From electric.tokyo at gmail.com  Sun Dec  2 09:06:27 2007
From: electric.tokyo at gmail.com (Travis Johns)
Date: Sun, 2 Dec 2007 10:06:27 -0700
Subject: [NewMusic] northeastern venues, etc?
Message-ID: <d3165c060712020906h4c2fd6a6y4c3871a68a241ab5@mail.gmail.com>

everyoneanyone:

hey, can anyone recommend any experimental/noise friendly venues, etc
on the east coast, mainly in new england, boston & upstate new york?
currently working on booking
an east coast jaunt in late jan. w. vslykon (duo me+ayako kataoka -
electronic folk fr
sleepwakers-y sounding - myspace/vslykon) & sadjeljko (brooklyn based
sereno-noise myspace/sadjeljko) - theres 2 dates were looking to fill
(jan 19+20) and im kinda striking out ala who and what i know round
those parts... anyone care to lend a hand or a suggestion? much
appreciative i would be. drop line, yes?

t.

From 21grand at 21grand.org  Sun Dec  2 14:46:03 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sun, 02 Dec 2007 14:46:03 -0800
Subject: [NewMusic] Mills show this afternoon
In-Reply-To: <mailman.5.1196485204.16275.newmusicevents@music.mills.edu>
Message-ID: <C37875AB.23E45%21grand@21grand.org>

Can someone tell me whether there will be a reception after this concert
replete w/yummy snacks?  Any knowledge/estimation of the yumminess of snacks
would be appreciated as well!

thanks,

sl
> 
> Message: 3
> Date: Fri, 30 Nov 2007 11:34:29 -0800
> From: Steed Cowart <steed at mills.edu>
> Subject: [NewMusicEvents] Mills Contemporary Performance Ensemble -
> December    2
> Message-ID: <1196451269.475065c5c5c1a at webmail.mills.edu>
> Content-Type: text/plain; charset=ISO-8859-1
> 
> The Mills College Music Department and the Center for Contemporary Music
> present
> 
> CONTEMPORARY PERFORMANCE ENSEMBLE
> 
> CPE presents a concert of music for mixed ensemble by new Mills faculty
> composer Roscoe Mitchell (Darius Milhaud Chair in Music Composition)
> and renowned Bay Area composer Terry Riley. Each performer in
> Mitchell?s ?Cards? has a deck of six cards of music, which can be
> shuffled, dealt, and played in any order. Riley?s ?In C? consists of
> fifty-three cells of music to be performed sequentially, but not
> simultaneously, by the ensemble.
> 
> Roscoe Mitchell: Cards
> Terry Riley: In C
> 
> Sunday, December 2, 2007
> 5:00pm
> Lisser Hall
> Free admission


From michaelz at zoka.com  Mon Dec  3 19:58:27 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Mon, 3 Dec 2007 19:58:27 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh (was Re: From
 "Reinventing Record Deals")
In-Reply-To: <20071127.155951.2272.30.weaselw@juno.com>
References: <20071127.155951.2272.30.weaselw@juno.com>
Message-ID: <p0602049ec37a7db19266@[192.168.0.5]>

On 11/27/07, weasel walter wrote:

>most current music magazines all suck shit, that's for sure. it's all
>pandering idiocy. all these inept "critics" should be rounded up and shot
>en masse.

Care to comment on the review of the latest XBXRX album in the current Wire?

A quick excerpt:

"Moments of brilliance jaw with swathes of moronic clattering from 
drummer Weasel Walter, and the gloriously sloppy delay of the bass in 
'Chaired' offsets fast, shapeless percussion within the opening bars."

(I, for one, look forward to one of Weasel's snappy comebacks here.)

MZ




--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From weaselw at juno.com  Tue Dec  4 01:35:24 2007
From: weaselw at juno.com (weasel walter)
Date: Tue, 4 Dec 2007 01:35:24 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh (was Re: From
	"Reinventing Record Deals")
Message-ID: <20071204.013525.4100.118.weaselw@juno.com>

> A quick excerpt:
> 
> "Moments of brilliance jaw with swathes of moronic clattering from 
> drummer Weasel Walter, and the gloriously sloppy delay of the bass 
> in 'Chaired' offsets fast, shapeless percussion within the opening 
> bars."
> 
> (I, for one, look forward to one of Weasel's snappy comebacks 
> here.)

there isn't really anything to say. i'm only curious who wrote it.

ww

From jon_raskin at yahoo.com  Tue Dec  4 09:18:30 2007
From: jon_raskin at yahoo.com (Jon Raskin)
Date: Tue, 4 Dec 2007 09:18:30 -0800 (PST)
Subject: [NewMusic] nokia survey
Message-ID: <46608.6629.qm@web55601.mail.re4.yahoo.com>

Interesting Survey by Nokia on content delivery that seems applicable  to the arts as well.  I'm curious about our newsletter online activity interms of finding out about art, creating art, purchasing art or materials to support creating versus brick and mortar stores, going to live music and the like.

http://www.nokia.com/A4136001?newsid=1172517
 
Jon Raskin

From michaelz at zoka.com  Tue Dec  4 12:20:17 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Tue, 4 Dec 2007 12:20:17 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh
In-Reply-To: <20071204.013525.4100.118.weaselw@juno.com>
References: <20071204.013525.4100.118.weaselw@juno.com>
Message-ID: <p060204a1c37b40e87ef5@[192.168.0.5]>

On 12/4/07, weasel walter wrote:

>  > A quick excerpt:
>>
>>  "Moments of brilliance jaw with swathes of moronic clattering from
>>  drummer Weasel Walter, and the gloriously sloppy delay of the bass
>>  in 'Chaired' offsets fast, shapeless percussion within the opening
>>  bars."
>>
>>  (I, for one, look forward to one of Weasel's snappy comebacks
>>  here.)
>
>there isn't really anything to say. i'm only curious who wrote it.
>
>ww


It's credited to a Jennifer Allan.

MZ


--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From weaselw at juno.com  Tue Dec  4 14:55:09 2007
From: weaselw at juno.com (weasel walter)
Date: Tue, 4 Dec 2007 14:55:09 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh
Message-ID: <20071204.150155.4100.134.weaselw@juno.com>

> It's credited to a Jennifer Allan.

when people write reviews like she's written for my group, honestly the
first thing i think is "where is this person coming from?" i can't decide
if she's a rock person who hates improvisation or an improvisation person
who hates me personally, or . . . the review seems more about her complex
expectations about my band rather than the music. 

ww 

From praemedia at yahoo.com  Tue Dec  4 15:16:05 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 4 Dec 2007 15:16:05 -0800 (PST)
Subject: [NewMusic] scores
Message-ID: <238458.70621.qm@web51609.mail.re2.yahoo.com>

anyone out there have any scores/sheet music to any
pieces from Antonioni film?

or a place they can be found?

cheers 

lance


      ____________________________________________________________________________________
Looking for last minute shopping deals?  
Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From jacobmakesnoise at yahoo.com  Tue Dec  4 16:31:16 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Tue, 4 Dec 2007 16:31:16 -0800 (PST)
Subject: [NewMusic] scores
In-Reply-To: <238458.70621.qm@web51609.mail.re2.yahoo.com>
Message-ID: <928360.26302.qm@web58006.mail.re3.yahoo.com>

try greenlief......


--- Praemedia <praemedia at yahoo.com> wrote:

> anyone out there have any scores/sheet music to any
> pieces from Antonioni film?
> 
> or a place they can be found?
> 
> cheers 
> 
> lance
> 
> 
>      
>
____________________________________________________________________________________
> Looking for last minute shopping deals?  
> Find them fast with Yahoo! Search. 
>
http://tools.search.yahoo.com/newsearch/category.php?category=shopping
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 


Jacob Lindsay
http://www.bayimproviser.com/artistdetail.asp?artist_id=44


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From pgsaxo at pacbell.net  Tue Dec  4 16:36:14 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Tue, 4 Dec 2007 16:36:14 -0800 (PST)
Subject: [NewMusic] scores
In-Reply-To: <928360.26302.qm@web58006.mail.re3.yahoo.com>
Message-ID: <172885.59381.qm@web81411.mail.mud.yahoo.com>

I have charts for the themes from LaAvventura and L'Eclisse - I also have recordings from those films and could lend them to you. I started to transcribe some of the other film score tracks, but didn't finish it up...
   
  PG

Jacob Lindsay <jacobmakesnoise at yahoo.com> wrote:
  try greenlief......


--- Praemedia 
wrote:

> anyone out there have any scores/sheet music to any
> pieces from Antonioni film?
> 
> or a place they can be found?
> 
> cheers 
> 
> lance
> 
> 
> 
>
____________________________________________________________________________________
> Looking for last minute shopping deals? 
> Find them fast with Yahoo! Search. 
>
http://tools.search.yahoo.com/newsearch/category.php?category=shopping
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 


Jacob Lindsay
http://www.bayimproviser.com/artistdetail.asp?artist_id=44


____________________________________________________________________________________
Never miss a thing. Make Yahoo your home page. 
http://www.yahoo.com/r/hs
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From 21grand at 21grand.org  Wed Dec  5 08:32:32 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Wed, 05 Dec 2007 08:32:32 -0800
Subject: [NewMusic] NewMusic Digest, Vol 20, Issue 3
In-Reply-To: <mailman.1.1196830804.16083.newmusic@music.mills.edu>
Message-ID: <C37C12A0.24052%21grand@21grand.org>

Well, I'm sure Mr. Slusser would appreciate that the first results in a
google search for the writer's name yielded an actress that had appeared in
videos produced by Playboy, but I doubt that is our gal.

She appears to be a UK based writer, fairly young, or young to writing (as I
can't find many publication credits to her name) based in the UK with more
of a background in pop/rock music.

Reading the full review, it does seem that the writer had set perceptions or
expectations, and the review seemed a bit unsure of itself.

Now Mr. Zelner, since you brought it up, you get to come up with the
promotional pull quotes you do so well!

sl
> 
> Message: 4
> Date: Tue, 4 Dec 2007 14:55:09 -0800
> From: weasel walter <weaselw at juno.com>
> Subject: Re: [NewMusic] Perfume of a Critic's Burning Flesh
> To: newmusic at music.mills.edu
> Cc: newmusic at music.mills.edu
> Message-ID: <20071204.150155.4100.134.weaselw at juno.com>
> Content-Type: text/plain; charset=us-ascii
> 
>> It's credited to a Jennifer Allan.
> 
> when people write reviews like she's written for my group, honestly the
> first thing i think is "where is this person coming from?" i can't decide
> if she's a rock person who hates improvisation or an improvisation person
> who hates me personally, or . . . the review seems more about her complex
> expectations about my band rather than the music.
> 
> ww 
> 


From slusser at pixar.com  Wed Dec  5 17:18:38 2007
From: slusser at pixar.com (David Slusser)
Date: Wed, 5 Dec 2007 17:18:38 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh
In-Reply-To: <C37C12A0.24052%21grand@21grand.org>
References: <C37C12A0.24052%21grand@21grand.org>
Message-ID: <4CD6600F-F2AD-4989-9778-9C0362355B40@pixar.com>

Are you trying to get a rise out of me?
Does association with the PornOrchestra
sully my reputation as a perfect gentleman?
I only come for the music (which was
exemplary at our last ATA show).

Writing about music is a vain exercise
in both senses of the word.  The "moronic
clatter" in this instance belonged instead
to the reviewer.  When people see themselves
as critics, do they feel the obligation to
criticize?  I prefer simple reportage, and if
the writer is informed, then informed
analysis.  Point of view (also called bias)
is inevitable in reportage, but at least takes
a back seat to getting the facts straight.

Criticism, though, is much more entertaining
(see Slonimsky's Lexicon of Musical Invective).
What's bothersome is how media conglomerates
have co-opted some of these people into cultural
arbiters.

