Chapter 3 the Invention of Live Looping
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Making Musical Magic Live
Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Bachelor of Science in Computer Science and Engineering Massachusetts Institute of Technology, 2012 Master of Sciences in Media Arts and Sciences Massachusetts Institute of Technology, 2014 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology February 2020 © 2020 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author: Benjamin Arthur Philips Bloomberg Program in Media Arts and Sciences 17 January 2020 Certified by: Tod Machover Muriel R. Cooper Professor of Music and Media Thesis Supervisor, Program in Media Arts and Sciences Accepted by: Tod Machover Muriel R. Cooper Professor of Music and Media Academic Head, Program in Media Arts and Sciences Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 17 2020, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology Abstract Fifty-two years ago, Sergeant Pepper’s Lonely Hearts Club Band redefined what it meant to make a record album. The Beatles revolution- ized the recording process using technology to achieve completely unprecedented sounds and arrangements. Until then, popular music recordings were simply faithful reproductions of a live performance. Over the past fifty years, recording and production techniques have advanced so far that another challenge has arisen: it is now very difficult for performing artists to give a live performance that has the same impact, complexity and nuance as a produced studio recording. -
Minimal Music And
SE Volker Straebel: Minimal Music and Art | TU Berlin – Fachgebiet Audiokommunikation WiSe 2012/13 | 3135 L 350 | E-N 324 | Donnerstag 12-14 | [email protected] Ausgehend von den klassischen Positionen der Minimal Music der 1960er und 70er Jahr (Philip Glass, Steve Reich, Terry Riley, La Monte Young) sollen zunächst charakteristische Kompositionsverfahren analysiert werden. Deren Wirkung wird sowohl wahrnehmungspsychologisch wie rezeptionsästhetisch betrachtet. Die vergleichende Lektüre von Schlüsseltexten zur Minimal Art soll schließlich zur Diskussion der Interdependenz der beiden Kunstformen führen. 18.10. Einführung 25.10. Wiederholungen, Pattern, Serien Andreas Stahl: "Kriterien der Wiederholung: Zum Umgang mit einem Phänomen", in: Dissonanz , Nr. 84 (Dez. 2003), S. 10-17 [UdK Bibliothek] Sol LeWitt . New York: The Museum of Modern Art 1978, S. 56-85 [SeAp] 01.11. Steve Reichs Tape Music Steve Reich: It's Gonna Rain [Audio] Steve Reich: Come Out [Audio] Keith Potter: Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass . Cambridge - New York: Cambridge University Press 2000, S. 160-170, 176-180 [SeAp] 08.11. Steve Reich: Music as a gradual process Steve Reich: Piano Phase [Audio/SeAp] Steve Reich: Four Organs [Audio/SeAp] Steve Reich: Writings on Music, 1965-2000 , hrsg. v. Paul Hiller. New York: Oxford University Press 2000, S. 22- 36, 38-50 [SeAp] 15.11. Steve Reich: Drumming und Music for 18 Musicians Steve Reich: Drumming [Audio/SeAp] Steve Reich: Music for 18 Musicians [Audio/SeAp] Steve Reich: Writings on Music, 1965-2000 , hrsg. v. Paul Hiller. New York: Oxford University Press 2000, S. 63- 67, 87-90 [SeAp] 22.11. -
Alchemy of Seeing Much Spoken About Following Her Graduate Exhibition, Sean O’Toole Catches up with Young Cape Town Artist Daniella Mooney to Ask About an Oil Spill
BYT/02/2010 DANIELLA MOONEY Alchemy of seeing Much spoken about following her graduate exhibition, Sean O’Toole catches up with young Cape Town artist Daniella Mooney to ask about an oil spill TOP LEFT Daniella Mooney, Your Sky, 2009, mixed media, used engine oil, 244 x 244 x 25cm TOP RIGHT Warning note installed after ‘accident’ in studio BOTTOM Daniella Mooney, If the Doors of Perception were cleansed, 2009, Mahogany Sapele, airbrushed perspex, 35.5 x 35.5cm BYT/02/2010 The context: a graduate exhibition at the Michaelis School She mentions the Danish artist Olafur Eliasson, also James Turrell. Obvious of Fine Art. The time: early afternoon, December 2009. The venue: an references, once you think about it, unobvious when you consider how their artist’s studio on a first floor. The text on the wall explains that the sculptural ideas are engaged locally. Since we’re charting influences, I ask about her ex- objects on display belong to Daniella Mooney. One work in particular partner, the young Cape Town sculptor Rowan Smith: “I admire his skill. dominates the space. Entitled Your Sky, it is not easily described. Here It was great because we both love working with wood. He really opened my goes. Suspended in space by cable rigging, a square-shaped object hovers eyes to wood carving and assembling.” over two wooden ladders. The ladders are an invitation to poke your head Previously an assistant to Paul Edmunds and hard at work helping Julia through the bottom of the floating object. Naturally you do. It’s then that Rose Clark when we meet, I ask about the title to her graduate show. -
