRY JANE BALDWIN A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by Manchester Metropolitan University 2020 CONTENTS Page Acknowledgements i Abstract ii Literature Review iii 1. 1900-1965 Historical Context: Influences on Sequenza V 1 a. Early Twentieth Century Developments 4 b. Glissando Techniques for Trombone 6 i. The False Glissando 6 ii. The Reverse Slide Glissando 10 c. Flutter Tongue 11 d. Theatrical Works 12 e. Berio & Grock 13 2. Performing Sequenza V 15 a. Introduction and Context b. Preparing to Learn Sequenza V 17 i. Instructions 17 ii. Equipment: Instrument 17 iii. Equipment: Mutes 18 iv. Equipment: Costume 19 c. Movement 20 d. Interpreting the Score 21 i. Tempo 21 ii. Notation 22 iii. Dynamics 24 iv. Muting 24 e. Sections A and B 26 f. WHY 27 g. The Third System 29 h. Multiphonics 31 i. Final Bar 33 j. The Sixth System 34 k. Further Vocal Pitches 35 l. Glissandi 36 m. Multiphonic Glissandi 40 n. Enharmonic Changes 44 o. Breathy Sounds 46 p. Flutter Tongue 47 q. Notable Performances of Sequenza V 47 i. Christian Lindberg 48 ii. Benny Sluchin 48 iii. Alan Trudel 49 3. 1966 – 2020 Historical Context: The Impact of Sequenza V 50 a. Techniques Repeated 50 b. Further Developments 57 c. -
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J credits on his own, but working together, as they have for five years, they University of Washington Stfl defmitely exceed the sum of their very excellent individual pans. TIlE SCHOOL OF MUSIC . New Stories can define fue and funkiness, but they are just as persuasive and { 9fy riveting in impressionistic explorations. New Stories grooves bard and interacts presents effortlessly. They perfonn memorable original compositions and their highly (()~II imaginative ammgements of standards with the same virtuosity and creative flex ibility. New Stories' soon-to-be-released flfSt recording captures the musicality, . invention and drive that have been winning them rave reviews and festival invita tions and reinvitadons since the group's inception. MARC SEALES 1994-95 UPCOMING EVENTS piano and synthesizer October 13, William Bergsma Memorial Concert 8 PM, Meany Theater. October 16, Christopher O'Riley, piano master class (in collaboration with the Seattle Symphony.) 6 PM, Brechemin Auditorium. • October 17, Yosbiyuki Ishikawa, bassoon master class, 3:30 PM, Brecbemin Auditorium. In a October 17, Yosbiyuki Ishikawa, bassoon, and Laurent Philippe piano, 8 PM, Brechemin Auditorium. October 18, Faculty Recital: Music for Oboe Voice and Piano, with Alex Klein, Carmen Pelton and Cmig Sheppard. 8 PM, Meany Theater. Faculty Artist Recital October 23, Faculty Recital: Carole Terry, organ. 4 PM, St Mark's CatbedrnI. October 24, Voice Division Recital. 7 PM. Brecbemin Auditorium. October 28, Littlefaeld Organ Halloween Concert 12:30 PM and 8 PM, Walker Ames Room, Kane Hall. November 4, Jazz Artists Series. 8 PM, Brecbemin Auditorium. assisted by November 6, Faculty Recital: Soni Ventorum Wind Quintet, 3 PM, Brecbemin Auditorium. -
Deep Listening with Pauline
DEEP LISTENING WITH PAULINE Celebrating the life and legacy of postwar composer and sound artist Pauline Oliveros (1932-2016) Guest curated by Lucas Artists Composer Fellow Luciano Chessa “Listen to everything all of the time and remind yourself when you are not listening.” —Pauline Oliveros “I first collaborated with Pauline in 2009 when I invited her to create a score for my Orchestra of Futurist Noise Intoners. We became friends and I had the wonderful opportunity to work and interact with her on many occasions in the subsequent years. In early November, I was asked by Montalvo’s curatorial team to contact Pauline to see if she would be open to participating in Montalvo’s summer outdoor exhibition Now Hear This! I reached out and she answered immediately, as was customary. On November 24, 2016, only a couple of days after this Montalvo-related exchange, Pauline sadly left us. The idea to transform her participation in Now Hear This! into a celebration and exploration of her work and legacy evolved spontaneously, naturally. A Pauline event was born with no pretense to be exhaustive, with no ambition of creating a retrospective of any sort, and no other necessity than to simply thank her for the gifts she has given us. The guiding principle of this celebration is Pauline’s own notion that the performer is first and foremost a listener. Our homage features three musicians who are familiar with Pauline’s aesthetics and take her work as a point of inspiration (Ashley Bellouin, Elana Mann and Fernando Vigueras), and two of Pauline’s longtime collaborators: San Francisco Tape Center’s co-founder Ramón Sender Barayón, and Deep Listening Band’s co-founder Stuart Dempster. -
