Liner Notes for Columbia MS 7222 (See Discography) Slonimsky, Nicolas
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Voice Phenomenon Electronic
Praised by Morton Feldman, courted by John Cage, bombarded with sound waves by Alvin Lucier: the unique voice of singer and composer Joan La Barbara has brought her adventures on American contemporary music’s wildest frontiers, while her own compositions and shamanistic ‘sound paintings’ place the soprano voice at the outer limits of human experience. By Julian Cowley. Photography by Mark Mahaney Electronic Joan La Barbara has been widely recognised as a so particularly identifiable with me, although they still peerless interpreter of music by major contemporary want to utilise my expertise. That’s OK. I’m willing to composers including Morton Feldman, John Cage, share my vocabulary, but I’m also willing to approach a Earle Brown, Alvin Lucier, Robert Ashley and her new idea and try to bring my knowledge and curiosity husband, Morton Subotnick. And she has developed to that situation, to help the composer realise herself into a genuinely distinctive composer, what she or he wants to do. In return, I’ve learnt translating rigorous explorations in the outer reaches compositional tools by apprenticing, essentially, with of the human voice into dramatic and evocative each of the composers I’ve worked with.” music. In conversation she is strikingly self-assured, Curiosity has played a consistently important role communicating something of the commitment and in La Barbara’s musical life. She was formally trained intensity of vision that have enabled her not only as a classical singer with conventional operatic roles to give definitive voice to the music of others, in view, but at the end of the 1960s her imagination but equally to establish a strong compositional was captured by unorthodox sounds emanating from identity owing no obvious debt to anyone. -
2012 02 20 Programme Booklet FIN
COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM -
Digital Adaptions of the Scores for Cage Variations I, II and III
Edith Cowan University Research Online ECU Publications 2012 1-1-2012 Digital adaptions of the scores for Cage Variations I, II and III Lindsay Vickery Catherine Hope Edith Cowan University Stuart James Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/ecuworks2012 Part of the Music Commons Vickery, L. R., Hope, C. A., & James, S. G. (2012). Digital adaptions of the scores for Cage Variations I, II and III. Proceedings of International Computer Music Conference. (pp. 426-432). Ljubljana. International Computer Music Association. Available here This Conference Proceeding is posted at Research Online. https://ro.ecu.edu.au/ecuworks2012/165 NON-COCHLEAR SOUND _ I[M[2012 LJUBLJANA _9.-14. SEP'l'EMBER Digital adaptions of the scores for Cage Variations I, II and III Lindsay Vickery, Cat Hope, and Stuart James Western Australian Academy of Performing Arts, Edith Cowan University ABSTRACT Over the ten years from 1958 to 1967, Cage revisited to the Variations series as a means of expanding his Western Australian new music ensemble Decibel have investigation not only of nonlinear interaction with the devised a software-based tool for creating realisations score but also of instrumentation, sonic materials, the of the score for John Cage's Variations I and II. In these performance space and the environment The works works Cage had used multiple transparent plastic sheets chart an evolution from the "personal" sound-world of with various forms of graphical notation, that were the performer and the score, to a vision potentially capable of independent positioning in respect to one embracing the totality of sound on a global scale. -
The Ten String Quartets of Ben Johnston, Written Between 1951 and 1995, Constitute No Less Than an Attempt to Revolutionize the Medium
The ten string quartets of Ben Johnston, written between 1951 and 1995, constitute no less than an attempt to revolutionize the medium. Of them, only the First Quartet limits itself to conventional tuning. The others, climaxing in the astonishing Seventh Quartet of 1984, add in further microtones from the harmonic series to the point that the music seems to float in a free pitch space, unmoored from the grid of the common twelve-pitch scale. In a way, this is a return to an older conception of string quartet practice, since players used to (and often still do) intuitively adjust their tuning for maximum sonority while listening to each other’s intonation. But Johnston has extended this practice in two dimensions: Rather than leave intonation to the performer’s ear and intuition, he has developed his own way to specify it in notation; and he has moved beyond the intervals of normal musical practice to incorporate increasingly fine distinctions, up to the 11th, 13th, and even 31st partials in the harmonic series. This recording by the indomitable Kepler Quartet completes the series of Johnston’s quartets, finally all recorded at last for the first time. Volume One presented Quartets 2, 3, 4, and 9; Volume Two 1, 5, and 10; and here we have Nos. 6, 7, and 8, plus a small piece for narrator and quartet titled Quietness. As Timothy Ernest Johnson has documented in his exhaustive dissertation on Johnston’s Seventh Quartet, Johnston’s string quartets explore extended tunings in three phases.1 Skipping over the more conventional (though serialist) First Quartet, the Second and Third expand the pitch spectrum merely by adding in so-called five-limit intervals (thirds, fourths, and fifths) perfectly in tune (which means unlike the imperfect, compromised way we tune them on the modern piano). -