On Dec 5, 2007, at 8:32 AM, Sarah - 21 Grand wrote:
> Well, I'm sure Mr. Slusser would appreciate that the first results  
> in a
> google search for the writer's name yielded an actress that had  
> appeared in
> videos produced by Playboy, but I doubt that is our gal.
>
> She appears to be a UK based writer, fairly young, or young to  
> writing (as I
> can't find many publication credits to her name) based in the UK  
> with more
> of a background in pop/rock music.
>
> Reading the full review, it does seem that the writer had set  
> perceptions or
> expectations, and the review seemed a bit unsure of itself.
>
> Now Mr. Zelner, since you brought it up, you get to come up with the
> promotional pull quotes you do so well!
>
> sl
>>
>> Message: 4
>> Date: Tue, 4 Dec 2007 14:55:09 -0800
>> From: weasel walter <weaselw at juno.com>
>> Subject: Re: [NewMusic] Perfume of a Critic's Burning Flesh
>> To: newmusic at music.mills.edu
>> Cc: newmusic at music.mills.edu
>> Message-ID: <20071204.150155.4100.134.weaselw at juno.com>
>> Content-Type: text/plain; charset=us-ascii
>>
>>> It's credited to a Jennifer Allan.
>>
>> when people write reviews like she's written for my group,  
>> honestly the
>> first thing i think is "where is this person coming from?" i can't  
>> decide
>> if she's a rock person who hates improvisation or an improvisation  
>> person
>> who hates me personally, or . . . the review seems more about her  
>> complex
>> expectations about my band rather than the music.

From mattdavignon at gmail.com  Wed Dec  5 18:03:52 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Wed, 5 Dec 2007 18:03:52 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh
In-Reply-To: <4CD6600F-F2AD-4989-9778-9C0362355B40@pixar.com>
References: <C37C12A0.24052%21grand@21grand.org>
	<4CD6600F-F2AD-4989-9778-9C0362355B40@pixar.com>
Message-ID: <c70e517b0712051803j7a4d3da7y9992b4f037e16013@mail.gmail.com>

I think without criticism, reviews would be pretty boring.... and I
also think the purpose of them is to give a verbal description of what
the readers of whatever publication might think when hearing the
record. I wouldn't have much interest in them if they simply rehashed
the data in the liner notes.

The positive thing about the phrase "moronic clatter" is that it's
descriptive enough so that people who *are* fans of the music might
read it, and understand it as a reference to a style of drumming they
enjoy.

I got a clearly negative review (pasted below) a while back. Clearly
it's from someone who's not used to hearing music without riffs and
rhythms. Somehow it made the positive reviews not feel like automatic
non-confrontational praise. Another review criticized the music by
calling it 'naive'. I actually felt pretty good about that one - naive
was one of the directions I had been aiming for.

Matt Davignon - Soft Wet Fish

If pushed to place Soft Wet Fish in a genre, your best bet might be
"Experimental Electronic Ambient." To its credit, the record
challenges the listener and their boundaries. But, you'd be
hard-pressed to associate a track title on this album to its
respective track. The whole album sounds exactly the same. The only
way to listen to the album is in its entirety, and you probably won't
find yourself doing it again. Finding any structure, such as a rhythm,
or even considering the album music, is a challenge. However, it's not
hard to listen to if you simply think of it as a musical experience,
instead of actual music. Don't expect to show off your favorite track
to your friends, but do expect to hear something "different".
Honestly, unless you want to expand your musical experience, or chalk
this record up to pseudo-intellectual fodder, you can pretty much
judge the quality of Soft Wet Fish by its title.


Matt

On Dec 5, 2007 5:18 PM, David Slusser <slusser at pixar.com> wrote:
> Are you trying to get a rise out of me?
> Does association with the PornOrchestra
> sully my reputation as a perfect gentleman?
> I only come for the music (which was
> exemplary at our last ATA show).
>
> Writing about music is a vain exercise
> in both senses of the word.  The "moronic
> clatter" in this instance belonged instead
> to the reviewer.  When people see themselves
> as critics, do they feel the obligation to
> criticize?  I prefer simple reportage, and if
> the writer is informed, then informed
> analysis.  Point of view (also called bias)
> is inevitable in reportage, but at least takes
> a back seat to getting the facts straight.
>
> Criticism, though, is much more entertaining
> (see Slonimsky's Lexicon of Musical Invective).
> What's bothersome is how media conglomerates
> have co-opted some of these people into cultural
> arbiters.
>
> On Dec 5, 2007, at 8:32 AM, Sarah - 21 Grand wrote:
> > Well, I'm sure Mr. Slusser would appreciate that the first results
> > in a
> > google search for the writer's name yielded an actress that had
> > appeared in
> > videos produced by Playboy, but I doubt that is our gal.
> >
> > She appears to be a UK based writer, fairly young, or young to
> > writing (as I
> > can't find many publication credits to her name) based in the UK
> > with more
> > of a background in pop/rock music.
> >
> > Reading the full review, it does seem that the writer had set
> > perceptions or
> > expectations, and the review seemed a bit unsure of itself.
> >
> > Now Mr. Zelner, since you brought it up, you get to come up with the
> > promotional pull quotes you do so well!
> >
> > sl
> >>
> >> Message: 4
> >> Date: Tue, 4 Dec 2007 14:55:09 -0800
> >> From: weasel walter <weaselw at juno.com>
> >> Subject: Re: [NewMusic] Perfume of a Critic's Burning Flesh
> >> To: newmusic at music.mills.edu
> >> Cc: newmusic at music.mills.edu
> >> Message-ID: <20071204.150155.4100.134.weaselw at juno.com>
> >> Content-Type: text/plain; charset=us-ascii
> >>
> >>> It's credited to a Jennifer Allan.
> >>
> >> when people write reviews like she's written for my group,
> >> honestly the
> >> first thing i think is "where is this person coming from?" i can't
> >> decide
> >> if she's a rock person who hates improvisation or an improvisation
> >> person
> >> who hates me personally, or . . . the review seems more about her
> >> complex
> >> expectations about my band rather than the music.
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From weaselw at juno.com  Wed Dec  5 18:27:24 2007
From: weaselw at juno.com (weasel walter)
Date: Wed, 5 Dec 2007 18:27:24 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh
Message-ID: <20071205.182731.5464.28.weaselw@juno.com>

 On Wed, 5 Dec 2007 18:03:52 -0800 "Matt Davignon"
<mattdavignon at gmail.com> writes:
> I think without criticism, reviews would be pretty boring.... 

i rarely find many reviews that have any sort of valid criticism positive
or negative. what passes for "music criticism" in many idioms consists of
this very narrow style of exposition and description. it is cranked out
with little effort or thought by the majority of these hacks. their
self-importance is generally directly proportionate to their ineptitude. 


> The positive thing about the phrase "moronic clatter" is that it's
> descriptive enough so that people who *are* fans of the music might
> read it, and understand it as a reference to a style of drumming 
> they enjoy.

ha ha ha. yes. i think we agree about that!!!!

ww

From weaselw at juno.com  Wed Dec  5 18:23:29 2007
From: weaselw at juno.com (weasel walter)
Date: Wed, 5 Dec 2007 18:23:29 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh
Message-ID: <20071205.182731.5464.27.weaselw@juno.com>

> Writing about music is a vain exercise
> in both senses of the word.  The "moronic
> clatter" in this instance belonged instead
> to the reviewer.  

my primary problem with the review is not that she didn't really like it,
but rather that it seems like the writer a person who specifically enjoys
"indie rock" and "electronica" (musics that predominately seem to depend
in linear narrative and steady isorhythms) and is reviewing an album of
improvised abstract music using innappropriate criteria and perspective. 

of all the reviewers at The Wire, why the hell did this particular person
get to review it? wouldn't it have been more interesting to have someone
who actually has a relation to improvised music give a
positive/neutral/negative criticism of what is essentially a totally
improvised offering by a rock band that is normally associated with
playing predetermined songs? i think i'd we'd all be more interested in
reading about that. 

instead i get a 19 year old ATP-worshipping "critic" telling me that my
drumming is "pointless" or whatever she said. you might as well hand a
xenakis record to a mushroom or a gorilla and see what it thinks about
it. 

now you know why i want to round them all up and shoot them. 

ww

From michaelz at zoka.com  Wed Dec  5 18:24:45 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Wed, 5 Dec 2007 18:24:45 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh
In-Reply-To: <C37C12A0.24052%21grand@21grand.org>
References: <C37C12A0.24052%21grand@21grand.org>
Message-ID: <p060204abc37ca0973aa9@[192.168.0.5]>

On 12/5/07, Sarah - 21 Grand wrote:

>Well, I'm sure Mr. Slusser would appreciate that the first results in a
>google search for the writer's name yielded an actress that had appeared in
>videos produced by Playboy, but I doubt that is our gal.

Not unless she listed "experimental improv avant-rock" in her Playmate bio.

>She appears to be a UK based writer, fairly young, or young to writing (as I
>can't find many publication credits to her name) based in the UK with more
>of a background in pop/rock music.

She writes for AngryApe, a site that caters to fans of "indie" rock/pop.

<http://angryape.com/authors/a/jennifer-allan>

>Reading the full review, it does seem that the writer had set perceptions or
>expectations, and the review seemed a bit unsure of itself.
>
>Now Mr. Zelner, since you brought it up, you get to come up with the
>promotional pull quotes you do so well!

This one's tough. The best I could come up with was:


XBXRX - Sounds (Important Records, 2007)

"Moments of brilliance!"

"Drummer Weasel Walter [is]. . . gloriously. . . fast!"

"Ferocious [and]. . . sincere!"

	-- Jennifer Allan, The Wire (Dec. 2007)


MZ

--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From mhenry at crypticstudios.com  Wed Dec  5 22:12:57 2007
From: mhenry at crypticstudios.com (Michael Henry)
Date: Wed, 5 Dec 2007 22:12:57 -0800
Subject: [NewMusic] Perfume of a Critic's Burning Flesh (weasel walter)
References: <mailman.1.1196917203.17273.newmusic@music.mills.edu>
Message-ID: <75DAF0131F83954E9E91C128EF9C7D8318AE08@galaxy.paragon.crypticstudios.com>

>i rarely find many reviews that have any sort of valid criticism positive
>or negative. what passes for "music criticism" in many idioms consists of
>this very narrow style of exposition and description. it is cranked out
>with little effort or thought by the majority of these hacks. their
>self-importance is generally directly proportionate to their ineptitude. 

I was once present at a concert (in my undergraduate daze...at a reasonably major
conservatory), where Donald Erb was being honored, and in honor of Donald Erb
there was of course an all-Erb concert.

I sat behind Erb, who was seated next to my composition teacher (now deceased), and
afterwards, my teacher introduced Erb to the local music "critic" who was present.

This "critic" (who has since gone on to the "big apple" and I hate to say is widely 
quoted these days...well, OK....he pens crap for Neo-con Norman Podhoretz at Commentary, 
and is often in the found lurking in the same milieu of the likes of Alex Ross and 
such....a "witty pointificator" on many topics -- not just music, mind you -- but 
then, I digress)....anyway, he was introduced to Erb, and there was the usual 
obligatory handshaking, and the "critic" (initials "T.T." for those who are wondering) 
basically offered a few very lame, awkward, and idiotic platitudes (which left both Erb and 
my teacher rather stunned by their stupidity), and then he left.

I recall Erb turning to my teacher, and immediately asking (*standard disclaimer needs to be 
inserted here, since this was nearly 25 years ago, and my memory is therefore suspect) 

"THAT KID is your music critic?"

My teacher responded "Yes...he reviews concerts for the newspaper."

Erb then erupted and said "That BOY is a music critic? (TT was then maybe in his 20's) 

"Why, there should be a law that no person is allowed to criticize  a piece of new music 
until they are at least 60 years old, since you need to spend that many years familiarizing 
yourself with all kinds of music and all of music history in order to be able to pass 
judgment on anything that is new to your ears."