ICMC Article Final
THE EXPANDED INSTRUMENT SYSTEM: RECENT DEVELOPMENTS David Gamper with Pauline Oliveros Pauline Oliveros Foundation PO Box 1956 Kingston, NY 12402 <[email protected]>, <[email protected]> Abstract I demonstrate the current configuration and user interface of the Expanded Instrument System, an improvising performance environment for acoustic musicians used extensively by Pauline Oliveros and Deep Listening Band. The constraints from which this configuration emerged are discussed and provide the rationale for the design and implementation decisions made, including those for a custom MIDI interface for the vintage Lexicon PCM 42 delay. I. Introduction The Expanded Instrument System (EIS) is a performer controlled delay based network of digital sound processing devices designed to be an improvising environment for acoustic musicians. Since its presentation at the 1991 International Computer Music Conference [Oliveros and Panaiotis, 1991] the EIS has undergone a radical shift in implementation while maintaining its roots firmly in the work of Pauline Oliveros beginning in the late fifties [Oliveros, 1995]. In the current configuration each performer has appropriate microphones, a Macintosh computer running Opcode’s Max program and a collection of sound processing electronic devices. Foot switches and “expression” type foot pedals are interpreted by programming in Max to control the signal routing from the microphones among the sound processors, as well as control certain functions of the processors themselves. Each of these set-ups is referred to as an EIS station. Sound outputs from each station are distributed to at least four speakers encircling the performance and audience space. On the station’s computer screen [Figure 1], the performer sees a display of the available functions to be controlled and their current state. -
Annea Lockwood, a New Zealand–Born Composer Who Settled in The
Annea Lockwood, a New Zealand–born composer who settled in the United States in 1973, distinguishes herself with works ingeniously combining recorded found and processed sounds, live-performance and visual components, and exhibiting her acute sense of timbre. Lockwood first explored electro-acoustic music and mixed media in the mid-1960s in Europe. Initially tutored by Peter Racine Fricker and Gottfried Michael Koenig, she gained inspiration from such experimental American composers as John Cage, Morton Feldman, Pauline Oliveros, and Ruth Anderson. While perhaps best known for her 1960s “glass concerts” featuring manifold glass-based sounds and her notorious Piano Transplants—burning, burying, and drowning obsolete pianos—she was drawn to the complex beauty of sounds found in the natural environment, which she captured on tape. Lockwood was especially fascinated with the sonorities of moving water and water’s calming and healing properties and thus started an archive of recorded river sounds. This project led to various sound installations and, most important, to her now legendary and large-scale A Sound Map of the Hudson River (1982) and A Sound Map of the Danube (2005), soundscapes tracing these rivers from their sources to their deltas.1 Lockwood also incorporated recorded sounds of mating tigers, purring cats, tree frogs, volcanoes, earthquakes, and fire in such works as Tiger Balm (1970) and World Rhythms (1975). From the 1970s, she explored improvisation and alternative performance techniques and asked her performers to use natural sound sources and instruments including rocks, stones, and conch shells in Rokke (with Eva Karczag, 1987), Nautilus (1989), A Thousand Year Dreaming (1990), Ear-Walking Woman (1996), and Jitterbug (2007), among other compositions. -
Drew Gress, Artistic Integrity, and Some Kind of Accep- Portunity to Engage Visiting Artists and Craig Taborn, Tim Berne Tance, Even Within Its Own Mainstream
Welcome to the 2006 Earshot Jazz Festival This year, “Seattle’s most important in three-day residency with the Seattle Roosevelt High School Band shares a bill annual jazz event” includes more than Repertory Jazz Orchestra that includes with the Ted Nash Quintet. 