A Personal Reminiscence on the Roots of Computer Network Music
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Live-Electronic Music
live-Electronic Music GORDON MUMMA This b()oll br.gills (lnd (')uis with (1/1 flnO/wt o/Ihe s/u:CIIlflli01I$, It:clmulogira{ i,m(I1M/;OIn, find oC('(uimwf bold ;lIslJiraliml Iltll/ mm"k Ihe his lory 0/ ciec/muir 111111';(", 8u/ the oIJt:ninf!, mui dosing dlll/J/er.f IIr/! in {art t/l' l)I dilfcl'CIIt ltiJ'ton'es. 0110 Luerd ng looks UfI("/,- 1,'ulIl Ihr vll l/laga poillt of a mnn who J/(u pel'smlfl.lly tui(I/I'sscd lite 1)Inl'ch 0/ t:lcrh'Ollic tccJlIlulogy {mm II lmilll lIellr i/s beg-ilmings; he is (I fl'ndj/l(lnnlly .~{'hooletJ cOml)fJj~l' whQ Iws g/"lulll/llly (lb!Jfll'ued demenls of tlli ~ iedmoiQI!J' ;11(0 1111 a/rc(uiy-/orllleti sCI al COlli· plJSifion(l/ allillldes IInti .rki{l$. Pm' GarrlOll M umma, (m fllr. other IWfI((, dec lroll;c lerllll%gy has fllw/lys hetl! pre.telll, f'/ c objeci of 01/ fl/)sm'uillg rlln'osily (mrl inUre.fI. lu n MmSI; M 1I11111W'S Idslur)l resltllle! ",here [ . IIt:1lillg'S /(.;lIve,( nff, 1',,( lIm;lI i11g Ihe dCTleiojJlm!lIls ill dec/m1/ ;,. IIII/sir br/MI' 19j(), 1101 ~'/J IIIlIrli liS exlell siom Of $/ili em'fier lec1m%gicni p,"uedcnh b111, mOw,-, as (upcclS of lite eCQllol/lic lind soci(ll Irislm)' of the /.!I1riotl, F rom litis vh:wJ}f)il1/ Ite ('on,~i d ".r.f lHU'iQII.f kint/s of [i"t! fu! r/urmrl1lcI' wilh e/cclnmic medifl; sl/)""m;ys L'oilabomlive 1>t:rformrl1lce groU/JS (Illd speril/f "heme,f" of cIIgilli:C'-;lIg: IUltl ex/,/orcs in dt:lllil fill: in/tulmet: 14 Ihe new If'dllllJiolO' 011 pop, 10/1(, rock, nllrl jllu /Ill/SIC llJi inJlnwu:lI/s m'c modified //till Ille recording studio maltel' -
David Tudor: Live Electronic Music
LMJ14_001- 11/15/04 9:54 AM Page 106 CD COMPANION INTRODUCTION David Tudor: Live Electronic Music The three pieces on the LMJ14 CD trace the development of David Tudor’s solo electronic music during the period from 1970 to 1984. This work has not been well docu- mented. Recordings of these pieces have never before been released. The three pieces each represent a different collaboration: with Experiments in Art and Technology (EAT), with the Merce Cunningham Dance Company (MCDC) and with Jacqueline Matisse Monnier [1]. The CD’s cover image, Toneburst Map 4, also arises from a collaboration, with the artist Sophia Ogielska. Anima Pepsi (1970) was composed for the pavilion designed by EAT for the 1970 Expo in Osaka, Japan. The piece made extensive use of a processing console consisting of eight identi- cal processors designed and built by Gordon Mumma and a spatialization matrix of 37 loud- speakers. Each processor consisted of a filter, an envelope follower, a ring modulator and a voltage-controlled amplifier. Anima Pepsi used this processing capability to transform a library of recordings of animal and insect sounds together with processed recordings of similar sources. Unlike most of Tudor’s solo electronics, this piece was intended to be performed by other members of the EAT collective, a practical necessity as the piece was to be performed repeatedly as part of the environment of the pavilion for the duration of the exposition. Toneburst (1975) was commissioned to accompany Merce Cunningham’s Sounddance. This recording is from a performance by MCDC, probably at the University of California at Berke- ley, where MCDC appeared fairly regularly. -
Holmes Electronic and Experimental Music
C H A P T E R 3 Early Electronic Music in the United States I was at a concert of electronic music in Cologne and I noticed that, even though it was the most recent electronic music, the audience was all falling asleep. No matter how interesting the music was, the audience couldn’t stay awake. That was because the music was coming out of loudspeakers. —John Cage Louis and Bebe Barron John Cage and The Project of Music for Magnetic Tape Innovation: John Cage and the Advocacy of Chance Composition Cage in Milan Listen: Early Electronic Music in the United States The Columbia–Princeton Electronic Music Center The Cooperative Studio for Electronic Music Roots of Computer Music Summary Milestones: Early Electronic Music of the United States Plate 3.1 John Cage and David Tudor, 1962. (John Cage Trust) 80 EARLY HISTORY – PREDECESSORS AND PIONEERS Electronic music activity in the United States during the early 1950s was neither organ- ized nor institutional. Experimentation with tape composition took place through the efforts of individual composers working on a makeshift basis without state support. Such fragmented efforts lacked the cohesion, doctrine, and financial support of their Euro- pean counterparts but in many ways the musical results were more diverse, ranging from works that were radically experimental to special effects for popular motion pictures and works that combined the use of taped sounds with live instrumentalists performing on stage. The first electronic music composers in North America did not adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with mixed skepticism and amusement the aesthetic wars taking place between the French and the Germans. -