Festival of New Music
Feb rua ry 29 ESTIVA , F L O 20 F 12 , t N h e E L A W B M U S I C M A R C H Je 1 w i - sh 2 C -3 om , 2 mu 0 ni 12 ty Cen ter o f San Francisco 1 MUSICAL ADVENTURE CHARLESTON,TOUR SC MAY 31 - JUNE 4, 2012 PHILIP GLASS JOHN CAGE SPOLETO GUO WENJING Experience the Spoleto USA Festival with Other Minds in a musical adventure tour from May 31-June 4 in Charleston, SC. Attend in prime seating American premiere performances of two operas, Feng Yi Ting by Guo OTHER MINDS Wenjing and Kepler by Philip Glass, and a concert Orchestra Uncaged, featur- ing Radiohead’s Jonny Greenwood and a US premiere of John Cage’s orches- tral trilogy, Twenty-Six, Twenty-Eight, and Twenty-Nine. The tour also includes: artist talks with Other Minds Artistic Director Charles Amirkhanian, Spoleto Festival USA conductor John Kennedy, & Festival Director Nigel Redden special appearance of Philip Glass discussing his work exclusive receptions at the festival day tours to Fort Sumter and an historic local plantation Tour partiticpants will stay in luxurious time to explore charming neighborhood homes & shopping boutiques accommodations at the Renaissance throughout Charleston Hotel in the heart of downtown Charleston, within walking distance to shops and JUNE 1 JUNE 3 restaurants. FENG YI TING ORCHESTRA UNCAGED American premiere John Kennedy, conductor CHARLESTON, SC Composed by Guo Wenjing Spoleto Festival USA Orchestra Directed by Atom Egoyan The Spoleto Festival USA Orchestra, led An empire at stake; two powerful men in by Resident Conductor John Kennedy, love with the same exquisite, inscrutable presents a special program of music of woman; and a plot that will change the our time. -
PROGRAM NOTES the Expanded Sonic Potential of the Voice
ABOUT THE ARTISTS Joan La Barbara La Barbara is a composer, performer, sound artist and actor renowned for developing a unique vocabulary of experimental and extended vocal techniques (multiphonics, circular singing, ululation and glottal clicks; her “signature sounds”), influencing generations of other composers and singers. Awards, prizes and fellowships include The Foundation for Contemporary Arts John Cage Award (2016); Premio Internazionale Demetrio Stratos; DAAD-Berlin and Civitella Ranieri Artist-in-Residencies; Guggenheim Fellowship in Music Composition; seven National Endowment for the Arts awards (Music Composition, Opera/Music Theater, Inter-Arts, Recording, Solo Recital, Visual Arts), and numerous commissions for multiple voices, chamber ensembles, theatre, orchestra, interactive technology, and soundscores for dance, video and film. Her multi-layered textural compositions were presented at Brisbane Biennial, Festival d’Automne à Paris, Warsaw Autumn, MaerzMusik Berlin and Lincoln Center, among other international venues. She has collaborated with visual artists Matthew Barney, Judy Chicago, Ed Emshwiller, Kenneth Goldsmith, Bruce Nauman, Steina, Woody Vasulka and Lawrence Weiner, and has premiered landmark compositions composed for her, including Morton Feldman’s Three Voices; Morton Subotnick’s chamber opera Jacob’s Room and his Hungers and Intimate Immensity; the title role in Robert Ashley’s opera Now Eleanor’s Idea and his Dust; Philip Glass and Robert Wilson’s Einstein on the Beach; Steve Reich’s Drumming; and John Cage’s Eight Whiskus and Solo for Voice 45 from Song Books. Recordings of her works include ShamanSong (New World), Sound Ellen Rietbrock Paintings and her seminal works from Voice is the Original Instrument (1970, Lovely Music). In addition to her internationally acclaimed discs of Feldman and Cage, she has recorded for A&M Horizon, Centaur, Deutsche Grammophon, Nonesuch, Mode, Music & Arts, MusicMasters, Musical Heritage, Newport Classic, Sony, Virgin, Voyager and Wergo. -
Steinway & Sons Reception Room and Hallway
Landmarks Preservation Commission September 10, 2013, Designation List 466 LP-2551 STEINWAY & SONS RECEPTION ROOM AND HALLWAY, first floor, including the reception room’s domed rotunda and balcony, the east foyer and stairs leading to the balcony; the hallway of the public corridor, up to the north glass doors, that adjoins the reception room; and the fixtures and components of these spaces, including but not limited to, wall and ceiling surfaces, floor surfaces, arches, pilasters, stairs, landings, ceiling murals, painted medallions, metal railings, metal grilles, chandeliers and lighting fixtures, door enframements, doors, windows, attached furnishings and decorative elements; Steinway Hall, 109-113 West 57th Street (aka 106-116 West 58th Street), Manhattan. Built 1924-25; Warren & Wetmore architects; Walter L. Hopkins, lead designer; Thompson-Starrett Co., builders. Landmark Site: Borough of Manhattan Tax Map Block 1010, Lot 25, in part. On July 23, 2013, the Landmarks Preservation Commission held a public hearing on the proposed designation of the Steinway & Sons Reception Room and Hallway and the proposed designation of the related landmark site. The hearing had been duly advertised in accordance with provisions of law. Three people spoke in support of designation, including the owner and representatives of the Historic Districts Council and the Society for the Architecture of the City. Summary Commissioned by the prominent New York City piano manufacturer Steinway & Sons in 1924-25, the Steinway & Sons Reception Room and Hallway is one of New York City’s most impressive neo-Renaissance style interiors. Located in Steinway Hall, a designated New York City Landmark, on the north side of West 57th Street, between Sixth and Seventh Avenues, the primary space is a double-height octagonal rotunda where visitors, musicians, and potential customers meet store representatives before entering various piano showrooms. -
