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Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
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. -
City Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 83-101). Eindhoven, the Netherlands: Lecturis. ISBN 9789462263079 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/22291/ Link to published version: Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1) Ian Pace Introduction Assumptions of over-arching unity amongst composers and compositions solely on the basis of common nationality/region are extremely problematic in the modern era, with great facility of travel and communications. Arguments can be made on the bases of shared cultural experiences, including language and education, but these need to be tested rather than simply assumed. Yet there is an extensive tradition in particular of histories of music from the United States which assume such music constitutes a body of work separable from other concurrent music, or at least will benefit from such isolation, because of its supposed unique properties. -
PROBES #2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. All the ‘normal’ music we listen to is out of tune, especially when it’s ‘in tune’. Curated by Chris Cutler, PROBES takes Marshall McLuhan’s So, should music be in harmony with the laws of physics, or adjusted to fit the conceptual contrapositions as a starting point to analyse and wishful thinking of stave notation? expose the search for a new sonic language made urgent after the collapse of tonality in the twentieth century. The series looks at the many probes and experiments that were 01. Summary launched in the last century in search of new musical resources, and a new aesthetic; for ways to make music In the late nineteenth century two facts conspired to change the face of music: adequate to a world transformed by disorientating the collapse of common practice tonality (which overturned the certainties technologies. underpinning the world of Art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the Curated by Chris Cutler world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new PDF Contents: aesthetics able to follow sound and its manipulations beyond the narrow confines 01. Summary of ‘music’. This series tries analytically to trace and explain these developments, 02. -
To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann
To Repeat or Not to Repeat, That Is the Question1 By Kyle Gann Steve Reich In the good old 1960s, the Bohemian life was cheap in lower Manhattan, the streets were relatively safe, and artists drove cabs for a living. Steve Reich, for example. He had been experimenting with tapes of interesting voices he found, and he rigged up his cab with a tape recorder so he could tape some of his passengers. One day he recorded a young African- American man who had been beaten up in the Harlem riots of 1964. By the young man's account, the police were taking away victims and would only take those who were visibly bleeding to the hospital. This young man wasn't bleeding, so, as he said, "I had to, like, open the bruise up and let some of the bruise blood come out to show them." The inner melody of that phrase intrigued Reich. He took the tape home and made tape loops from the words "Come out to show them." He started two of the tape loops together and, because his cheap tape recorders weren't precisely the same speed, he listened to them inevitably out of phase. This gradual phasing process obscured the words and turned them into a little repeated melody in C minor. Reich taped the whole process and called the resulting piece Come Out. Describing how it felt the first time he heard two tape loops go out of phase, Reich said, "The sensation that I had in my head was that the sound moved over to my left ear, down to my left shoulder, down my left arm, down my leg, out across the floor to the left, and finally began to reverberate and shake.. -
Tuning: at the Grcssroads
WendyGarloo ?O. Box1024 Tuning:At the New YorkCit, New York 10276USA Grcssroads lntrodrciion planned the construction of instruments that per- formed within the new "tunitrg of choice," and all The arena o{ musical scales and tuning has cer_ publishedpapers or books demonstretingthe supe- tainly not been a quiet place to be for the past thlee dority of their new scales in at least some way over hundred yeals. But it might iust as well have beenif €qual temperament.The tradition has continued we iudge by the results: the same 12V2 equally with Yunik and Swi{t {1980),Blackwood (1982),and temperedscale established then as the best avail- the presentauthor (Milano 1986),and shows no able tuning compromise, by J. S. Bach and many sign of slowing down despite the apparent apathy otheis lHelrnholtz 1954j Apel 