I have to admit that while physical age can be relative, Erb had a point. Much of the 
criticism/"reviews" I read today are (as WW so aptly described it) written by mindless 
pontificators whose "self-importance is generally directly proportionate to their ineptitude."

In other words, I can smell the burning flesh. Burn, baby...burn!



From eneidi at lmi.net  Thu Dec  6 10:51:38 2007
From: eneidi at lmi.net (eneidi at lmi.net)
Date: Thu, 06 Dec 2007 10:51:38 -0800
Subject: [NewMusic] save nickelsdorf jazzgalerie
Message-ID: <20071206105138.fvlmq32yxccsksk0@webmail.lmi.net>

help save the Nickelsdorf Jazz Galerie,  home to the Konfrontationen  
Jazz Festival and Cafe Falb every summer for more than 25 years is in  
danger of being closed at the end of this december. A huge fine has  
been levied by the AKM, austria's version of ASCAP, BMI (read music  
mafia) for performing live music....

just about everyone has performed at the festival or the concert  
series during the year including Sun Ra, Cecil Taylor, and on and on

this is really a desperate last attempt request for financial help  
from/for hans falb

funds can be transfered to account number  30220-010-607  (sorry i  
dont know more specific bank info)

contact hans

www.konfrontationen.at

jazzgalerie at konfrontationen.at



From damon at balancepointacoustics.com  Thu Dec  6 13:40:54 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Thu, 6 Dec 2007 13:40:54 -0800
Subject: [NewMusic] 21grand permit woes/Donations would help!
Message-ID: <421D7219-EA60-4EF2-AA8D-A5C99778A408@balancepointacoustics.com>

I just got a call from Sarah about some of the permit troubles they  
are having at the moment, the call was about the possibility of  
relocating some upcoming shows but it came out  that there are a lot  
of out of pocket expenses involved in solving the problem, not just  
for licenses but measurements, inspections etc.
There is a paypal button here, every little bit will help offset  
these costs:
http://21grand.org/
It goes without saying how much Sarah and Darren have put into giving  
us a place to get our work done.

Damon Smith

http://www.balancepointacoustics.com
http://myspace.com/smithdamon
New solo project:
http://www.myspace.com/damonsmithsolo





From 21grand at 21grand.org  Thu Dec  6 15:25:20 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Thu, 06 Dec 2007 15:25:20 -0800
Subject: [NewMusic]  21grand permit woes/Donations would help!
Message-ID: <C37DC4E0.24169%21grand@21grand.org>

Thanks Damon! And thank you to everyone who has donated so far. I feel like
the biggest jerk right now for jeopardizing this place to play, that is
really there not for my ego, but for you and other artists and musicians to
do your work.

The short story that some of you have heard: this past Saturday night (4
days ago), while investigating the restaurant/bar next door, the OPD's
Alcoholic Beverage Action Team noticed we exist. They came in after our show
was over, though they had heard the music from the show outside. They saw
empty beer bottles, our cooler, and our bar jar - empty.  We were threatened
with being shut down and declared a "public nuisance" if we didn't get a
cabaret permit or special events permit, alcohol or not. We are working on
getting these things, but it takes time and visits to multiple government
agencies and the requisite departmental chain of command buck-passing.

If we were to get caught having a public event without permits, we could get
cited and fined, and this would have a negative effect on our prospects of
getting a cabaret permit.  This is to some degree a real-world application
of the principles/skills of improvisation ... and I'd argue limb
independence as well.

I have been asked what our financial goal is. We don't know how much this is
all going to cost, and I'm trying not to let the 0s at the end of these
things make me reach for the vodka on top of the fridge.

But to give people some idea:
Fire inspection and permits: so far - $430
mapping and research (to tell us if we're over 300 ft. away from a church,
school or library) - $133
Conditional use permit - $1900
Cabaret permit application fee - $600

we may have to do things like get a man/pass door installed in our roll up
door and get a sprinkler system.  We do not know yet, but I know that we
will have to pay and wait for them to tell us.

sl


From mattdavignon at gmail.com  Thu Dec  6 15:53:50 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 6 Dec 2007 15:53:50 -0800
Subject: [NewMusic] 21grand permit woes/Donations would help!
In-Reply-To: <C37DC4E0.24169%21grand@21grand.org>
References: <C37DC4E0.24169%21grand@21grand.org>
Message-ID: <c70e517b0712061553u11aafc00q4ff1083d31211a91@mail.gmail.com>

On Dec 6, 2007 3:25 PM, Sarah - 21 Grand <21grand at 21grand.org> was like:
> Thanks Damon! And thank you to everyone who has donated so far. I feel like
> the biggest jerk right now for jeopardizing this place to play, that is
> really there not for my ego, but for you and other artists and musicians to
> do your work.

I don't see how you've done anything to jeopardize the place to play
(except for that you provided a place to musicians to play and for
some empty beer bottles to sit). It sounds like most of these are a
result of there being a space where people like to congregate for
entertainment.

Matt

From tim at perkis.com  Thu Dec  6 16:09:06 2007
From: tim at perkis.com (Tim Perkis)
Date: Thu, 06 Dec 2007 16:09:06 -0800
Subject: [NewMusic] 21grand permit woes/Donations would help!
In-Reply-To: <c70e517b0712061553u11aafc00q4ff1083d31211a91@mail.gmail.com>
References: <C37DC4E0.24169%21grand@21grand.org>
	<c70e517b0712061553u11aafc00q4ff1083d31211a91@mail.gmail.com>
Message-ID: <47588F22.7050301@perkis.com>

oakland pay forest city... yoshi's ... hassle 21 grand .... grrr (teeth 
gnashing)


Matt Davignon wrote:
> On Dec 6, 2007 3:25 PM, Sarah - 21 Grand <21grand at 21grand.org> was like:
>   
>> Thanks Damon! And thank you to everyone who has donated so far. I feel like
>> the biggest jerk right now for jeopardizing this place to play, that is
>> really there not for my ego, but for you and other artists and musicians to
>> do your work.
>>     
>
> I don't see how you've done anything to jeopardize the place to play
> (except for that you provided a place to musicians to play and for
> some empty beer bottles to sit). It sounds like most of these are a
> result of there being a space where people like to congregate for
> entertainment.
>
> Matt
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>   

From suki at zoka.com  Thu Dec  6 16:37:18 2007
From: suki at zoka.com (suki at zoka.com)
Date: Thu, 6 Dec 2007 19:37:18 -0500
Subject: [NewMusic] 21grand permit woes/Donations would help!
Message-ID: <380-22007125703718430@M2W023.mail2web.com>

Yeah time for a new mouth guard.

Remember everybody: they don't call it the Other 5% Nation for nothing.*
Nonprofit arts are often last in line when cities begin thinking about
economic development -- unless your nonprofit looks like an imperial SOB
(steady: stands for symphony opera ballet). And they can be least able to
meet standards for safe space because they are often civilizing spaces the
marketplace has abandoned because no more $$ can be wrenched from their
foundations.
As a 21 Grand board member I feel  confident that Sarah and Darren are
moving through this compliance issue with the same concerns for safety and
accessibility they've always had - these verifications by the City are an
inevitable next step for any organization nimble enough to survive. I just
don't want the regulatory environment to prevent 21 Grand from delivering
its vital programming... The programs the City itself is supporting through
grants.
All this to say: follow that link in Damon's post, please. You will be
making a difference, full stop.
-s



*estimated % of philanthropic $$ going to the arts every year

Original Message:
-----------------
From: Tim Perkis tim at perkis.com
Date: Thu, 06 Dec 2007 16:09:06 -0800
To: newmusic at music.mills.edu
Subject: Re: [NewMusic] 21grand permit woes/Donations would help!


oakland pay forest city... yoshi's ... hassle 21 grand .... grrr (teeth 
gnashing)


Matt Davignon wrote:
> On Dec 6, 2007 3:25 PM, Sarah - 21 Grand <21grand at 21grand.org> was like:
>   
>> Thanks Damon! And thank you to everyone who has donated so far. I feel
like
>> the biggest jerk right now for jeopardizing this place to play, that is
>> really there not for my ego, but for you and other artists and musicians
to
>> do your work.
>>     
>
> I don't see how you've done anything to jeopardize the place to play
> (except for that you provided a place to musicians to play and for
> some empty beer bottles to sit). It sounds like most of these are a
> result of there being a space where people like to congregate for
> entertainment.
>
> Matt
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>   
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


--------------------------------------------------------------------
mail2web - Check your email from the web at
http://mail2web.com/ .



From cliffcaruthers at gmail.com  Fri Dec  7 09:16:37 2007
From: cliffcaruthers at gmail.com (cliff caruthers)
Date: Fri, 7 Dec 2007 09:16:37 -0800
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <012301c838f3$c4c78e80$0300a8c0@STUDIOPC>
References: <012301c838f3$c4c78e80$0300a8c0@STUDIOPC>
Message-ID: <e18daac20712070916h5e2b8356t505b1c1e5c5d3ba4@mail.gmail.com>

---------- Forwarded message ----------
From: EAM <eam at sontec.demon.co.uk>
Date: Dec 7, 2007 9:08 AM
Subject: Karlheinz Stockhausen 1928 - 2007
To: cec-conference <cec-conference at concordia.ca>




PRESS RELEASE



The composer Karlheinz Stockhausen passed away on December 5th 2007 at
his home in Kuerten-Kettenberg and will be buried in the Waldfriedhof
(forest cemetery) in Kuerten.

He composed 362 individually performable works. The works which were
composed until 1969 are published by Universal Edition in Vienna, and
all works since then are published by the Stockhausen-Verlag. Numerous
texts by Stockhausen and about his works have been published by the
Stockhausen Foundation for Music.

Suzanne Stephens and Kathinka Pasveer, who have performed many of his
works and, together with him, have taken care of the scores, compact
discs, books, films, flowers, shrubs, and trees will continue to
disseminate his work throughout the world, as prescribed in the
statutes of the Stockhausen Foundation for Music, of which they are
executive board members.?

Stockhausen always said that GOD gave birth to him and calls him home.

****

?for love is stronger than death.

IN FRIENDSHIP and gratitude for everything that he has given to us
personally and to humanity through his love and his music, we bid
FAREWELL to Karlheinz Stockhausen, who lived to bring celestial music
to humans, and human music to the celestial beings, so that Man may
listen to GOD and GOD may hear His children.

On December 5th he ascended with JOY through HEAVEN?S DOOR, in order
to continue to compose in PARADISE with COSMIC PULSES in eternal
HARMONY, as he had always hoped to do: You, who summon me to Heaven,
Eva, Mikael and Maria, let me eternally compose music for Heaven?s
Father-Mother, GOD creator of Cosmic Music.

May Saint Michael, together with Heaven?s musicians in ANGEL
PROCESSIONS and INVISIBLE CHOIRS welcome him with a fitting musical
GREETING.

On behalf of him and following his example, we will endeavor to
continue to protect the music.

Suzanne Stephens and Kathinka Pasveer
in the name of the world-wide family of musicians who love
him,?together with everyone who loves his music.

****

On Thursday, December 13th 2007, from 10 a.m. to 1 p.m. it will be
possible to personally say farewell to Karlheinz Stockhausen in the
chapel of the Waldfriedhof in Kuerten (Kastanienstrasse).A
commemorative concert will take place soon at the S?lztalhalle in
Kuerten. Programme, time and date will be specially announced.

From slusser at pixar.com  Fri Dec  7 09:28:11 2007
From: slusser at pixar.com (David Slusser)
Date: Fri, 7 Dec 2007 09:28:11 -0800
Subject: [NewMusic] events this week
Message-ID: <33CC7DFA-33DF-430C-A904-843FAC6C4D8F@pixar.com>

Certainly not great news about the city getting on 21Grand.

I had the rare opportunity to get out a few times this week, and
the music was better news. Enjoyed listening to Roscoe Mitchell's
Cards opus played by Mills Contemporary Ensemble on Sunday.
Much of it produced branching or blossoming phrases spread by
individuals and small groups across the ensemble.  I came away
very curious about the score, and had to ask myself if knowing
should make any difference (good improvisers or good readers,
notation versus instruction).  Maybe that's one of the points.