Alvin Lucier's
CHAMBERS This page intentionally left blank CHAMBERS Scores by ALVIN LUCIER Interviews with the composer by DOUGLAS SIMON Wesleyan University Press Middletown, Connecticut Scores copyright © 1980 by Alvin Lucier Interviews copyright © 1980 by Alvin Lucier and Douglas Simon Several of these scores and interviews have appeared in similar or different form in Arts in Society; Big Deal; The Painted Bride Quar- terly; Parachute; Pieces 3; The Something Else Yearbook; Source Magazine; and Individuals: Post-Movement Art in America, edited by Alan Sondheim (New York: E.P. Dutton, 1977). Typography by Jill Kroesen The authors gratefully acknowledge the support of a Wesleyan University Project Grant. Library of Congress Cataloging in Publication Data Lucier, Alvin. [Works. Selections] Chambers. Concrete music. Bibliography: p. Includes index. 1. Concrete music. 2. Chance compositions. 3. Lucier, Alvin. 4. Composers—United States- Interviews. I. Simon, Douglas, 1947- II. Title. M1470.L72S5 789.9'8 79-24870 ISBN 0-8195-5042-6 Distributed by Columbia University Press 136 South Broadway, Irvington, N.Y. Printed in the United States of America First edition For Ellen Parry and Wendy Stokes This page intentionally left blank CONTENTS Preface ix 1. Chambers 1 2. Vespers 15 3. "I Am Sitting in a Room" 29 4. (Hartford) Memory Space 41 5. Quasimodo the Great Lover 53 6. Music for Solo Performer 67 7. The Duke of York 79 8. The Queen of the South and Tyndall Orchestrations 93 9. Gentle Fire 109 10. Still and Moving Lines of Silence in Families of Hyperbolas 127 11. Outlines and Bird and Person Dyning 145 12. -
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. -
Curriculum Vitae
Curriculum Vitae Nathan E. Nabb, D.M. Associate Professor of Music – Saxophone Stephen F. Austin State University www.nathannabbmusic.com Contact Information: 274 Wright Music Building College of Fine Arts - School of Music Stephen F. Austin State University TEACHING EXPERIENCE Associate Professor of Saxophone Stephen F. Austin State University 2010 to present Nacogdoches, Texas Maintain and recruit private studio averaging 20+ music majors Applied saxophone instruction to saxophone majors (music education and performance) Saxophone quartets (number depending on enrollment) Private Applied Pedagogy and Repertoire for graduate saxophone students Recruitment tour performances and master classes with other wind faculty Saxophone studio class Assistant Professor of Saxophone Morehead State University 2005 to 2010 Morehead, Kentucky Maintain and recruit private studio averaging 17-22 music majors Applied saxophone instruction to saxophone majors (education, performance and jazz) Saxophone quartets (three or four depending on enrollment) Woodwind methods course (flute, clarinet and saxophone) Saxophone segment of Advanced Woodwind Methods Course Private Applied Pedagogy and Performance Practice for graduate saxophone students Guided independent study courses for graduate saxophone students Present annual clinics for Kentucky high-school saxophonists for the MSU Concert Band Clinic Present annual All-State audition preparation clinics Academic advisor for undergraduate private applied saxophonists Saxophone studio class Nathan E. Nabb Curriculum -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
Liner Notes, Visit Our Web Site
The World’s Longest Melody is the title of this CD, the sixth to date devoted entirely to Larry Polansky’s music, and, curiously, the title of not one but two of the pieces on it: The World’s Longest Melody (Ensemble), and “The World’s Longest Melody (Trio): ‘The Ever-Widening Halfstep’”, the final piece of for jim, ben and lou. On casual listening, the two pieces seem to bear little relationship to each other. In fact, “The World’s Longest Melody” is a generic title, which referred originally to a simple but powerful theoretical melodic algorithm that Polansky devised and first published in a set of pieces called Distance Musics in the mid-1980s; the title then became attached both to the software itself (several generations thereof) as well as to a number of compositions of radically different form and character that resulted from its use. This situation shows something of the nature of Polansky’s musical and conceptual world, where ideas constantly grow, mutate, and branch out in unexpected directions. There are no clear lines of demarcation between his activities as composer, performer, improviser, theorist, computer musician, teacher, publisher, editor, musicologist: Polansky’s whole artistic endeavor might be thought of as a search for ways of participating responsibly in the complexity and plenitude of the world, and of sharing its abundance with others. The guitar has long been an important component in Polansky’s musical explorations, and this CD has grown from the enthusiasm for his work by the musicians of the Belgian electric guitar quartet ZWERM.