60 events over 18 days between October open rehearsals and workshops as well Th e Earshot Jazz Festival is by far the 19 and November 5. With more than as two concerts. biggest undertaking of the Earshot Jazz 200 artists participating, from around Once again, we’ll feature Seattle’s award- organization, but it is far from our only the world and around our city, this year’s winningest high-school jazz ensembles in activity. We present our own concerts event off ers as much as any of its prede- mainstage concerts with special guest throughout the year, collaborate on con- cessors to music lovers of the Seattle area. artist. Guest artists who have rehearsed cert presenting initiatives like SAM’s Art Th e festival includes main stage concerts, and performed with Garfi eld and Roos- of Jazz, the Anacortes Jazz Festival, and, club dates, meet-the-artist receptions, evelt High School Bands in the past have coming up, EMP’s Jazz in January. We jazz fi lms, and plenty of opportunities included saxophonists Ravi Coltrane publish the monthly Earshot Jazz news- for all fans of all ages to learn a bit more and Joshua Redman and New Orleans letter, and work to provide educational about the music and the musicians. trumpeter Nicholas Payton. Th is year, opportunities and advancements to the We’re excited about this festival. -
Track Listing
Pauline Oliveros American electronics player and accordionist (May 30, 1932—November 24, 2016) Track listing 1. title: Mnemonics II (09:53) personnel: Pauline Oliveros (tapes, electronics) album title (format): Reverberations: Tape & Electronic Music 1961-1970 (cdx12) label (country) (catalog number): Important Records. (US) (IMPREC352 ) recording date: 1964-6 release date: 2012 1 2. title: Bye Bye Butterfly (08:07) personnel: Pauline Oliveros (tapes, electronics) album title (format): Women in Electronic Music 1977 (cd) label (country) (catalog number): Composers Recordings Inc. (US) (CRI 728) recording date: 1965 release date: 1997 3. title: Ione (17:37) personnel: Pauline Oliveros (accordion), Stuart Dempster (trombone, didgeridoo) album title (format): Deep Listening (cd) label (country) (catalog number): New Albion (US) (NA 022) release date: 1989 4. title: Texas Travel Texture, Part I (10:23) ensemble: Deep Listening Band personnel: Pauline Oliveros (accordion, conch, voice, electronics), Ellen Fullman (long- stringed instrument), Panaiotis (computer), David Gamper (flute, ocarina, voice, long- stringed instrument), Elise Gould (long-stringed instrument), Nigel Jacobs (long-stringed instrument), Stuart Dempster (trombone, didgeridoo, conch, voice, electronics) album title (format): Suspended Music (cd) label (country) (catalog number): Periplum (US) (P0010) release date: 1997 5. title: Ghost Women ensemble: New Circle Five personnel: Susie Ibarra (percussion), Pauline Oliveros (accordion), Kristin Norderval (soprano), Rosi Hertlein (violin, voice), Monique Buzzarté (trombone) album title (format): Dreaming Wide Awake (cd) label (country) (catalog number): Deep Listening (US) (DL-20) release date: 2003 duration: 12:39 Links: Wikipedia: http://en.wikipedia.org/wiki/Pauline_Oliveros Discogs.com website: http://www.discogs.com/artist/Pauline+Oliveros official site: http://www.paulineoliveros.us/ Deep Listening Institute: http://deeplistening.org/site/ 2 . -
Deep Listening, Touching Sound
WHAT IS DEEP LISTENING? What is Deep Listening? There’s more to listening than meets the ear. Pauline Oliveros describes Deep Listening as “listening in every possible way to everything possible to hear no matter what one is doing.” Basically Deep Listening, as developed by Oliveros, explores the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive -- of listening. The practice includes bodywork, sonic meditations, interactive performance, listening to the sounds of daily life, nature, one’s own thoughts, imagination and dreams, and listening to listening itself. It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth. The Deep Listening: Art/Science conference provides artists, educators, and researchers an opportunity to creatively share ideas related to the practice, philosophy and science of Deep Listening. Developed by com- poser and educator Pauline Oliveros, Deep Listening is an embodied meditative practice of enhancing one’s attention to listening. Deep Listening began over 40 years ago with Oliveros’ Sonic Meditations and organi- cally evolved through performances, workshops and retreats. Deep Listening relates to a broad spectrum of other embodied practices across cultures and can be applied to a wide range of academic fields and disci- plines. This includes, but not limited to: • theories of cognitive -
The Appearance of Sound: Listening to Sculptural Percussion
