inside cover cover 1. Annie Gosfield others. Her music has been performed at Warsaw Autumn, the Anton Fier, the Golden Palominos, Peter Gordon's Love of Life music is performed by groups ranging from the Grammy- Hexa (1988) is one of six mu- part was composed to intertwine with the tap dance part. Don’t Bite the Hand that Feeds Back (3:24) Bang on a Can Marathon, ISCM, the Venice Biennale, Settem- Orchestra. winning Chestnut Brass Company to The Eastman School of sic/tap dance works co-created The object of the live electronics – sometimes processing the bre Musica, OtherMinds Festival, Lincoln Center, The Kitchen, >www.vantieghem.com Music. He himself has played at such diverse venues as The by tap dance choreographer percussion, sometimes the tap, and sometimes both – was I performed Don’t Bite the Hand that Feeds Back live in and many other venues worldwide. Gosfield held the Darius Performed by David Van Tieghem. Composed, Vatican and The US Tennis Open. Anita Feldman and composer to support the sound and the dancers' movement, to add its the studio without overdubs, using an Ensoniq ASR-10 sampler Milhaud chair of composition at Mills College, and taught at performed, recorded & produced in Woodstock, NY, by David His latest explorations in composition have brought him Lois V Vierk during the 1980s own character and momentum, and to help the sounds and loaded with samples of prepared piano and inside-the-piano Princeton University and CalArts. Several of Annie's essays on Van Tieghem (ASCAP). Published by Boomer Music (ASCAP). to Bridge Music. This "audacious plan" (New York Times) to and 90s. This piece was the movement coalesce into a whole. sounds. The samples were recorded on a Kasuga-brand music were published in the New York Times' contemporary Special thanks to Kim Cullen, Brandon Wolcott, Cate Wood- compose music for a suspension bridge using the bridge itself inaugural work for Feldman's Tap Dance Instrument. It had >www.loisvvierk.com portable cassette recorder; a cheap Walkman knockoff that had music series "The Score". ruff, and Zoë Van Tieghem. as the instrument has brought Bertolozzi sustained interna- long been Feldman's belief that music made by the feet was Hexa was commissioned by AT&T Foundation and the the unusual characteristic of feeding back and creating waver- >www.anniegosfield.com tional attention. His CD Bridge Music entered the Billboard equal to music made by musical instruments. Desiring to American Dance Festival, and premiered at the American ing drones and odd frequencies. Even when it behaved itself, it Performed by Annie Gosfield, sampling keyboard. 3. Joseph Bertolozzi Classical Crossover Charts at #18. dance on an instrument that would allow the dancers' feet to Dance Festival in Durham, North Carolina, 1988. The Tap had its own idiosyncratic sound. The Kasuga’s technology had Engineered by Leslie Lavenet at Harvestworks, NYC, as part of "Meltdown" from Bridge Music (5:47) His concert music and theatrical scores have also enjoyed make resonant and varied music in any performance situa- Dance Instrument was designed and built with funds from gone the way of the wax cylinder, but in the 1990's it wound a Harvestworks AIR residency. Produced by Annie Gosfield and particular success, including The Contemplation of Bravery, tion, she joined forces with San Francisco instrument builder the National Endowment for the Arts. up being an integral part of my sound world, along with my Roger Kleier. Thanks to Harvestworks, Cristian, and Philip. Joseph Bertolozzi's Bridge Music is a site-specific sound an official Bicentennial commission for The US Military Daniel Schmidt to design the modular and portable Tap Recorded and mixed by Don Hunerberg, Pyramid Studios, trusty forty-pound sampler. The samples that I recorded inside art installation featuring only the sounds of New York’s Academy at West Point, and his incidental score to Waiting Dance Instrument, which was then constructed by Schmidt NYC, 1989-90. Digital audio edit by Scott Lehrer, 2nd Story the piano for this piece include: string scrapes, marbles rolling 2. David van Tieghem Mid-Hudson Bridge. Originally conceived as a series of live for Godot at the 1991 Festival Internationale de Café Theatre in 1987. The Tap Dance Instrument consists of six platforms, Sound, NYC, 2010. on the strings, and percussive hits made by striking the piano Waiting for the Gizmo – No. 1 (3:32) concerts, the massive cost of producing such an event proved in Nancy, France. He also has a large body of liturgical music each about nine inches off the ground. Three of the modules strings with the Kasuga itself. I performed this piece frequently too formidable, and the project evolved into a permanent in- for use in both Christian and Jewish worship. are hexagons approximately five feet across, made of differ- 5. Bruce Gremo in solo and duo concerts in the late ‘90’s. Most of the clubs Waiting For The Gizmo – No. 1 was originally com- stallation where listeners can go onto the Mid Hudson Bridge Realized by Joseph Bertolozzi. Meltdown was originally ent woods and constructed in varying ways, so that they have ScascadeHo (11:44) that I played in at the time did not have a grand piano, so I missioned by Elizabeth Streb for the STREB Lab for Action itself and hear the music. The installation consists of two released on the 2009 CD Bridge Music on the Delos label individual resonances and timbres. A fourth platform is the Bruce Gremo, shakuhachi created a library of sounds that could be accessed anywhere Mechanics (S.L.A.M.). components: [1] audio speakers mounted at two Listening (DE1045). Engineer: Ron Kuhnke for K-Town Studios; "tap marimba" with seven pitched keys. These large wooden Producer: Joseph Bertolozzi. Bridge Music was made possible keys can be replaced with alternates, so a number of tunings using my sampling keyboard. Don’t Bite the Hand that Feeds David van Tieghem has composed dance scores for Twyla Stations on the bridge's towers that play Bertolozzi's original ScascadeHo is the last of nine pieces from ChoshiShoes, by the cooperation and support of The New York State are possible. The remaining two platforms are smaller and Back was recorded in 1998 during a residency at Harvestworks Tharp, Doug Varone, Michael Moschen, Jennifer Muller, La La ten tracks at the touch of a button, and [2] an FM stereo a suite for Japanese shakuhachi and two computers. The Bridge Authority, John Tkazyik, Mayor of Poughkeepsie, Ray are topped with thick brass slabs. They ring like bells, one that also produced my 1998 Tzadik CD Burnt Ivory and Loose Human Steps, Hilary Easton, Elisa Monte, Wendy Perron, Dawn transmission 24 hours a day on 95.3FM within the parks computer applications (MSP) are pitch-tracking intensive. Costantino, Supervisor of the Town of Lloyd, Senator Stephen higher pitched and the other lower. Wires. Saito, and others. Film scores: Eye of God, My Father is Com- surrounding the bridge. Directions and other information are Raw data are generated by analyzing the sonic and musical Saland, Congressman Maurice Hinchey, The Dutchess County Hexa was named for all the sixes in the piece (hexagonal Hailed as "A star of the downtown scene" by The New ing, Penn & Teller’s Invisible Thread, Working Girls. Albums: available at: material through a microphone. Continuous, dynamic, and Regional Chamber of Commerce, Dutchess County Tourism, floor shapes, six feet on the Tap Dance Instrument, six Yorker, Annie Gosfield lives and works in New York City. She Thrown For A Loop, These Things Happen, Safety In Numbers, >www.josephbertolozzi.com. networked control data are derived, and routed to idiosyn- Ulster County Tourism, the Poughkeepsie Hudson-Fulton- percussion instruments played by the musician) and for the divides her time between performing on piano and sampler Strange Cargo. He has performed his solo percussion-theater The poet Goethe is attributed with saying “Architecture is cratic sound generating routines (cascading and additive FM, Champlain Quadricentennial Commission, and the patronage magical connotations of "hex" and "hex signs". Opening with her own group, and composing for many ensembles and work throughout the world, including Carnegie Hall, Alice frozen music.” And so Bridge Music’s opening number melts granulation, spectral processing, and sound-file manipula- of many individuals and local businesses. the work, tap dancers' feet play a tune on the tap marimba, soloists. Her music often explores the inherent beauty of non- Tully Hall, BAM, the Knitting Factory, the Kitchen, Town this great work of bridge architecture back into music. Every tion). accompanied by the percussionist's muted cymbals. Dancers' musical sounds, such as machines, destroyed pianos, warped Hall, the New Music America festivals, the Festival d’Automne available surface of the bridge is used in this piece; a calling Such 'application composition' is rule bound: structure arms, legs, and bodies create visual designs as the tune moves 78 r.p.m. records, and detuned radios. She frequently combines in Paris, and the Venice Biennale. His video collaboration card, as it were, to the public that this is what a bridge can 4. Lois V Vierk and Anita Feldman is pre-determined as an if-then consequence logic. Form and the three performers back and forth across the tap marimba. acoustic instruments with electronics, creating compositions with John Sanborn, Ear to the Ground, is an international sound like. Varying phrase lengths for the main melodic Hexa (11:42) specific musical contents are encouraged, as initiatives of the Gradually the dancers move to non-pitched wood platforms such as EWA7 for percussion, guitar, and factory sounds, favorite. As percussionist: Steve Reich, Laurie Anderson, Eno, material and a constant shifting of its position over the Three tap dancers on Tap Dance Instrument player.