Went Tuesday to the Climate Theater for some unadulterated
idiomatic writing.  Smith Dobson led a quartet from the vibes,
certainly the cheekiest writing in that style since Rubber City.
Then Graham Connah came on with an 11 piece band with 3
singers and knocked it out of the park with his Ted Brinkley
Admiral thing...unbelievably great sounding band.  I had seen an
expanded version at Oakland Metropole a while back, and almost
pulled Graham's coat about the woodwind voicing - but this was
obviously the proper configuration (4) and the whole ensemble
seemed in perfect balance.  There were solos (great Cressman)
but the through-composed entirety was much more impressive.
Sheldon Brown was great just playing his part - supple and
buoyant on lead alto.  What the heck do you call it, operetta?

Tonight I squeezed in Mills Improvisation Ensemble, as if to
counter all that fine writing.  I missed the very beginning, but
caught 3 or 4 small groups in the first half, all pretty fresh
sounding, culminating with acoustic bass, traps and trombone
(Andy Strain) improvising (and moving) with 2 dancers.  There's
happily more of this afoot (!) currently, and this was quite nice.
The second half was Cobra, prompted by the evening's director
Zeena Parkins - or more properly 5 or 6 Cobra's, the first and
last probably the strongest.  Ms Parkins was more of an activist
prompter (like Zorn himself).  Where the rules say the musicians
have to come up with all the cues themselves, she contributed
close to half, selecting members of Runner cues, and at least
once blowing off a couple cues till she got one she liked - all
totally acceptable when JZ does it, in the service of a more
coherent performance, and certainly appropriate here.  They
didn't make it to Guerrilla Operations (next semester?) but the
ensemble was really sharp on all the downbeats and Cartoon
Rounds and usually didn't lack for coming up with their own
cues. I could tell they had a good grasp when they eagerly
flagged all the charming bits as Memory Cues, the recurring
pieces that give the audience a hint of what's going on.  They
were less adept at "group-same/music-change" (a tough one)
but gifted at "group-change/music-same", though changing the
group could have gone a lot faster (that's the one where everyone
not playing is waving a raised hand).  Also missing was the
thumbs up "thank-you-very-much-for-playing-but-kill-it-
immediately" cue that the prompter uses to remove a given
player at any point.  Perhaps this was such a good ensemble
that no one needed to be pruned.  A fine job by all, and just part
of a week in locally accessible music

From slusser at pixar.com  Fri Dec  7 09:32:42 2007
From: slusser at pixar.com (David Slusser)
Date: Fri, 7 Dec 2007 09:32:42 -0800
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <e18daac20712070916h5e2b8356t505b1c1e5c5d3ba4@mail.gmail.com>
References: <012301c838f3$c4c78e80$0300a8c0@STUDIOPC>
	<e18daac20712070916h5e2b8356t505b1c1e5c5d3ba4@mail.gmail.com>
Message-ID: <B5AED7C9-0B08-4179-BF68-737A67B790FA@pixar.com>

On Dec 7, 2007, at 9:16 AM, cliff caruthers wrote:
> The composer Karlheinz Stockhausen passed away on December 5th 2007

There may be some kind of cosmic reverberation;
I just heard KCSM playing the sfSound group on
my drive into work.  What can you say about KS?
He's in the cosmos for sure, perhaps as "Light".

From pgsaxo at pacbell.net  Fri Dec  7 10:24:33 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Fri, 7 Dec 2007 10:24:33 -0800 (PST)
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <B5AED7C9-0B08-4179-BF68-737A67B790FA@pixar.com>
Message-ID: <669935.48148.qm@web81404.mail.mud.yahoo.com>

David Slusser <slusser at pixar.com> wrote:  On Dec 7, 2007, at 9:16 AM, cliff caruthers wrote:
> The composer Karlheinz Stockhausen passed away on December 5th 2007

There may be some kind of cosmic reverberation;
I just heard KCSM playing the sfSound group on
my drive into work. What can you say about KS?
He's in the cosmos for sure, perhaps as "Light".


PG:
With Invisible Choirs singing praises...well, good night, KS. You earned the rest.

From grobair at emusician.com  Fri Dec  7 11:01:14 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Fri, 07 Dec 2007 11:01:14 -0800
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
Message-ID: <C37ED87A.B097%grobair@emusician.com>

Wow, that's a trip. I was just looking at a KS score that I have on a
postcard the other day and thinking about his work.

Anyone seen an official obit yet? Seems like there should already be one
online, but I haven't run across one in English yet.


From ingalls at mills.edu  Fri Dec  7 11:45:59 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Fri, 7 Dec 2007 11:45:59 -0800 (PST)
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <C37ED87A.B097%grobair@emusician.com>
References: <C37ED87A.B097%grobair@emusician.com>
Message-ID: <Pine.LNX.4.60.0712071145060.18651@myfiles.mills.edu>



> Anyone seen an official obit yet? Seems like there should already be one
> online, but I haven't run across one in English yet.

it's probably too large to fit on any server

From tbickley at metatronpress.com  Fri Dec  7 11:49:30 2007
From: tbickley at metatronpress.com (Tom Bickley)
Date: Fri, 7 Dec 2007 11:49:30 -0800
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <Pine.LNX.4.60.0712071145060.18651@myfiles.mills.edu>
References: <C37ED87A.B097%grobair@emusician.com>
	<Pine.LNX.4.60.0712071145060.18651@myfiles.mills.edu>
Message-ID: <4A176C58-732B-4344-BBB4-F2823DC27AFF@metatronpress.com>

There's no official one I've seen yet. The Guardian has Howdy John,

  http://music.guardian.co.uk/obituaries/story/0,,2224081,00.html

and Alex Ross posted this: http://www.therestisnoise.com/2007/12/ 
karlheinz-stock.html

Pax et bonum, -Tom

On Dec 7, 2007, at 11:45 AM, Matt J. Ingalls wrote:

>
>
>> Anyone seen an official obit yet? Seems like there should already  
>> be one
>> online, but I haven't run across one in English yet.
>
> it's probably too large to fit on any server
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic


From michaelz at zoka.com  Fri Dec  7 12:50:59 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Fri, 7 Dec 2007 12:50:59 -0800
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <C37ED87A.B097%grobair@emusician.com>
References: <C37ED87A.B097%grobair@emusician.com>
Message-ID: <p060204c1c37f60cbe2ed@[192.168.0.5]>

On 12/7/07, grobair at emusician.com wrote:

>Anyone seen an official obit yet? Seems like there should already be one
>online, but I haven't run across one in English yet.

"Official" enough. . .

German Composer Stockhausen Is Dead
<http://ap.google.com/article/ALeqM5gpq-8EJ7pi-cej5Bl_V5HCfXd-dAD8TCPF3O1>

Karlheinz Stockhausen, Composer, Is Dead at 79
<http://www.nytimes.com/aponline/world/AP-Obit-Stockhausen.html>

Composer Karlheinz Stockhausen Dies At 79
<http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003682778>

Composer Stockhausen dies aged 79
<http://www.guardian.co.uk/germany/article/0,,2224071,00.html>

  German composer Stockhausen dies
<http://news.bbc.co.uk/1/hi/entertainment/7133571.stm>

(etc.)

MZ

--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From michaelz at zoka.com  Fri Dec  7 12:58:35 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Fri, 7 Dec 2007 12:58:35 -0800
Subject: [NewMusic] Oakland cabaret ordinance in the news
Message-ID: <p060204c2c37f63d19931@[192.168.0.5]>

>City opens door for new cabaret at Fox Theater
>Council revises rule to ease project
>
>By Cecily Burt, STAFF WRITER
>Article Last Updated: 12/07/2007 02:42:57 AM PST
>
>OAKLAND - The Oakland City Council revised its cabaret ordinance 
>Tuesday night, just in time for the Planning Commission to consider 
>the Fox Theater's application to serve alcohol at a new cabaret and 
>lobby bar.
>
>The city's old cabaret ordinance prohibited clubs with live 
>entertainment within 300 feet of schools, churches or libraries. It 
>went largely unnoticed until it was used a year ago to block 
>Tycoon's nightclub from replacing the shuttered Sweet Jimmie's on 
>San Pablo Avenue.
>
>In an uh-oh moment, the council members realized that developer Phil 
>Tagami's planned cabaret, centerpiece of the landmark Fox Theater 
>restoration, was doomed because of its proximity to the Oakland 
>School for the Arts. In fact, the school will relocate to the Fox 
>once renovations are complete.
>
>The revised ordinance retains the 300-foot rule but gives the city 
>administrator discretion to waive it if an applicant can prove the 
>club will not negatively impact surrounding schools, churches and 
>libraries. It also requires neighbors be notified 30 days in advance 
>- increased from three days - when a new application has been filed.
>
>A final vote is scheduled Dec. 18. The council also agreed to 
>revisit the issue at a later date after Councilmember Desley Brooks 
>(Eastmont-Seminary) questioned why there had to be any restrictions 
>on cabarets in areas where Oakland is hoping to improve the 
>nightlife, such as uptown and Jack London Square.
>
>"This makes no sense," she said. "We need to be able to have 
>cabarets in the entertainment districts."

<http://www.insidebayarea.com/ci_7659526>



From tim at perkis.com  Fri Dec  7 13:00:31 2007
From: tim at perkis.com (Tim Perkis)
Date: Fri, 07 Dec 2007 13:00:31 -0800
Subject: [NewMusic] stockhausen
In-Reply-To: <669935.48148.qm@web81404.mail.mud.yahoo.com>
References: <669935.48148.qm@web81404.mail.mud.yahoo.com>
Message-ID: <4759B46F.7010908@perkis.com>

I can offer an anecdote about how stockhausen changed and defined my life.

I was about 12 or 13, living in a small town in Ohio, and saw a 
documentary on Stockhausen on the public tv station from Cincinnati -- 
fooling with the rabbit ears and straining to see the fuzzy black and 
white image, I was completely blown away by the depiction of the life of 
Stockhausen, and the music he was making. I hadn't really heard any 
serious contemporary music at all before, but I loved what I was hearing 
immediately, and I remember thinking: You can do that?!?! You can 
actually spend your life doing that?!?!?! How impossibly wonderful!!! 
(And all praise public television as well, a cultural lifeline.)

This of course was all in the context of a town and life where being ANY 
kind of artist as a way of life was just not on the menu, not a 
conceivable mode of of existence... the idea of spending your life doing 
this outrageous exciting and beautiful music was just... I really 
couldn't have imagined such a thing was possible. After that I dug up 
all the scratchy Stockhausen records I could get from the public 
library, and ever since then, even after finding out what a nut and 
asshole he could be, I've always thought of him as the ultimate real 
thing; for me he's always represented a reference point of how far human 
beings can go in terms of sensitivity and creativity.  He was the real 
thing.



Phillip Greenlief wrote:
> David Slusser <slusser at pixar.com> wrote:  On Dec 7, 2007, at 9:16 AM, cliff caruthers wrote:
>   
>> The composer Karlheinz Stockhausen passed away on December 5th 2007
>>     
>
> There may be some kind of cosmic reverberation;
> I just heard KCSM playing the sfSound group on
> my drive into work. What can you say about KS?
> He's in the cosmos for sure, perhaps as "Light".
>
>
> PG:
> With Invisible Choirs singing praises...well, good night, KS. You earned the rest.
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>   

From 21grand at 21grand.org  Fri Dec  7 13:11:28 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Fri, 07 Dec 2007 13:11:28 -0800
Subject: [NewMusic]  Oakland cabaret ordinance in the news
Message-ID: <C37EF700.24210%21grand@21grand.org>

The more things change, the more things stay the same - our first eviction
with next to no help from the City - came not long after then Mayor Jerry
Brown made supporting the arts one of his four points of light, or whatever
he called them.