Experimental
Experimental Discussão de alguns exemplos Earle Brown ● Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of open form,[1] a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers. ● ● Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields. He was awarded a Foundation for Contemporary Arts John Cage Award (1998). Terry Riley ● Terrence Mitchell "Terry" Riley (born June 24, 1935) is an American composer and performing musician associated with the minimalist school of Western classical music, of which he was a pioneer. His work is deeply influenced by both jazz and Indian classical music, and has utilized innovative tape music techniques and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalist music. La Monte Young ● La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer.[1][2][3] His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes.[4] Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. -
Liner Notes, Visit Our Web Site
MUSIC FROM THE TUDORFEST: SAN FRANCISCO TAPE MUSIC CENTER, 1964 80762-2 (3 CDs) DISC 1 [TT: 72:37] 1. John Cage (1912–1992) 34'46.776" for two pianists (1954) 35:05 David Tudor, Dwight Peltzer, pianos 2. Pauline Oliveros (b. 1932) Duo for Accordion and Bandoneon with Possible Mynah Bird Obbligato (1963–64) 16:45 Pauline Oliveros, accordion; David Tudor, bandoneon; Ahmed (mynah bird loaned by Laurel Johnson) 3. Toshi Ichiyanagi (b. 1933) Music for Piano No. 4 (1960) 20:37 Pauline Oliveros and David Tudor, pianos Track 1 recorded March 30, 1964. Tracks 2 and 3 recorded April 6, 1964. 34'46.776" for two pianists © 1954 C.F. Peters Corp. Duo for Accordion and Bandoneon with Possible Mynah Bird Obbligato © 1963–64 Deep Listening, Inc. Music for Piano No. 4 © 1960 Toshi Ichiyanagi DISC 2 [TT: 46:16] 1. Toshi Ichiyanagi Music for Piano No. 4, Electronic Version (1960) 15:23 David Tudor, piano 2. John Cage Variations II (1961) 20:30 David Tudor, piano, live electronics 3. John Cage Music Walk (1958) 10:13 (for 1 or more pianists who also play radios and produce auxiliary sounds by singing or any other means) Michael Callahan, John Chowning, Stuart Dempster, Warner Jepson, Douglas Leedy, Robert Mackler, Pauline Oliveros, Dwight Peltzer, Ann Riley, Loren Rush, Ramon Sender, Stanley Shaff, Linn Subotnick, Morton Subotnick, David Tudor, Ian Underwood, Jack van der Wyck Tracks 1 and 2 recorded April 8, 1964. Track 3 recorded April 3, 1964. Music for Piano No. 4, Electronic Version © 1960 Toshi Ichiyanagi Variations II © 1961 C.F. -
An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First I
An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First International Conference on Music and Minimalism University of Wales, Bangor Friday, August 31, 2007 Minimalism is perhaps one of the most misunderstood musical movements of the latter half of the twentieth century. Even among musicians, there is considerable disagreement as to the meaning of the term “minimalism” and which pieces should be categorized under this broad heading.1 Furthermore, minimalism is often referenced using negative terminology such as “trance music” or “stuck-needle music.” Yet, its impact cannot be overstated, influencing both composers of art and rock music. Within the original group of minimalists, consisting of La Monte Young, Terry Riley, Steve Reich, and Philip Glass2, the latter two have received considerable attention and many of their works are widely known, even to non-musicians. However, Terry Riley is one of the most innovative members of this auspicious group, and yet, he has not always received the appropriate recognition that he deserves. Most musicians familiar with twentieth century music realize that he is the composer of In C, a work widely considered to be the piece that actually launched the minimalist movement. But is it really his first minimalist work? Two pieces that Riley wrote early in his career as a graduate student at Berkeley warrant closer attention. Riley composed his String Quartet in 1960 and the String Trio the following year. These two works are virtually unknown today, but they exhibit some interesting minimalist tendencies and indeed foreshadow some of Riley’s later developments. -