Electronic Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2018 Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Kopcienski, Jacob A., "Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music" (2018). Graduate Theses, Dissertations, and Problem Reports. 7493. https://researchrepository.wvu.edu/etd/7493 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Thesis submitted To the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D. -
Tom Djll Studied Electronic Music with Stephen Scott at the Colorado College, Working with the EMS Synthi 100 System at Packard Hall
Tom Djll studied electronic music with Stephen Scott at the Colorado College, working with the EMS Synthi 100 system at Packard Hall. In 1978 and 79 Djll studied at the Creative Music Studio in Woodstock, NY, with Roscoe Mitchell, Anthony Braxton, Wadada Leo Smith, George Lewis, the Art Ensemble of Chicago, Karl Berger and many other giants of new music. He spent the years 1981-1993 working with the Serge Modular Music System before enrolling in Mills College Contemporary Music Program, where he extended his quest to develop and integrate an idiosyncratic trumpet language into an electronic sound environment, while also pursuing advanced improvisation studies, formally, with Pauline Oliveros, and, informally, with Jack Wright. While at Mills, Djll concentrated on microtonal composition, split-tone trumpet technique, and computer music. He also worked extensively with Chris Brown, resulting in contributions to Brown’s recordings LAVA (Tzadik) and DUETS (Artifact). Further refinement of trumpet languages and free improvisation with his band GROSSE ABFAHRT was undertaken from 1999 – 2010, published on the Emanem, Creative Sources, and Setola di Maiale labels. Beginning in 2012, Djll gradually re-introduced electronics into his sound-set. The results are heard in projects like hackMIDI (extreme electro-mechanical piano music), piano + analog electronics in TENDER BUTTONS (with Tania Chen and Gino Robair), delicate environments in EUPHOTIC (with Cheryl Leonard and Bryan Day), austere acoustic spaces with KOKUO (Kanoko Nishi-Smith, John McCowen, Jacob Felix Heule, and Kyle Bruckmann) and ongoing sessions and performances within the lively and ever-evolving Bay Area scene, including: Tim Perkis, Amanda Chaudhary, Jordan Glenn, Clarke Robinson, Suki O’Kane, Matt Ingalls, Tom Nunn, bran(…)pos, and Karen Stackpole. -
Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier
Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier Peter John Blamey Doctor of Philosophy University of Western Sydney 2008 Acknowledgements I would like to thank my principal supervisor Dr Chris Fleming for his generosity, guidance, good humour and invaluable assistance in researching and writing this thesis (and also for his willingness to participate in productive digressions on just about any subject). I would also like to thank the other members of my supervisory panel - Dr Caleb Kelly and Professor Julian Knowles - for all of their encouragement and advice. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .......................................................... (Signature) Table of Contents Abstract..................................................................................................................iii Introduction: Simple sounds, simple shapes, complex notions.............................1 Signs of sines....................................................................................................................4 Acoustics, aesthetics, and transduction........................................................................6 The acoustic and the auditory......................................................................................10 -
Contributors