Another irony is that the city is making us cancel events that they are
essentially paying for with grant money.

In other news, the fire department has passed the buck to the building
department, and we can only have 49 people present for Saturday's show with
Zeena Parkins and Tuesday's show with Tim Perkis and Eugene Chadbourne.

Anyone with an interest in possibly having a private recording session at 21
Grand might have ample opportunity in the month of January. After Tuesday,
we cannot host any more live events until certain permits are obtained.
(This would be the $2000 permit - then we'd back on permission on a case by
case basis while we wait on the $600 permit.) I will keep everybody posted
but not deluge the list with lengthy litanies.

Thanks again for your support.  Fundraising ideas are also welcome.

sl


>A final vote is scheduled Dec. 18. The council also agreed to
>revisit the issue at a later date after Councilmember Desley Brooks
>(Eastmont-Seminary) questioned why there had to be any restrictions
>on cabarets in areas where Oakland is hoping to improve the
>nightlife, such as uptown and Jack London Square.
>
>"This makes no sense," she said. "We need to be able to have
>cabarets in the entertainment districts."


From suki at zoka.com  Fri Dec  7 14:49:39 2007
From: suki at zoka.com (Suki O'Kane)
Date: Fri, 7 Dec 2007 14:49:39 -0800
Subject: [NewMusic] 21 Grand Goes All Monkey On Their Abacus
Message-ID: <20071207224939.83669.qmail@zoka.com>

Please check your new music event mail for an important announcement about how an upcoming show at 21 Grand will be structured to permit The People to assemble in civil entertainment:

The operating hours for performance have been extended by city officials, permitting 21 Grand to present Kihnoua in two sets with separate admission.

Please celebrate this outstanding bit of nimble arithmetic by donating $49 x 2 to 21 Grand right now => http://www.21grand.org

Hoping this does not qualify as sausage,
s

From slusser at pixar.com  Fri Dec  7 16:11:56 2007
From: slusser at pixar.com (David Slusser)
Date: Fri, 7 Dec 2007 16:11:56 -0800
Subject: [NewMusic] Oakland cabaret ordinance in the news
In-Reply-To: <C37EF700.24210%21grand@21grand.org>
References: <C37EF700.24210%21grand@21grand.org>
Message-ID: <EB8A4EC3-D23E-4333-A269-B915CC47782E@pixar.com>

On Dec 7, 2007, at 1:11 PM, Sarah - 21 Grand wrote:
>
> Thanks again for your support.  Fundraising ideas are also welcome.

Can the space be used for fundraising as long as it's not more than  
49 people?
(That's a big crowd for one of my shows.)

From bthrew at gmail.com  Fri Dec  7 19:36:36 2007
From: bthrew at gmail.com (barry threw)
Date: Fri, 7 Dec 2007 19:36:36 -0800
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <B5AED7C9-0B08-4179-BF68-737A67B790FA@pixar.com>
References: <012301c838f3$c4c78e80$0300a8c0@STUDIOPC>
	<e18daac20712070916h5e2b8356t505b1c1e5c5d3ba4@mail.gmail.com>
	<B5AED7C9-0B08-4179-BF68-737A67B790FA@pixar.com>
Message-ID: <CDB0E632-899F-405F-93FE-C5A5765EC88D@gmail.com>

In the same year that Woodstockhausen was rained out...

Coincidence?

b

On Dec 7, 2007, at 9:32 AM, David Slusser wrote:

> On Dec 7, 2007, at 9:16 AM, cliff caruthers wrote:
>> The composer Karlheinz Stockhausen passed away on December 5th 2007
>
> There may be some kind of cosmic reverberation;
> I just heard KCSM playing the sfSound group on
> my drive into work.  What can you say about KS?
> He's in the cosmos for sure, perhaps as "Light".
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Barry Threw
Media Art and Technology


San Francisco, CA	Work: 857-544-3967
Email: bthrew at gmail.com
IM: captogreadmore (AIM)
http:/www.barrythrew.com




From djcypod at gmail.com  Fri Dec  7 20:35:25 2007
From: djcypod at gmail.com (beau)
Date: Fri, 7 Dec 2007 20:35:25 -0800
Subject: [NewMusic] Fwd: Karlheinz Stockhausen 1928 - 2007
In-Reply-To: <CDB0E632-899F-405F-93FE-C5A5765EC88D@gmail.com>
References: <012301c838f3$c4c78e80$0300a8c0@STUDIOPC>
	<e18daac20712070916h5e2b8356t505b1c1e5c5d3ba4@mail.gmail.com>
	<B5AED7C9-0B08-4179-BF68-737A67B790FA@pixar.com>
	<CDB0E632-899F-405F-93FE-C5A5765EC88D@gmail.com>
Message-ID: <fc5507fa0712072035r612a7df0idcb08b0911fcf273@mail.gmail.com>

His memory will carry on, with us all!

From olorin at lmi.net  Sat Dec  8 12:21:10 2007
From: olorin at lmi.net (olorin at lmi.net)
Date: Sat, 08 Dec 2007 12:21:10 -0800
Subject: [NewMusic] Stockhausen-RIP-memories
Message-ID: <20071208122110.ibnltr6y8s4440w0@webmail.lmi.net>

i figured it would happen pretty soon - that leaves boulez as the last  
'old guard' composer who studied w/ messiaen, and he's actually a  
later generation.

wow - lots of stockhausen memories, myself. highly influential. i  
remember studying robin maconies 1970's era book on him while an  
undergrad and listening to mostly electronic works and things like  
gruppen, punkte, carre, etc. the thing i was really struck with was  
how he would come up with a method for organizing a piece of music,  
and that method could be used to write dozens of pieces, all different  
and fresh. yet, each time he'd come up with a different form to  
organize  the next work, which would go in a completely different  
direction from the one before. it's like each one of his pieces would  
be a
style of its own. eventually after the 70s and the beginning of the  
Licht cycle he settled down somewhat into a recognizable style but  
still produced amazing and interesting music, the content and true  
depth of which will likely remain unsurpassed for generations to come.

like cage he believed that music had a purpose that was divine and  
holy, yet explored it in a different way. the results can be profound,  
amazing enlightening, but also ponderous and overly long (esp the  
opera stuff) but to me, i feel strongly the fault isn't with him -  
it's me. it seems a bit of hero worship, but i feel he's always had  
the human race's interest at heart, even though i might not be getting  
the message at this point in my life. i get the feeling he was  
creating art mainly for the humans of the future, not neccessarily the  
present, and i get a glimpse of it every so often.

of course i love when he's interviewed about the IDM musicians and  
tells them they should be listening to certain pieces of his music. i  
mean, this is coming from the guy who basically INVENTED electronic  
music based on electronic tones using magnetic tape, a pioneer of  
musique concrete, and ran filters and ring modulators on live  
instruments in the early 1960s. interestingly enough i love their  
response - basically 'you should listen to more groove based, simple  
harmonic structured music', which is what Stockhausen was mainly  
complaining about.

a recent listening of hymnen at the transparent tape music fest  
convinced me how
amazingly fresh and timeless that 45 year old music still is - the  
sounds that he created using tape machines and oscillators rival and  
even surpass anything you could reproduce digitally using max/msp or  
reaktor.

anyway - a great composer, an egomaniac with the work and ideas to  
back it up, a singular voice of modern music - he will be missed.

scott



From polly.moller at gmail.com  Sat Dec  8 13:41:44 2007
From: polly.moller at gmail.com (Polly Moller)
Date: Sat, 8 Dec 2007 13:41:44 -0800
Subject: [NewMusic] For new music presenters in SF
Message-ID: <2eb068d40712081341h40a4d155s1b60d6a213e5aaf2@mail.gmail.com>

Hi folks.

I wanted to offer this up for what it's worth to any of us looking to
present shows in SF.

My daytime employer, the San Francisco Girls Chorus, owns and operates
the Kanbar
Performing Arts Center at 44 Page Street in the Civic Center/Hayes
Valley neighborhood.
It's convenient to the Van Ness MUNI station and Civic Center BART.

On the ground floor is Chorissima Recital Hall, named after the
Chorus' elite performing
ensemble.  Many choral groups rehearse there, and it's also a regular
rehearsal place
for Earplay and the SF Contemporary Music Players.  It's available for
events, too.
It has a grand piano and will seat 200 comfortably.

There are a couple of small photos here:
http://www.sfgirlschorus.org/node/24

Rates are based on a sliding scale.  Call Rachel Clee at 415-863-1752,
ext. 301 if you would
like a tour.  Feel free to tell her Polly sent you.

P.

-- 
------------------------------------------------------------
http://www.pollymoller.com
------------------------------------------------------------
http://www.myspace.com/pollymoller
------------------------------------------------------------

From moestaiano1 at yahoo.com  Sun Dec  9 02:51:31 2007
From: moestaiano1 at yahoo.com (Moe! Staiano)
Date: Sun, 9 Dec 2007 02:51:31 -0800 (PST)
Subject: [NewMusic] Stockhausen-RIP-memories
In-Reply-To: <mailman.1.1197176403.21281.newmusic@music.mills.edu>
Message-ID: <675008.57195.qm@web58715.mail.re1.yahoo.com>

Not really. Boulez is well and still around, but we still have Henry Brant, Elliot Carter, George Crumb and Milton Babbitt. That's probably close to that generation, but it is sadly thinning.

-M!


Funky Looney stated: 

i figured it would happen pretty soon - that leaves boulez as the last  
'old guard' composer who studied w/ messiaen, and he's actually a  
later generation.

       
---------------------------------
Never miss a thing.   Make Yahoo your homepage.

From suki at zoka.com  Sun Dec  9 08:24:20 2007
From: suki at zoka.com (Suki O'Kane)
Date: Sun, 9 Dec 2007 08:24:20 -0800
Subject: [NewMusic] Transbay Deadline is Monday Dec 10
In-Reply-To: <675008.57195.qm@web58715.mail.re1.yahoo.com>
References: <675008.57195.qm@web58715.mail.re1.yahoo.com>
Message-ID: <a06240840c381c66cf98c@[192.168.0.3]>

Please send text, imagery or URLs to

	ear at zoka.com

and load in your performance dates into transbaycalendar.org, from 
which all listings are culled.

also:

listmakers! pontificators! get down with your inner lester bangs!
top ten transbaynian moments of 2007

You Remember Them. And against all better judgement, the Transbay 
will print them. All readers, even, or especially, sour-faced 
skimmers and insulated, we mean focused, consumers of Bay Area 
creative new music, are invited to submit a list of Top Ten 
Transbaynian Moments of 2007.

Unlike other publications who publish this information in the final 
month of the year under review, when there may be perfectly awesome 
moments about to occur, maybe, maybe not, you can't know, wait for 
it, for fuck's sake, the Transbay encourages you to patronize live 
music events up until the deadline of 11:59:59pm on December 31, 
2007, then make a thoughtful determination of ten musical things that 
made 2007 super special from your, um, perspective.

Submissions must be received no later than January 10, 2008 for 
inclusion in the Transbay. Lists, which may be as brief as the one 
included on a pedestrian trip to the auto part store or as detailed 
as the one brought along to share with the therapist, should be 
emailed to ear at zoka.com.

From mhenry at crypticstudios.com  Sun Dec  9 10:38:51 2007
From: mhenry at crypticstudios.com (Michael Henry)
Date: Sun, 9 Dec 2007 10:38:51 -0800
Subject: [NewMusic] Stockhausen 1972
References: <mailman.1.1197176403.21281.newmusic@music.mills.edu>
Message-ID: <75DAF0131F83954E9E91C128EF9C7D8318AE09@galaxy.paragon.crypticstudios.com>


http://www.youtube.com/watch?v=pIPVc2Jvd0w


R.I.P.