From Silver Apples of the Moon to a Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN
From Silver Apples of the Moon to A Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN February 3 – 7 Oakland, California Jean Macduff Vaux ComposerinResidence at Mills College February 7 Oakland, California Mills College, Littlefield Concert Hall March 7 Moscow Save Festival at Arma March 4 New York the Kitchen: SYNTH Nights May Tel-Aviv, Israel Vertigo Dance Company June 7 London Cafe Oto June 16 Tel-Aviv, Israel Israel Museum June 20 Toronto Luminato Festival/Unsound Toronto July 28 Berlin Babylon Mitte (theatre) September 11 Tokyo TodaysArt.JP Tokyo September 12 Yamaguchi YCAM September 20 Kobe TodaysArt.JP Kobe November 22 Washington, DC National Gallery of Art 1 Morton Subotnick 2015 Other Events photo credit: Adam Kissick for RECORDINGS WERGO released in June 2015 After the Butterfly The Wild Beasts http://www.schott-music.com/news/archive/show,11777.html?newsCategoryId=19 Upcoming re-releases from vinyl on WERGO Fall 2015: Axolotl, Joel Krosnick, cello A Fluttering of Wings with the Juilliard Sting Quartet Ascent into Air from Double life of Amphibians The Last Dream of the Beat for soprano, Two Celli and Ghost electronics; Featuring Joan La Barbara, soprano Upcoming Mode Records: Complete Piano Music of Morton Subotnick The Other Piano, Liquid Strata, Falling Leaves and Three Piano Preludes. Featuring SooJin Anjou, pianist Release of a K-6 online music curriculum: Morton Subotnicks Music Academy https://musicfirst.com/msma 2 TABLE OF CONTENTS PROGRAM INFO Pg 4 CONCERT LISTING AND BIOS Pg 5 CAREER HIGHLIGHTS Pg 6 PRESS PHOTOS Pg 8 AUDIO AND VIDEO LINKS Pg 13 PRESS QUOTES Pg 15 TECH RIDER Pg 19 3 PROGRAM INFO TITLE OF WORK TO BE PRESENTED From Silver Apples of the Moon to A Sky of Cloudless Sulphur Revisited :VI PROGRAM DESCRIPTION A light and sound duet utilizing musical resources from my analog recordings combined with my most recent electronic patches and techniques performed spontaneously on my hybrid Buchla 2003/Ableton Live ’instrument’, with video animation by Lillevan. -
Singing Happy Birthday to Musical Minimalist Terry Riley
Singing Happy Birthday to Musical Minimalist Terry Riley Kronos Quartet and other musicians came together to celebrate composer Terry Riley’s 80th birthday at SFJAZZ Center. By BRETT CAMPBELL July 6, 2015 6:02 p.m. ET San Francisco Terry Riley performing in 2011. PHOTO: GETTY IMAGES Kronos Quartet closed June 26’s opening concert of its three-day celebration of composer Terry Riley ’s 80th birthday with the work that began its 36-year collaboration with him, “Sunrise of the Planetary Dream Collector.” Tabla master Zakir Hussain joined the four musicians on stage at SFJAZZ Center’s Miner Auditorium; then, after a few minutes, pipa virtuoso Wu Man strolled on stage, picked up her instrument and began plucking, gradually followed by other performers who had collaborated with Mr. Riley and/or Kronos—even the venerable dancer/choreographer Anna Halprin, whose dance studio provided the launch pad for Mr. Riley’s pioneering minimalist experiments in the early 1960s. The house lights gradually rose as 19 musicians played on stage or in the seats, and the audience swayed along to the gradually evolving patterns and hypnotic groove that pulsates through most of the music Mr. Riley has written over the past four decades— everyone, especially Mr. Riley, beaming beatifically. Such communitarian collaborations fuel Mr. Riley’s gentle yet prodigious energy. His partnership with Kronos has spawned 27 commissions (and counting), which the group has collected on a new boxed CD set. Mr. Riley was teaching at Oakland’s Mills College in 1979 when Kronos violinist David Harrington, a Mills colleague, implored him to write string quartets. -
Chapter Three Minimal Music
72 Chapter Three Minimal music This chapter begins with a brief outline of minimal music in the United States, Europe and Australia. Focusing on composers and stylistic characteristics of their music, plus aspects of minimal music pertinent to this study, it helps the reader situate the compositions, composers and events referred to throughout the thesis. The chapter then outlines reasons for engaging students aged 9 to 18 years in composing activities drawn from projects with minimalist characteristics, reasons often related to compositional or historical aspects of minimal music since the late 1960s. A number of these reasons are educational, concerned with minimalism as an accessible teaching resource