Contributors Roy Ascott is the founding director of the international research network Planetary Collegium (CAiiA-STAR), Professor of Technoetic Arts at the University of Plymouth (England), and Adjunct Professor in Design/Media Arts at the University of California at Los Angeles. He conducts research in art, technology, and consciousness and edits Technoetic Arts. He pioneered the use of cybernetics and telematics in art at the Venice Biennale and Ars Elec- tronica, among others. His most recent publication is Telematic Embrace: Vi- sionary Theories of Art Technology and Consciousness, edited by Edward A. Shanken (University of California Press, 2003). The address of his Web site is <http://www.planetary-collegium.net/people/detail/ra>. Anna Freud Banana began her art career producing batik fabrics and wall hangings but switched to conceptual/performance work with her Town Fool Project in 1971. Through the Banana Rag newsletter, she discovered the In- ternational Mail Art Network (IMAN) which supplies her with banana ma- terial, a sense of community, and affirmation of her conceptual approach. Whether publishing or performing, her intention is to activate her audience and to question authorities and so-called sacred cows in a humorous way. In- ternational Performance/Events and exhibitions on walls, from 1975 to pres- ent, are detailed at <http://users.uniserve.ca/~sn0958>. Tilman Baumgärtel is a Berlin-based independent writer and critic. His re- cent publications include Games. Computerspiele von KünstlerInnen Ausstellungs- katalog (Games. Computergames by artists. Exhibition Catalogue) (2003); Install.exe: Katalog zur ersten Einzelausstellung des Künstlerpaars Jodi bei Plug-In, Basel, Büro Friedrich, Berlin, und Eyebeam, New York (Catalogue for the first solo show of the art duo Jodi at Plug-In, Basel, Büro Friedrich, Berlin, and Eyebeam, New York) (2002); net.art 2.0 Neue Materialien zur Netzkunst / net.art 2.0 (New Materials toward Art on the Internet) (2001); net.art Materi- alien zur Netzkunst (2nd edition, 2001); lettische Ausgabe: Tikla Maksla (2001). -
A Musical Technography of John Bischoff
LMJ14_001- 11/15/04 9:24 AM Page 75 A Musical Technography of John Bischoff ABSTRACT Douglas Kahn John Bischoff has been part of the formation and growth of electronic and computer music in the San Francisco Bay Area for over three decades. In an interview with the author, he describes his early development The San Francisco Bay Area has long been a thesizer. His efforts, in this respect, as a student of experimental hotbed of activity in electronic and experimental music, be- were similar to the activities of music technology, including the ginning with the work of John Cage, Karlheinz Stockhausen David Tudor, David Behrman, Gor- impact of hearing and assisting and David Tudor, who performed and conducted residencies don Mumma, Nicolas Collins, Ron in the work of David Tudor. Bischoff, like Tudor, explored there beginning in the 1960s. There followed the establish- Kuivila, Paul DeMarinis and others the unpredictable potentials ment of the San Francisco Tape Music Center and the Center at the time. Indeed, hearing a within electronic components, for Contemporary Music at Mills College in Oakland, among recording of Tudor’s performance and he brought this curiosity to many other developments. While other locations focus more of Cage’s Variations II, with its “big bear when he began working on on individual talents, the Bay Area is known for its collective blocks of noise,” was a transforma- one of the first available micro- computers. He was a key energies and has proven to be fertile ground when those en- tive experience for Bischoff, as was individual at the historical turning ergies are channeled through circuits and when the ground his experience at Mills assisting in point when computer music is made of silicon. -
A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism. -
In This Issue That, Or Anything Else As Far As So-Called Music Sical Additions to Music - Not to Mention John Is Concerned