From miltnerunit at gmail.com  Sun Dec  9 11:21:00 2007
From: miltnerunit at gmail.com (kristin miltner)
Date: Sun, 9 Dec 2007 11:21:00 -0800
Subject: [NewMusic] Stockhausen-RIP-memories
In-Reply-To: <20071208122110.ibnltr6y8s4440w0@webmail.lmi.net>
References: <20071208122110.ibnltr6y8s4440w0@webmail.lmi.net>
Message-ID: <ef1ad92c0712091121i29f62bcet760db332909437f7@mail.gmail.com>

I remember when I was introduced to Mikrophonie as an undergrad in art
school, before I knew anything about early electronic music, and being
absolutely blown away by the huge lexicon of sounds in that piece, but in
addition, what really resonated with me was the idea of a microphone as a
musical instrument , not just an object used to pristinely reproduce
existing sounds. That really stuck with me.

k

On Dec 8, 2007 12:21 PM, <olorin at lmi.net> wrote:

> i figured it would happen pretty soon - that leaves boulez as the last
> 'old guard' composer who studied w/ messiaen, and he's actually a
> later generation.
>
> wow - lots of stockhausen memories, myself. highly influential. i
> remember studying robin maconies 1970's era book on him while an
> undergrad and listening to mostly electronic works and things like
> gruppen, punkte, carre, etc. the thing i was really struck with was
> how he would come up with a method for organizing a piece of music,
> and that method could be used to write dozens of pieces, all different
> and fresh. yet, each time he'd come up with a different form to
> organize  the next work, which would go in a completely different
> direction from the one before. it's like each one of his pieces would
> be a
> style of its own. eventually after the 70s and the beginning of the
> Licht cycle he settled down somewhat into a recognizable style but
> still produced amazing and interesting music, the content and true
> depth of which will likely remain unsurpassed for generations to come.
>
> like cage he believed that music had a purpose that was divine and
> holy, yet explored it in a different way. the results can be profound,
> amazing enlightening, but also ponderous and overly long (esp the
> opera stuff) but to me, i feel strongly the fault isn't with him -
> it's me. it seems a bit of hero worship, but i feel he's always had
> the human race's interest at heart, even though i might not be getting
> the message at this point in my life. i get the feeling he was
> creating art mainly for the humans of the future, not neccessarily the
> present, and i get a glimpse of it every so often.
>
> of course i love when he's interviewed about the IDM musicians and
> tells them they should be listening to certain pieces of his music. i
> mean, this is coming from the guy who basically INVENTED electronic
> music based on electronic tones using magnetic tape, a pioneer of
> musique concrete, and ran filters and ring modulators on live
> instruments in the early 1960s. interestingly enough i love their
> response - basically 'you should listen to more groove based, simple
> harmonic structured music', which is what Stockhausen was mainly
> complaining about.
>
> a recent listening of hymnen at the transparent tape music fest
> convinced me how
> amazingly fresh and timeless that 45 year old music still is - the
> sounds that he created using tape machines and oscillators rival and
> even surpass anything you could reproduce digitally using max/msp or
> reaktor.
>
> anyway - a great composer, an egomaniac with the work and ideas to
> back it up, a singular voice of modern music - he will be missed.
>
> scott
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



-- 
kristin miltner
audio professional
www.myspace.com/miltnerunit

From 21grand at 21grand.org  Sun Dec  9 14:38:23 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sun, 09 Dec 2007 14:38:23 -0800
Subject: [NewMusic] FW: URGENT! SteelbandOakland's Instruments need a NEW
	HOME asap!	Rentals, Foster, Partner!
In-Reply-To: <24537d940712062123r1422c292w92fddd480054a577@mail.gmail.com>
Message-ID: <C381AE5F.24325%21grand@21grand.org>


------ Forwarded Message
From: "la mantia" <lilmolove at gmail.com>
Date: Thu, 6 Dec 2007 21:23:00 -0800
To: lilmolove at gmail.com
Subject: URGENT! SteelbandOakland's Instruments need a NEW HOME asap!
Rentals, Foster, Partner!

Hi!  Well, We NEED YOUR HELP!   & fast!

 SteelbandOakland's Instruments need a NEW HOME asap!  Our present location
is no longer tenable
(we thought we had a spot that was a good fit, but it fell thru....)

Want to rent a groovy Steel Pan? / Steel Drum?, Conga Drum etc.

Want to Foster some Instruments?   If you have some extra space in the
corner of your studio, garage or?  They stack well and we would be happy to
let you play them, if you would make sure no one bangs them into the next
century...
(you wouldn't have to hold onto them forever, we will moving into new digs
by next Fall or we will be liquidating...)

What's available?  several Tenors & Double 2nds, 1 Double Guitar, 1 Triple
Cello,  1 Tenor Bass, 2 sets of 6 Bass, & Stands...
percussion and drum set toms of various sizes etc....plus we need to board
some float items....

We are selling 3 large rolling anvil drumset cases in good condition and
some excellent toms and snares...and steelpan sticks - new...

If you're interested, please respond to this email asap... We need to get
this organized before Christmas!

Thanks & as always,

Mo' Love!

La Mantia, Director
SBPA/ Steelband Oakland /  Mo' Love Carnaval Crewe
www.molove.info <http://www.molove.info>
Studio 510-834-1324
Bandleader, lil' mo' love Steel n' Brass Band
www.myspace.com/lilmolove <http://www.myspace.com/lilmolove>



------ End of Forwarded Message


From grobair at emusician.com  Sun Dec  9 18:49:45 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Sun, 09 Dec 2007 18:49:45 -0800
Subject: [NewMusic] Lance -- addy?
Message-ID: <C381E949.B0F4%grobair@emusician.com>

Sorry to waste the bandwidth gang for this personal message:

Lance -- lost your snail addy. Please resend offlist. Danke!
g


From 21grand at 21grand.org  Wed Dec 12 14:41:10 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Wed, 12 Dec 2007 14:41:10 -0800
Subject: [NewMusic] 21 Grand follies - (continuing saga)
Message-ID: <C385A386.244F5%21grand@21grand.org>

Today I received via email a survey about marketing the arts in Oakland.
Apparently the City is interested in raising the profile of the arts and
creative work in Oakland. I'm hoping they don't just throw money at stupid
crap like designing a logo to put on totebags and printing cheesy brochures.
The survey was kinda an "invite-only" thing, but if you have feedback or
opinions about the issue, I could put you in touch with the people who made
up the survey. They had a lot of questions. I'm sure they'd appreciate (in
one way or another) honest answers from people.

One of the questions the survey asked was:
What are some of the more innovative methods your organization uses to
leverage marketing resources to expand and extend the promotional impact?
Please describe.

My answer:
The most unique "methods" used by our organization to expand and extend
promotional impact have been those beyond our control, entirely unplanned,
and not recommended to anyone. These have included: eviction by an
unsympathetic slumlord; displacement by a large for-profit real estate
developer (with strong connections to City Hall and a major political donor
to public officials' political campaigns) in order to make way for luxury
condos marketed as a convenient way to be close to culture; and being
prevented from presenting live event programming at our venue, due to
misunderstanding of city codes and use classifications and a
wrong-place-wrong-time impromptu visit from Oakland's Alcoholic Beverage
Action Team.  

 

Unfortunately, these methods are not ours alone. Bad landlords,
gentrification/re-development, and code compliance battles have happened to
many arts and culture entities in the City of Oakland. While they have
proved highly effective as marketing resources, they have almost always
resulted in the closure or extreme reduction in activities of the
organizations and businesses that have had to use them. The "casualties"
number in the dozens, in the past 10 years alone.

 
21 Grand has weathered the first two: slumlord and re-development related
displacement, and we intend to survive our code compliance issues, as well.

sl


From djcypod at gmail.com  Thu Dec 13 11:20:56 2007
From: djcypod at gmail.com (beau)
Date: Thu, 13 Dec 2007 11:20:56 -0800
Subject: [NewMusic] Carpool to share?
Message-ID: <fc5507fa0712131120s581675a9ybf8923f74612173b@mail.gmail.com>

Does anyone want to carpool down to share tonight?


We're starting a local chapter of the SHARE organization (see
http://www.share.dj for general info, and http://share-sj.org for
SHARE San Jose's main page).  Our first get-together is going to be
Thursday Dec 13, 8pm, at the Works Gallery in downtown San Jose (see
http://www.workssanjose.org/ ).  Basically, it's an informal,
freeform, and open jam and discussion session where people can:

    - just have fun jamming

   - find out what kind of equipment other people are using, and how
they are using it

   - show and tell others about the kind of things you're using and doing

   - find people with related interests that you can work with on projects

   - etc, etc

Amplification and video projection equipment will be provided, just
bring your laptops/synths/etc and connecting cables. Or just bring
yourself and a desire to interact with other people around San Jose
who are doing and creating.   If you're in the Bay Area and are
interested in this and/or future events, subscribe to the SHARE San
Jose mailing list at:

      http://somesoundswelike.com/mailman/listinfo/share-sj_somesoundswelike.com

From mattdavignon at gmail.com  Thu Dec 13 23:14:17 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 13 Dec 2007 23:14:17 -0800
Subject: [NewMusic] Games night this sunday
Message-ID: <c70e517b0712132314u6803092bua0a9e08cf4488a0c@mail.gmail.com>

Ok, trying this again. BA-Newmus game night, in which we play
board/card  games, listen to weird music and have dinner and social
good times.  Depending on how many people come, we might crack out
Settlers of Catan, Apples to Apples, or Fluxx, or something else.

I don't have many games for more than 6 people, so if you have a good
one, please bring it. Once again, we'll probably get some food
delivered. Pizza is easy. Bringing some change is good. I have diet
soda, tea, juice, water, but BYO regular soda or beer.

7:30 pm till 11ish

265 Vernon St., door code #09.
Oakland. 510-268-8213 (home) 510-459-1507 (cell)

Matt

From mattdavignon at gmail.com  Fri Dec 14 17:20:41 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Fri, 14 Dec 2007 17:20:41 -0800
Subject: [NewMusic] Worst Band Names
Message-ID: <c70e517b0712141720w3451e521n535b2c2007d2171b@mail.gmail.com>

The Onion AV club presents "The worst band names from bands who have
sent us cd's to review".

http://www.avclub.com/content/feature/the_worst_band_names_of_07

From electric.tokyo at gmail.com  Sun Dec 16 09:15:21 2007
From: electric.tokyo at gmail.com (Travis Johns)
Date: Sun, 16 Dec 2007 09:15:21 -0800
Subject: [NewMusic] vslkast5
Message-ID: <d3165c060712160915x66caa33bhaea1dede41cabfdf@mail.gmail.com>

new stuff to listen to.

feed://think-tankmedia.net/trav/vslkast.xml.

as always, comments, concerns, etc. are greatly appreciated.

t.

From ava.mendoza at gmail.com  Mon Dec 17 13:41:15 2007
From: ava.mendoza at gmail.com (Ava Mendoza)
Date: Mon, 17 Dec 2007 13:41:15 -0800
Subject: [NewMusic] jen baker phone #
Message-ID: <317505170712171341i666b65a0md2032e36e8d876e8@mail.gmail.com>

anyone know it? please email me offlist.. thanks..

From djcypod at gmail.com  Wed Dec 19 09:22:46 2007
From: djcypod at gmail.com (beau)
Date: Wed, 19 Dec 2007 09:22:46 -0800
Subject: [NewMusic] =?windows-1252?q?_David_Byrne=27s_Survival_Strategies_?=
	=?windows-1252?q?for_Emerging_Artists_=97_and_Megastars?=
Message-ID: <fc5507fa0712190922g6d3b2770t1b0654dd1a066271@mail.gmail.com>

highlights:

"Before recording technology existed, you could not separate music
from its social context"

"I spend plenty of time with buds in my ears listening to recorded
music, but I still get out to stand in a crowd with an audience."

"How the f--k can we get out of this?

"The people who know how to do this are the ones you fired ..."

"How could an indie label handle a release the size of Arcade Fire's
second record?"