1972),remains to with which the musical mainstream has regularly this day essentially the only scale heard in Westem grceted eech new proposal. music. That monopoly crossesall musical styles, of course therc's a perf€ctly reasonable explana- {rom the most contemporary of jazz and av^rf,t' tion lor the mainstream's evident preferetrce to rc- "rut-bound" gardeclassical, and musical masteeieces from the main when by now there are at least past, to the latest technopop rock with fancy s)'n- a dozen clearly better-sounding ways to tune our thesizers,and everwvherein between.Instruments scales,i{ only for at least part of the time: it re' ol the symphonyorchestra a((empr with varyirrg quires a lot of effort ol several kinds. I'm typing this deSreesof successto live up ro lhe 100-centsemi manuscript using a Dvorak keyboard (lor the ffrst tone, even though many would find it inherently far time!), and I assureyou it's not easyto unlearn the easierto do otherwise: the stdngs to "lapse" into QWERTY habits of a lifetime, even though I can Pythagoieen tuning, the brass into several keys of akeady feel the actual superiodty of this unloved lust irtonation lBarbour 1953).And th€se easily but demonstrablv better kevboard. -
Lost Treasures by KYLE GANN TUESDAY, SEPTEMBER 19, 2000 at 4 A.M
Lost Treasures BY KYLE GANN TUESDAY, SEPTEMBER 19, 2000 AT 4 A.M. In the Theatre of Eternal Music, tones grew from other tones like branches from a tree. A drone would start, and other perfectly tuned drones—guided by the flickering of La Monte Young's reedy sopranino saxophone—would appear and sustain on Tony Conrad's violin, John Cale's viola, Marian Zazeela's voice. At first it seemed like uneventful, stoned-out hippie music, but without your noticing, amazing things happened. Consonances would build off of other consonances, and you'd find yourself in a three- or four-dimensional musical space in which two sustained pitches only a fourth of a half step apart could both make perfect sense. The drones created a kind of purely in-tune polytonality that challenged all our assumptions about what harmony is. I wasn't there; I was in elementary school when Conrad, Cale, Young, & Co. were shaking Young's loft with their heavy amplification back in the '60s. But I've heard some of the tapes, which is more than most minimalism fans have. And I know what the extent of the tragedy is that we don't get to hear this music, tied up as it is up by threats of litigation. Young claims to be the sole composer and wants recognition as such, Conrad and Cale want equal billing on the basis that the music was improvisatory and collaborative. It's not like the late Beethoven sonatas have been squirreled away from a hungry public, but it is a lost view of music's more esoteric potentials. -
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 -
The Deontic Miracle – Selections from 100 Models of Hegikan Roku August 19, 2019 by Sean Hannah
The Deontic Miracle – Selections from 100 Models of Hegikan Roku August 19, 2019 By Sean Hannah The fact that we can even listen to Selections from 100 Models of Hegikan Roku would seem like a betrayal of Catherine Christer Hennix’s artistic vision. The Swedish-born majordomo fronting the Deontic Miracle demands of her music both speakers and a venue that can accommodate radical fluctuations in frequency and intensity. The space informs the quality of the music as much as the performer, she maintains. Museums, as well as her own home, are ideal locales for her performances, despite whatever physical limitations lie therein. In the case of 100 Models, these performances were recorded during an exhibition in 1976 in Stockholm’s Moderna Museet, an art museum that hosted performances of works by Hennix’s contemporaries Terry Riley and La Monte Young during the same exhibition. So, for me, the idea of listening to an album, often through headphones, recorded four decades ago on another continent feels like something of a compromise of the art. But when listening to Selections, nothing about the experience feels like a defeat. The two recordings on Models, “Music of Auspicious Clouds” and “Waves of the Blue Sea,” serve as an execution of the limitless possibilities of just intonation, a method of tuning musical instruments that, according to Hennix, best preserves the purity of chordal tone. As a mathematician in addition to a musician and philosopher, her distaste for the popular Western tuning system of equal temperament is born of a mathematical devotion to maintaining the sanctity of tonality. -
Conference Program 2013