the transbay Creative Music Calendar FEBRUARY 2009 INTERVIEW AFTER FULL CONSIDERATION greenlief @50 top ten of 2008 February 2009 marks local musician and This year’s Top Ten Transbaynian Musical composer Phillip Greenlief’s 50th birthday. Moments includes some diverse definitions The Transbay found Phillip by logging on the of “top” and “ten” as well as some elasticity to interWebs and exhanging several messages in the interpretation of “transbaynian” and, with the artist as he reflected on his art and you knew this, “music.” The lists draw from life. sources as disparate as the pages of Wallace’s (RIP 2008) Infinite Jest and a pedestrian Transbay: This month you’re presenting a ton plaza in Manhattan’s Meat Packing District, of events that reflect your 50th year. Which with plenty of noise, extended technique, re- of the performances commemorate your work markable record releases and regime change to date? Which ones represent fully matured in between. It’s all wrapped in the highlights ideas? Which ones are based on new inquiry? and lowlights of the beloved venue 21 Grand Phillip Greenlief: I don’t think you can parcel Arts Group, Inc. To balance, this issue also in 2008, 2009 (and 2010, 11 and 12, but only out what aspect of your artistic life rises to includes a manifesto on the subject of per- until the pole shift) is still available for that the surface on any given occasion. With all of petual anxiety among musicians: the death purpose. the groups I’m working with this month (Lost of our art form. -
Tim Perkis Has Been Working in the Medium of Live Electronic and Computer Sound for Many Years, Performing and Recording in North America, Europe and Japan
Tim Perkis has been working in the medium of live electronic and computer sound for many years, performing and recording in North America, Europe and Japan. His artistic work has largely been concerned with the sonification of complex data flows, exploring the emergence of life-like properties in systems of interaction. In addition, he is a well known performer in the world of improvised music, having performed on his electronic improvisation instruments with hundreds of artists and groups from around the world, including Chris Brown, John Butcher, Eugene Chadbourne, Fred Frith, Gianni Gebbia, Frank Gratkowski, Luc Houtkamp, Yoshi Ichiraku, Matt Ingalls, Joelle Leandre, Gino Robair, ROVA saxophone quartet, Elliott Sharp, Leo Wadada Smith, Wobbly and John Zorn. He is a pioneer of the use of computers in live musical performance, beginning in the 1970’s with the League of Automatic Music Composers and ongoing to this day with the Hub, pioneering live computer network bands which have been concerned with the mapping of complex data flows into musical representations. His occasional critical writings have been published in The Computer Music Journal, Leonardo and Electronic Musician magazine, as well as appearing in the Oxford Companion to Computer Music (Oxford Univ. Press, ed. Roger Dean, 2010) and the volume Art and Complexity (Elsevier, ed. J. Casti, 2003). He has been composer-in-residence at Mills College in Oakland California, artist-in-residence at Xerox Corporation's Palo Alto Research Center, and designed musical tools and toys at -
Composer(Teach Elec)
Matt Ingalls COMPOSER COMPUTER MUSICIAN CLARINETIST [email protected] 106 Fairmount, Oakland, CA 94611 510.444.3595 http://mattingalls.com Education Master of Arts in Composition. Mills College, Oakland, California [1997] Alumnae Scholarship. Heller Scholarship. Carruthers Scholarship Paul Merritt Henry Prize for Excellence in Music Composition “Who’s Who” Among Students in American Universities and Colleges Composition & Electronic Music Studies with Chris Brown, Alvin Curran, and George Lewis Bachelor of Music in Composition. University of Texas at Austin [1994] Dean's List. Golden Key National Honor Society. Tuition Waiver Scholarship Computer Music Studies with Russell Pinkston. Composition Studies with Karl Korte and Dan Welcher Employment: Teaching University of San Francisco [Fall 2005/Fall 2006] Adjunct Faculty: Digital Audio Synthesis Dartmouth College [Fall 1998] Adjunct Faculty: Music Harmony and Theory I Mills College [Fall 1995 - Spring 1996] Teaching Assistant: Seminar in Electronic Music & Computer Music Studio Technician Employment: Audio Software Engineer Ryerson University [3/2014 - 6/2014] Contract/Grant to create an iPad performance app in conjunction with the 50th Anniversary of Terry Riley’s In C. Voxer [10/2011 - 1/2014] Senior Software Engineer developing the Voxer Walkie-Talkie iOS app. Rogue Amoeba [4/2011 - 7/2011] Created a MacOS utility for loading and playing sound files. MIDI Keyz [2/2011 - 3/2011] Created utility for automatic musical chord identification from a streaming MIDI input. GVOX [8/2005 - 11/2009] Senior Software Engineer: Mac/Win versions of Encore Music Notation, MusicTime Deluxe and Master Tracks. Livid Instruments [7/2005] Created Max/MSP externals for copy protection and data compression. Arboretum Systems [5/2005 & 10/1999 - 1/2000] Ported RayGunPro and Ionizer plugins to AudioUnit format.