Get the full story:

http://www.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all

From 21grand at 21grand.org  Wed Dec 19 11:07:33 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Wed, 19 Dec 2007 11:07:33 -0800
Subject: [NewMusic] 21 Grand in the SFBG
Message-ID: <C38EABF5.24837%21grand@21grand.org>

http://www.sfbg.com/entry.php?entry_id=5259&catid=107&volume_id=317&issue_id
=330&volume_num=42&issue_num=12

Any feedback on whether I sound like an idiot or a major asshole is
appreciated.

sl 


From weaselw at juno.com  Wed Dec 19 11:42:39 2007
From: weaselw at juno.com (weasel walter)
Date: Wed, 19 Dec 2007 11:42:39 -0800
Subject: [NewMusic] 21 Grand in the SFBG
Message-ID: <20071219.114242.2168.9.weaselw@juno.com>

> Any feedback on whether I sound like an idiot or a major asshole is
appreciated.

you sound like a real human. 

ww

From mattdavignon at gmail.com  Wed Dec 19 11:40:34 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Wed, 19 Dec 2007 11:40:34 -0800
Subject: [NewMusic] 21 Grand in the SFBG
In-Reply-To: <20071219.114242.2168.9.weaselw@juno.com>
References: <20071219.114242.2168.9.weaselw@juno.com>
Message-ID: <c70e517b0712191140kf10d19csff33f574f75634e1@mail.gmail.com>

Yeah, you certainly don't sound like an idiot or a major asshole. I
thought it was a positive article. Er, well, an article likely to have
a positive effect.

Thanks to Kimberly Chun for taking up the cause.

Matt

On Dec 19, 2007 11:42 AM, weasel walter <weaselw at juno.com> wrote:
> > Any feedback on whether I sound like an idiot or a major asshole is
> appreciated.
>
> you sound like a real human.
>
> ww
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From pgsaxo at pacbell.net  Wed Dec 19 19:12:11 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 19 Dec 2007 19:12:11 -0800 (PST)
Subject: [NewMusic] 21 Grand in the SFBG
In-Reply-To: <C38EABF5.24837%21grand@21grand.org>
Message-ID: <196250.50056.qm@web81405.mail.mud.yahoo.com>

I think it's a good article - she looks at this mess for what it is - the ongoing blows against art by the capitalist machinery. Sarah sounds great - appropriately outraged and dealing soberly. Make donations if you haven't already done so.
   
  PG

Sarah - 21 Grand <21grand at 21grand.org> wrote:
  http://www.sfbg.com/entry.php?entry_id=5259&catid=107&volume_id=317&issue_id
=330&volume_num=42&issue_num=12

Any feedback on whether I sound like an idiot or a major asshole is
appreciated.

sl 

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From td at pixar.com  Wed Dec 19 21:20:24 2007
From: td at pixar.com (Tom Duff)
Date: Wed, 19 Dec 2007 21:20:24 -0800 (PST)
Subject: [NewMusic] 21 Grand in the SFBG
In-Reply-To: <C38EABF5.24837%21grand@21grand.org>
References: <C38EABF5.24837%21grand@21grand.org>
Message-ID: <Pine.LNX.4.58.0712192114390.30430@marvin.dynamic.pixar.com>

On Wed, 19 Dec 2007, Sarah - 21 Grand wrote:

> Any feedback on whether I sound like an idiot or a major asshole is
> appreciated.

Are those the only choices I get?  (I think the only faux pas is theirs:
Bumfuck, Nowhere should be capitalized with a comma.)

-- 
Tom Duff.  Just a minute, I think I've got one in the car.

From tim at perkis.com  Thu Dec 20 09:09:32 2007
From: tim at perkis.com (Tim Perkis)
Date: Thu, 20 Dec 2007 09:09:32 -0800
Subject: [NewMusic] 21 Grand in the SFBG
In-Reply-To: <Pine.LNX.4.58.0712192114390.30430@marvin.dynamic.pixar.com>
References: <C38EABF5.24837%21grand@21grand.org>
	<Pine.LNX.4.58.0712192114390.30430@marvin.dynamic.pixar.com>
Message-ID: <476AA1CC.2010206@perkis.com>

Sarah, as a native son of Bumfuck, Ohio I applaud your attitude!!

T



Tom Duff wrote:
> On Wed, 19 Dec 2007, Sarah - 21 Grand wrote:
>
>   
>> Any feedback on whether I sound like an idiot or a major asshole is
>> appreciated.
>>     
>
> Are those the only choices I get?  (I think the only faux pas is theirs:
> Bumfuck, Nowhere should be capitalized with a comma.)
>
>   

From grobair at emusician.com  Thu Dec 20 11:06:48 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Thu, 20 Dec 2007 11:06:48 -0800
Subject: [NewMusic] Byrne & Yorke on the music biz
Message-ID: <C38FFD48.B7E8%grobair@emusician.com>

An interesting interview on Wired.com from two major artists about the biz.
There are some interesting insights from their perspective....
http://www.wired.com/entertainment/music/magazine/16-01/ff_yorke


From grobair at emusician.com  Thu Dec 20 15:02:49 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Thu, 20 Dec 2007 15:02:49 -0800
Subject: [NewMusic] Marimba composition contest
Message-ID: <C3903499.B841%grobair@emusician.com>

>From my BMI contact:

<<The Zeltsman Marimba Festival has asked me to help get the word out
about a composition competition for 3 to 6 minute solo marimba works
which are unpublished and unperformed. There is no age limit. The
final deadline is June 1, 2008. Early submission is encouraged.

Complete details are available at:
http://newmusic.zmf.us/compositioncontest.cfm >>


From jacobmakesnoise at yahoo.com  Thu Dec 20 15:06:29 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Thu, 20 Dec 2007 15:06:29 -0800 (PST)
Subject: [NewMusic] climate
Message-ID: <118012.85508.qm@web58001.mail.re3.yahoo.com>

Wasn't there some discussion recently about the
booking policies at Climate?  Or was that somewhere
else?

Did we ever decide what it in fact was?

Any other thoughts on this place?

I have not been there, but see a bunch of shows
popping up.  Does it look like a promising new venue?

Jacob Lindsay
http://www.bayimproviser.com/artistdetail.asp?artist_id=44


      ____________________________________________________________________________________
Looking for last minute shopping deals?  
Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping

From mattdavignon at gmail.com  Thu Dec 20 15:45:30 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 20 Dec 2007 15:45:30 -0800
Subject: [NewMusic] climate
In-Reply-To: <118012.85508.qm@web58001.mail.re3.yahoo.com>
References: <118012.85508.qm@web58001.mail.re3.yahoo.com>
Message-ID: <c70e517b0712201545t5bdccen463d9b3a2ea47776@mail.gmail.com>

Zac, the guy who runs the series, posted the details about the door
money policies. (Is that what you were asking?) Anyway, they went
something like this....

60% for artists, 40% for venue, except the venue gets a $100
guarantee. Which means they take the first $100.

Personally, I don't think that's terrible. The venues that can offer
better deals are a blessing, but not really something to take for
granted. Not many venues have what 21 Grand, LSG and 1510 has, which
is a crew that more or less volunteer their time, and a space that can
get by on less door income. Other than Zac, who said he volunteers
this time, I bet the climate has some other staff that they need to
pay, and that money has to come from somewhere.

I haven't been to a show there yet, but that's mostly due to my schedule.

Matt

On Dec 20, 2007 3:06 PM, Jacob Lindsay <jacobmakesnoise at yahoo.com> wrote:
> Wasn't there some discussion recently about the
> booking policies at Climate?  Or was that somewhere
> else?
>
> Did we ever decide what it in fact was?
>
> Any other thoughts on this place?
>
> I have not been there, but see a bunch of shows
> popping up.  Does it look like a promising new venue?
>
> Jacob Lindsay
> http://www.bayimproviser.com/artistdetail.asp?artist_id=44
>
>
>       ____________________________________________________________________________________
> Looking for last minute shopping deals?
> Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/newsearch/category.php?category=shopping
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From ingalls at mills.edu  Thu Dec 20 15:54:21 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Thu, 20 Dec 2007 15:54:21 -0800 (PST)
Subject: [NewMusic] climate
In-Reply-To: <118012.85508.qm@web58001.mail.re3.yahoo.com>
References: <118012.85508.qm@web58001.mail.re3.yahoo.com>
Message-ID: <Pine.LNX.4.60.0712201544590.23227@myfiles.mills.edu>


it looks like i missed all that discussion on the list about this a month 
ago -- but i played there tues and i really like it -- definitely a 
different experience than any of the other current venues.  i will 
definitely try to make it there again as audience (which i can't say i 
ever had that feeling for any of the other SF venues)

i didn't see any $$, but wasn't expecting any

-m

From dmichalak at sbcglobal.net  Thu Dec 20 15:57:44 2007
From: dmichalak at sbcglobal.net (dmichalak)
Date: Thu, 20 Dec 2007 15:57:44 -0800
Subject: [NewMusic] climate
References: <118012.85508.qm@web58001.mail.re3.yahoo.com>
	<Pine.LNX.4.60.0712201544590.23227@myfiles.mills.edu>
Message-ID: <000401c84364$1d4b8be0$6501a8c0@eyefull01>

It a cozy (small) place. I saw Kyle & Phillip there and The Gongwoman. Great 
show!
I've had a hard time setting up a show though.
D.


----- Original Message ----- 
From: "Matt J. Ingalls" <ingalls at mills.edu>
To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
Sent: Thursday, December 20, 2007 3:54 PM
Subject: Re: [NewMusic] climate


>
> it looks like i missed all that discussion on the list about this a month
> ago -- but i played there tues and i really like it -- definitely a
> different experience than any of the other current venues.  i will
> definitely try to make it there again as audience (which i can't say i
> ever had that feeling for any of the other SF venues)
>
> i didn't see any $$, but wasn't expecting any
>
> -m
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.516 / Virus Database: 269.17.5/1191 - Release Date: 
> 12/20/2007 2:14 PM
>
> 


From phil at philipgelb.com  Thu Dec 20 16:56:29 2007
From: phil at philipgelb.com (Philip Gelb)
Date: Thu, 20 Dec 2007 16:56:29 -0800
Subject: [NewMusic] climate
In-Reply-To: <118012.85508.qm@web58001.mail.re3.yahoo.com>
References: <118012.85508.qm@web58001.mail.re3.yahoo.com>
Message-ID: <385E863E-7BE1-4771-8242-866FE303337D@philipgelb.com>

i played there a couple of weeks ago with Kyle Bruckmann. Interesting  
venue, kinda funky and dark. Sound is ok, not great, there was a loud  
fan coming out of the sound board even though we were not using any  
sound reinforcement as well as some street noise. People working  
there were very friendly and welcoming.

Unfortunately it is another cryptic place with no sign and i walked  
around a while trying to find it before i saw Thollem walking in a  
building with his electric piano case.

phil

Philip Gelb
vegetarian chef
shakuhachi player, teacher
phil at philipgelb.com
http://philipgelb.com
http://myspace.com/inthemoodforfood
http://myspace.com/philipgelb

On Dec 20, 2007, at 3:06 PM, Jacob Lindsay wrote:

> Wasn't there some discussion recently about the
> booking policies at Climate?  Or was that somewhere
> else?
>
> Did we ever decide what it in fact was?
>
> Any other thoughts on this place?
>
> I have not been there, but see a bunch of shows
> popping up.  Does it look like a promising new venue?
>
> Jacob Lindsay
> http://www.bayimproviser.com/artistdetail.asp?artist_id=44
>
>
>        
> ______________________________________________________________________ 
> ______________
> Looking for last minute shopping deals?
> Find them fast with Yahoo! Search.  http://tools.search.yahoo.com/ 
> newsearch/category.php?category=shopping
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic


From mattdavignon at gmail.com  Thu Dec 20 21:49:48 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 20 Dec 2007 21:49:48 -0800
Subject: [NewMusic] PC recording software advice
Message-ID: <c70e517b0712202149t2feb743ej630584f49dca2aeb@mail.gmail.com>

ok....I have this new laptop that I'm planning to use as a mobile
recording studio. I need to install music-making software, and I'm not
quite sure what is the best way to go.

