Monday, February 21, 2011

Quick Archive, Mirror and Voynich


Mirror is the score to Miles Okazaki. I'm looking for the CD as we speak on ebay. Incredible complex music, and part of the more recent trend of hyper mathematical music, that I can trace back to Steve Coleman and Vijay Iyer. Oh look, I found it on amazon as an mp3 download for 8.99. Downloading currently!! To be honest I don't know much about this musician, but I am fascinated more by the music if musicians post their scores online. I have bought scores in the past from Tim Berne and John Hollenbeck to better understand their music in their own writings. I even have a few Zorn scores that I have found via friends and interlibrary loan. Maybe I will edit this post or repost when I have heard the music! Looking around I highly reccomend checking out more on his websites, articles, drawings scores, really incredible information!

The other bit I wanted to archive here was this book I found out about via huffingtonpost's site. This is the Voynich Manuscript. It's a remarkable old book, recently carbon dated as being over 600 years old, and is written in a language using symbols that have been so far undecipherable. Their are also pictures related to plants, medicine, astronomy, and other subjects. It immediately struck my attention because of my work with Cornelius Cardew's Treatise, a piece that is slightly familiar, but also completely new and foreign. I would like to possibly study the manuscript (I found it online via a webtorrent as a pdf scan) and try to work out some musical possibilities related to the information concerning the text.

Thursday, February 17, 2011

Michael Pisaro and the List

Michael Pisaro and the List

The following LIST is taken from musical compositions and a few literary works mentioned by Michael Pisaro in “Writing, Music” from the Ashgate Research Compantion to Experimental Music. The chapter that he contributes to this goes into different techniques and processes involved in contemporary music, or even patterns that he has found in different composer’s works. After reading it I found that I knew of some of the music listed, thought of pieces that I knew myself that would have fit in certain sections, but for the most part was left with a lot of gaps in my own musical knowledge as to a lot of the composers, especially post 1980. Essentially this list is personal; I left a lot of scores, and literary works out of the list if I found it extraneous (like mentioning too many by the same person) or if I already had heard/looked at the score to certain things. I now have the task to go through later on and interlibrary loan and hunt down as many of these recordings and scores as possible. Since so much of this chapter is about the process or visual aspect of the composition the score comes first in most cases and recording second. It sounds counterintuitive to researching music, but as John Zorn said, and I paraphrase, “I care more about the process than the sound.”

LIST:

John Cage – Winter Music (1957)

Alvin Lucier – Queen of the South

George Brecht – Water Yam

John Cage – Concert for piano and orchestra 1957-58

John Cage – Atlas Elipticalis

Mallarme – Un coup de des

MUSIC WITH “THE POINT”

James Tenney – Spectral Canon for Conlon Nancarrow (1974)

James Tenney – Flocking (1993)

George Brecht – Time-table music (1959)

George Brecht – Candle Piece for radios (1960)

George Brecht – Symphony (1962)

Antoine Beuger – second music for Marcia hafif (1994)

Michael Pisaro – a certain species of eternity (1996)

MUSIC WITH “NUMBERS”

John Cage – Solo for Piano

Morton Feldman – Ixoin (1962)

Jurg Frey – Die meisten Sachen macht man selten (1) (1994/7) for percussion

Manfred Werder – (ein(e) ausfuhrende(r), 2 ausfuhrende (1999)

John Cage – Two for flute and piano (1987)

Antoine Beuger – ockeghem octets

Antoine Beuger – badiou tunings for eighteen

MUSIC WITH “THE GRID”

Michael Pisaro – ricefall (2004)

Michael Pisaro – A wave and waves (2007)

Michael Pisaro – nachtstimmung (2008)

MUSIC WITH “THE LINE”

John Cage – Ryoanji (1983-85)

Alvin Lucier – Still Lives

Alvin Lucier – Panorama (1993)

Alvin Lucier – Diamonds for 1, 2 or 3 orchestras (1999)

Craig Shepard – Lines (1) (1999)

MUSIC WITH “THE PAGE”

John Cage – Variations

Antoine Beuger – dialogues (silences) (1993)

Antoine Beuger – things taking place (1994)

Michael Pisaro – leaves (1994)

MUSIC WITH “THE IMAGE”

John Cage – Variations series (1958-1966)

John Cage and Alison Knowles – Notations

James Tenney – Critical Band (1988)

Jurg Frey, Manfred Werder, Markus Trunk, Sam Mirelman, Michael Winter, Tashi Wada ­- Miscellaneous scores

MUSIC WITH “PROSE”

Pauline Oliveros – Sonic Meditations

Pauline Oliveros – Deep listening pieces

John Cage – Lecture on nothing

Robert Ashley – Private parts (the record) (1977)

Mike Richard – Affects, Affections 1-4 (2002)

MUSIC WITH “THE LIST”

Alvin Lucier – Chambers (1968)

Antoine Beuger – calme etendue (1996-1997)

Jurg Frey – Lovaty (1996)

MUSIC WITH “THE POEM”

John Cage – Roaratorio: an Irish circus on Finnegans Wake (1979)

Nathalie Sarraute – Tropismes (1957)

Yoko Ono – Grapefruit

Yoko Ono – EARTH PIECE

Yoko Ono – Map Piece

Antoine Beuger – ein ton, eher kurz, sehr leise

Manfred Werder – 2008 (3)

MUSIC WITH “THE TITLE”

George Brecht – TRUMPET

MUSIC WITH “DURATION”

Manfred Werder – 2005 (1)

Manfred Werder – 2006 (1)

Manfred Werder – 2006 (2)

John Cage – Williams Mix (1952)

John Cage – Radio Music (1956)

John Cage – Fontana Mix (1958)

Kunsu Shim – expanding space in limited time (1994)

Carlo Inderhee – fur sich (1997)

Carlo Inderhee – Stimmen (2001)

MUSIC WITH “LEAVING THINGS OUT”

Morton Feldman – his pieces with very little dynamic specification

MUSIC WITH “TRANSCRIPTION”

Peter Ablinger – Quadraturen

Alvin Lucier – Letters (1992)

MUSIC WITH “WRITING AS A PROCESS”

John Cage – 0’00’’

Antoine Beuger – auch da

Antoine Beuger – aus den liedern

James Saunder - #[unassigned]

Manfred Werder – stuck 1998

Manfred Werder – (_ausfuhrende)

Michael PIsaro’s “A small manifesto” at the end of the chapter:

“What writing music comes down to, in the end, is care. We create situations. We care about them and take care of them. And we care for the people involved.”