The Appearance of Sound: Listening to Sculptural Percussion Submitted as partial fulfilment of a PhD Research Degree – Thesis by Creative Project By Rosemary Joy Victoria University, 2015 Abstract This practice-led research inquiry explores the field of ‘Sculptural Percussion’ as defined in a series of works created by Rosemary Joy between 2008-2014. Taking the form of a performance and an accompanying exegesis, the research investigates sculptural percussion as a means of creating subtle and transformative effects on the musician and the audience. Performed by percussionists on sculptures that primarily comprise handmade elements and found objects, the works are mostly performed in front of a deliberately small audience. The research explores a number of artistic strategies, which together encourage a sense of intimacy and connection between audience, musician and sculpture in the performance of sculptural percussion. Informed by perspectives drawn from phenomenology, relational aesthetics and contemporary sound theory, the exegesis details key aspects of Joy’s sculptural percussion works including the scale of audience and sculpture, the proximity of the audience to the musician, ideas around site specificity and the interaction of visual and aural perception to create a focussed listening experience. The historical and theoretical context of the work is examined through discussion of Fluxus experiments with performance; Cage’s broadening of the possibilities of contemporary music and R. Murray Schafer’s ‘ear cleaning’. In defining the terms ‘sculptural percussion’ and ‘percussive sculptures’ the work is situated in relation to the fields of both sound art and percussion. Part of a discernible trend towards deliberately small audiences, the research contributes to the understanding of performance events that make sculpture central to the creation of music. -
The Influence of Jazz on Timbre in Selected Compositions for Solo Trombone
THE INFLUENCE OF JAZZ ON TIMBRE IN SELECTED COMPOSITIONS FOR SOLO TROMBONE Daniel J. Aldag, B.A., M.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2002 APPROVED: Vern Kagarice, Major Professor Joseph Klein, Minor Professor Tony Baker, Committee Member John Scott, Chair of the DMA Committee James C. Scott, Dean of the College of Music i Aldag, Daniel J., The Influence Of Jazz On Timbre In Selected Compositions For Solo Trombone. Doctor of Musical Arts (Performance), December 2002, 40 pp., bibliography, 66 titles. A significant body of solo literature for the trombone has been written in the last fifty years that draws as much from the jazz tradition as from that of European classical music. While much attention has been paid to these works’ use of characteristic jazz rhythms, harmonies and melodic inflections, there has been little focus on timbre, the musical element that perhaps most readily distinguishes jazz from other styles of Western music. This paper focuses on the important role jazz timbres should play in a performer’s interpretation of those works that are significantly influenced by jazz. It includes explorations of the significant differences in concepts of timbre between European classical music and jazz, some of the ways in which these timbral differences are produced, and methods by which performers can develop the skills necessary to produce these varied timbres. Particular attention is paid to the importance of timbre to idiomatically appropriate performances of two significant works from the solo trombone repertoire, Robert Suderburg’s Night Set (Chamber Music III) and Richard Peaslee’s Arrows of Time. -
Deep Listening Band and Friends - Studio 2, 7:30 PM - 9:30 PM Saturday
ORGANIZATION & ACKNOWLEDGEMENTS Organization & Deep Listening Institute, LTD Acknowledgements Board of Trustees David Felton, President Conference/Festival Organization Jonas Braasch, Vice-President Antonio Bovoso, Treasurer Lisa Barnard Kelley – Conference Director Olivia Robinson, Secretary Brian Cook - Technical Director/Studio Two Tom Bickley Lindsay Karty - Technical Director/Studio BETA Viv Corringham James (Zovi) McEntee - Program Director Orville Dale James Perley - Documentation Director Brenda Hutchinson IONE Conference/Festival Committee Norman Lowrey Pauline Oliveros Curtis Bahn Johannes Welsch Tom Bickley Doug Van Nort Jonas Braasch Nao Bustamante Staff Caren Canier Michael Century Deep Listening Institute: Viv Corringham Pauline Oliveros, Executive Director Nicholas DeMaison IONE, Artistic Director Tomie Hahn Tomie Hahn, Director of Center for Deep Listening Brenda Hutchinson Lisa Barnard Kelley, Events & Marketing IONE Emily Halstein, Administrative & Finance Manager Kathy High Al Margolis, Label & Catalog Manager Ade Knowles Nico Bovoso, Graphic Designer Ted Krueger Daniel Reifsteck, Intern Michael Leczinsky Norman Lowrey Olivia Robinson Volunteers Silvia Ruzanka Eric Ameres Phuong Nguyen Igor Vamos Ken Appleman Daniel Reifsteck Doug Van Nort David Arner Angel Rizo Brent Campbell Nina Ryser Program Sub-Committee Renee Coulombe Shelley Salant Björn Ericksson Marian Schoettle Tom Bickley Brenda Hutchinson Will Gluck John Schoonover Curtis Bahn IONE Billy Halibut Matt Wellins Brian Cook Michael Leczinsky Anina B Ivry-Block