4th International Conference on Music and Minimalism October 3-6, 2013 Bob Cole Conservatory of Music California State University, Long Beach Welcome 4th International Conference on Music and Minimalism October 3-6, 2013 Welcome to Left Coast Minimalism: Fourth International Conference Bob Cole Conservatory of Music on Minimalist Music co-hosted by Robert Fink/UCLA and Carolyn Bremer/Cal State Long Beach. The conference takes place at the Bob Cole Conservatory on the campus of Cal State Long Beach Thursday, October 3, at 7:00pm through Sunday, October 6 at 11:00am. REGISTRATION Registration will begin at 4:00pm on Thursday, October 3 in the Daniel Recital Hall (DRH) lobby. The Registration Table will be open Friday and Saturday 9:00am – 4:00pm. HOTEL The conference hotel is Hotel Current, 5325 East Pacific Coast Highway, Long Beach, CA 90804, Phone (562) 597- 1341, Fax (562) 597-8741, http://www.hotelcurrent.com. They provide a free shuttle to campus. You will be able to store luggage securely on campus if needed, but space is limited. HOTEL SHUTTLE Please check with the front desk. They will need to make two trips to campus, so there will be an early shuttle and late shuttle for the conference. PARKING If you plan to drive, purchase a parking pass each day you park on campus for $5 per day. There is a yellow kiosk which dispenses permits across from the conservatory entrance. FOOD AND WATER There will be coffee, tea, water, and snacks available during the day. Lunch is provided on Friday and Saturday in the DRH Lobby. -
The Cognition of Harmonic Tonality in Microtonal Scales
WESTERN SYDNEY UNIVERSITY DOCTORAL THESIS The Cognition of Harmonic Tonality in Microtonal Scales Author: Supervisors: Lillian M. Hearne Dr. Andrew J. Milne Prof. Roger T. Dean A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy in the Music Cognition and Action Group The MARCS Institute 2020 i Acknowledgements First, I acknowledge the traditional custodians of the land upon which I completed my studies: The Darug, Tharawal (also historically referred to as Dharawal), and Eora peoples, and pay my respects to Elders past, present, and future. I would next like to acknowledge the guidance and help of my supervisors An- drew Milne and Roger Dean, who were a pleasure to work with. They were always available to talk when in the office and responded to emails and returned comments on drafts very promptly, and I never felt left in the dark. I’d also like to thank my colleagues from the lab for their help and advice and for their participation in my experiments. My colleague and housemate Ian Colley deserves a special mention here, for participating in every one of my experiments and providing valuable advice with using Max and R as well as in completing a PhD in general. My other housemates Rémi Marchand and Juan A. M. Fuentes and my ex-housemate Patrick Blown also deserve acknowledgement for their help with MATLAB and LaTeX, and my colleague Patti Nijhuis and my mum, Sonja Hearne for listening to my venting about computer issues and such. I’d also like to thank the technical team at MARCS for their help and patience with these issues, and the admin staff for their support throughout. -
Transferring' Between Non-Octave Microtonal Scales
Modulating or ‘Transferring’ Between Non-octave Microtonal Scales Todd Harrop Hochschule fur¨ Musik und Theater Hamburg [email protected] ABSTRACT los 1 and Serafini [6], or the much older traditional music of Georgia [7, p. 830] and the Eastern Arctic region of This paper discusses non–octave-based microtonal scales Canada [8]. which can express a septimal minor triad formed by the My current work-in-progress, Apollo, for percussion and 6th, 7th and 9th partials of the harmonic series. Three meth- computer, uses three scales that divide the fifth into equal ods are proposed for modulating or transferring between steps but does not presently use the fifth as interval of each scale: by pivoting on common tones, building joint equivalency for motivic transposition. A previous work, chords with pitches unique to each scale, or dynamically Bird of Janus, for Bohlen–Pierce (BP) clarinet, was written changing the sizes of generator and period to transform in both the BP and Carlos alpha scales 2 and appropriates one scale into another. Motivation for this project was a common tone of 1170 cents as interval of equivalency. to shed light on two relatively unexplored possibilities in For the new composition strategies other than the use of microtonality: scales without octaves, and multiple scales common tones were desired for moving from one type of within a single piece of music. With today’s computers and tuning to another. synthesizers these areas can be explored more easily. The Computer code in Matlab and Max/MSP assisted me author borrows a goodness-of-fit strategy for a 6:7:9 chord in composing music which could dynamically modulate or and chooses three scales that divide the perfect fifth into 8, ‘transfer’, to use Darreg’s preferred term, between mul- 13 and 18 equal steps.