that draws on students’ current musical knowledge and offers a bridge from which to explore musics of other cultures and other contemporary art musics. Other reasons are concerned with the performance capabilities of students, with the opportunity to introduce students to a contemporary aesthetic, to different structural possibilities and collaboration and subject integration opportunities. There is also an educational need for a study investigating student composing activities to focus on these activities in relation to contemporary art music. There are social reasons for engaging students in minimalist projects concerned with introducing students to contemporary arts practice through ‘the new tonality’, involving students with a contemporary music which is often controversial, and engaging students with minimalism at a time of particular activity and expansion in the United States and in Australia. 3.1 Minimalism Minimalism is an aesthetic found across a number of different art forms – architecture, dance, visual art, theatre, design and music - and at the beginning of the twenty-first century, it is still strongly influential on many contemporary artists. -
VARIATIONS #2 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 #2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. The Globe 'Variation' is the formal term for a musical composition based If music initially hesitated to follow the lead of the visual arts in the field of on a previous musical work, and many of those traditional collage, it made up for lost time in the sixties. Breakthroughs in high fidelity methods (changing the key, meter, rhythm, harmonies or sound, an influx of consumer level tape recorders, and the continued influence of tempi of a piece) are used in much the same manner today television building the notion of the Global Village were among the factors that by sampling musicians. But the practice of sampling is more led to an explosion in collage based composition. The most obvious of the shared than a simple modernization or expansion of the number of qualities in these pieces was a tendency towards the use of World music, culled options available to those who seek their inspiration in the from as many disparate locations as possible. If the new availability of refinement of previous composition. The history of this music ethnological recordings from around the world had shattered the notion that music was a universal language, musical collage can be seen as an instant traces nearly as far back as the advent of recording, and its response to the rest of the world as it became unignorable – a way to explore emergence and development mirrors the increasingly self- things held in common and the potential for hybrid identities. -
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. -
Nsftmc@Soundings—Notes
nSFTMC@Soundings—Notes The San Francisco Tape Music Center (SFTMC) is quite a notable and influential institution in the history of electronic and experimental music in the United States, and came into being through the efforts of a small group of composers working in the Bay Area who were looking to gather resources and create venues for their work. Today the names of those involved in its founding read as a list of luminaries of the American Experimental tradition: Ramon Sender, Morton Subotnick, Pauline Oliveros, Terry Riley, Anthony Martin. The SFTMC began its life in 1961 as an improvised, cooperative studio in the attic of the San Francisco Conservatory of Music—made up of a pool of tape-composition equipment, no more than six audio oscillators and some tape recorders. By 1962 the SFTMC had found its way out of the attic to more suitable locations, eventually residing at 321 Divisidero where Steve Reich created his landmark It’s Gonna Rain (1965). During this time there was also a relationship with Berkeley’s KPFA, founded by Korean War pacifists in 1949 and famously investigated by the House Un-American Activities Committee and the Senate Internal Security Subcommittee for “subversion”. (Sound-poet, composer Charles Amirkhanian was Music Director of KPFA from 1969 to 1992—but as we shall see, this was after SFTMC had ended as an institution.) 1966 saw a relationship with the SFTMC and Don Buchla develop, which eventually lead to creation of Buchla’s modular synthesizer. (Tonight we’ll hear the fruitful outcome of that collaboration in Subotnick’s music.) 1966 was also the end of the SFTMC through the acceptance of a grant for $15,000 to become the Mills Tape Music Center (MTMC) at Mills College across the bay in Oakland.