I should start by saying I'm pretty dumb when it comes to music on
computers. No max patches for me. I'm just looking for something
really intuitive - a pretty easy to use multi track recorder where I
can throw in some volume/panning timelines, cut and paste a few
sections, maybe add some plugin effects here and there.

I should also say that I'm only planning to use the computer for
recording and editing - making songs. I'm not planning on using it to
play live shows.

I guess if I'm not convinced otherwise, I'll probably just buy the
upgraded version of Sony Vegas Pro, which is pretty much what I've
been using for multitrack stuff. The thing that I don't like about it
is that I usually wind up exporting tracks to SoundForge to run noise
reduction, bring up the levels, and add effects, which means I can't
hear how what I'm doing fits in the context of other tracks until I
save it and import it back. I'm not sure if that's really necessary or
if I'm just being dumb.

I'm willing to pay for something good. Shelling out $1000 for Cubase
seems a bit steep, especially if I'm not sure I'm going to like it.

I used to do a lot of cassette 4-track recording back in the day. When
I made the switch to computer, I wound up doing so much cleanup on
each recording pass that I tend to run out of patience quickly and
storm off to play video games.

I have a laptop PC with a Presonus Inspire audio interface and Windows XP.

Any advice appreciated.

Thanks!

Matt

From letucepry at yahoo.com  Thu Dec 20 23:51:24 2007
From: letucepry at yahoo.com (Ron Lettuce)
Date: Thu, 20 Dec 2007 23:51:24 -0800 (PST)
Subject: [NewMusic] PC recording software advice
Message-ID: <370775.81066.qm@web50311.mail.re2.yahoo.com>

Matt,

My advice is Adobe Audition (used to be Cool Edit Pro -- and I've been using it since Cool Edit 96). I'm still using 1.5 and it just went to 3.0 (need to upgrade). I still think it rocks. I never liked soundforge. It can't match something like Cubase for multi-tracking (at least as of 1.5), but that'd be why a lot of studios use Cubase... Although if you actually want to add patches etc live Ableton LIVE is pretty good (but not for PC unless you got LOTS of money for RAM).

lettuce


----- Original Message ----
From: Matt Davignon <mattdavignon at gmail.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Thursday, December 20, 2007 10:49:48 PM
Subject: [NewMusic] PC recording software advice

ok....I have this new laptop that I'm planning to use as a mobile
recording studio. I need to install music-making software, and I'm not
quite sure what is the best way to go.

I should start by saying I'm pretty dumb when it comes to music on
computers. No max patches for me. I'm just looking for something
really intuitive - a pretty easy to use multi track recorder where I
can throw in some volume/panning timelines, cut and paste a few
sections, maybe add some plugin effects here and there.

I should also say that I'm only planning to use the computer for
recording and editing - making songs. I'm not planning on using it to
play live shows.

I guess if I'm not convinced otherwise, I'll probably just buy the
upgraded version of Sony Vegas Pro, which is pretty much what I've
been using for multitrack stuff. The thing that I don't like about it
is that I usually wind up exporting tracks to SoundForge to run noise
reduction, bring up the levels, and add effects, which means I can't
hear how what I'm doing fits in the context of other tracks until I
save it and import it back. I'm not sure if that's really necessary or
if I'm just being dumb.

I'm willing to pay for something good. Shelling out $1000 for Cubase
seems a bit steep, especially if I'm not sure I'm going to like it.

I used to do a lot of cassette 4-track recording back in the day. When
I made the switch to computer, I wound up doing so much cleanup on
each recording pass that I tend to run out of patience quickly and
storm off to play video games.

I have a laptop PC with a Presonus Inspire audio interface and Windows XP.

Any advice appreciated.

Thanks!

Matt
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic

From bthrew at gmail.com  Fri Dec 21 01:19:05 2007
From: bthrew at gmail.com (barry threw)
Date: Fri, 21 Dec 2007 01:19:05 -0800
Subject: [NewMusic] PC recording software advice
In-Reply-To: <c70e517b0712202149t2feb743ej630584f49dca2aeb@mail.gmail.com>
References: <c70e517b0712202149t2feb743ej630584f49dca2aeb@mail.gmail.com>
Message-ID: <75EFDDC8-91FD-489C-8313-54CD24CC71D9@gmail.com>

You can get mobile pro tools now...the Mbox Micro...about $280 and you  
can run ProTools, if you are into that.

Honestly, if I was using a PC (and wanted to be stuck with Windows)  
the last version of logic (6.3?) for it would probably be the best way  
to go for me in leu of the Toolz, you can probably find that for about  
$100 or less.

There is also a lot of great open source recording software  
currently...if I really wanted to record on PC now a-days, I think the  
best option would probably be Ubuntu Studio.  http://ubuntustudio.org/  
Linux sounds scary, but at this point it isn't much more frightening  
than Windows, and setup is a breeze.  And its $Free.99.  However, this  
would necessitate an OS change, but assuming you don't have that  
laptop setup for other types of work, that shouldn't be a problem.

If you search around the Darkest Interwebs, you can also find builds  
of OS X for PC, and use all of the software there supported.  I have  
many friends that have gone this route and anecdotal evidence supports  
the notion that it runs great.  However, the legality of this is in  
question...and since you are considering paying for software I am  
going to assume this is an issue for you.

b

On Dec 20, 2007, at 9:49 PM, Matt Davignon wrote:

> ok....I have this new laptop that I'm planning to use as a mobile
> recording studio. I need to install music-making software, and I'm not
> quite sure what is the best way to go.
>
> I should start by saying I'm pretty dumb when it comes to music on
> computers. No max patches for me. I'm just looking for something
> really intuitive - a pretty easy to use multi track recorder where I
> can throw in some volume/panning timelines, cut and paste a few
> sections, maybe add some plugin effects here and there.
>
> I should also say that I'm only planning to use the computer for
> recording and editing - making songs. I'm not planning on using it to
> play live shows.
>
> I guess if I'm not convinced otherwise, I'll probably just buy the
> upgraded version of Sony Vegas Pro, which is pretty much what I've
> been using for multitrack stuff. The thing that I don't like about it
> is that I usually wind up exporting tracks to SoundForge to run noise
> reduction, bring up the levels, and add effects, which means I can't
> hear how what I'm doing fits in the context of other tracks until I
> save it and import it back. I'm not sure if that's really necessary or
> if I'm just being dumb.
>
> I'm willing to pay for something good. Shelling out $1000 for Cubase
> seems a bit steep, especially if I'm not sure I'm going to like it.
>
> I used to do a lot of cassette 4-track recording back in the day. When
> I made the switch to computer, I wound up doing so much cleanup on
> each recording pass that I tend to run out of patience quickly and
> storm off to play video games.
>
> I have a laptop PC with a Presonus Inspire audio interface and  
> Windows XP.
>
> Any advice appreciated.
>
> Thanks!
>
> Matt
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Barry Threw
Media Art and Technology


San Francisco, CA
Work: 857-544-3967
Email: bthrew at gmail.com
IM: captogreadmore (AIM)
http:/www.barrythrew.com




From td at pixar.com  Fri Dec 21 09:04:31 2007
From: td at pixar.com (Tom Duff)
Date: Fri, 21 Dec 2007 09:04:31 -0800 (PST)
Subject: [NewMusic] Stereo recording porn
Message-ID: <Pine.LNX.4.58.0712210901500.18009@marvin.dynamic.pixar.com>


Apparently my (now retired) nerfball rig was on the right track, but not
nearly bold enough.  My excuse is that it would have been hard to get the
crane through the door at Tuva Space.

http://isomike.com/gallery/gallery.html

-- 
Tom Duff.  Does anyone end up clinging by his fingertips?  Don't make me
laugh.

From td at pixar.com  Fri Dec 21 09:53:51 2007
From: td at pixar.com (Tom Duff)
Date: Fri, 21 Dec 2007 09:53:51 -0800 (PST)
Subject: [NewMusic] What David Cope is up to
Message-ID: <Pine.LNX.4.58.0712210951180.18009@marvin.dynamic.pixar.com>


Apparently David Cope is involved in a startup having something to do with
music analysis and litigation consulting.

http://www.recombinantinc.com/

-- 
Tom Duff.  Fourteenth century French math rock.

From jacobmakesnoise at yahoo.com  Fri Dec 21 10:12:13 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Fri, 21 Dec 2007 10:12:13 -0800 (PST)
Subject: [NewMusic] What David Cope is up to
In-Reply-To: <Pine.LNX.4.58.0712210951180.18009@marvin.dynamic.pixar.com>
Message-ID: <123182.34882.qm@web58008.mail.re3.yahoo.com>

Interesting.

I think the market will eat this stuff up if made
available.  But I'm not sure if that's a good thing. 
You won't even have to learn to play an instrument any
more right, or learn to compose?  Just come up with a
new song from the computer program.  Hopefully, folks
will just use this for entertainment rather than as a
substitution for doing the real work.

Cope of course has been doing this stuff for years,
but of course he HAS put in the work.  So it's
different.

It will be interesting to see where this goes.



--- Tom Duff <td at pixar.com> wrote:

> 
> Apparently David Cope is involved in a startup
> having something to do with
> music analysis and litigation consulting.
> 
> http://www.recombinantinc.com/
> 
> -- 
> Tom Duff.  Fourteenth century French math rock.
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 


Jacob Lindsay
http://www.bayimproviser.com/artistdetail.asp?artist_id=44


      ____________________________________________________________________________________
Never miss a thing.  Make Yahoo your home page. 
http://www.yahoo.com/r/hs

From jon_raskin at yahoo.com  Fri Dec 21 10:21:49 2007
From: jon_raskin at yahoo.com (Jon Raskin)
Date: Fri, 21 Dec 2007 10:21:49 -0800 (PST)
Subject: [NewMusic] What David Cope is up to
Message-ID: <575288.81350.qm@web55609.mail.re4.yahoo.com>

They are playing both sides of the creative "fence",  automating "new" works that sound like someone but legally different and using the software to go after money for plagiarizing.   The indigenous musicians in Asia need legal support immediately copyrighting their culture against the "Mansanto" approach to culture.
 
Jon Raskin 



----- Original Message ----
From: Tom Duff <td at pixar.com>
To: newmusic at music.mills.edu
Sent: Friday, December 21, 2007 9:53:51 AM
Subject: [NewMusic] What David Cope is up to


Apparently David Cope is involved in a startup having something to do with
music analysis and litigation consulting.

http://www.recombinantinc.com/

-- 
Tom Duff.  Fourteenth century French math rock.
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic

From bradysharp at gmail.com  Fri Dec 21 13:50:06 2007
From: bradysharp at gmail.com (Brady Sharp)
Date: Fri, 21 Dec 2007 15:50:06 -0600
Subject: [NewMusic] PC recording software advice
In-Reply-To: <75EFDDC8-91FD-489C-8313-54CD24CC71D9@gmail.com>
References: <c70e517b0712202149t2feb743ej630584f49dca2aeb@mail.gmail.com>
	<75EFDDC8-91FD-489C-8313-54CD24CC71D9@gmail.com>
Message-ID: <a7177e350712211350l43c863c4v1e6b021343e66dc7@mail.gmail.com>

I second UbuntuStudio.  I just recently nuked my main windows PC and
installed it, but I guess I'm a glutton for punishment in that I enjoy
trying to figure stuff out.  That said, it's pretty intuitive out of
the box for just musical use (I've got a web server, print server, fax
server, etc. running on it as well).  It contains Ardour and some
other pretty good tools, and the audio routing capability of the Jack
audio engine is pretty powerful, and would lend itself very well for
performance as well, I would imagine.

Another option for Windows is Reaper (www.cockos.com), which used to
be free, but is now uncrippled, unexpiring Shareware, so it's
definitely worth a look.  $50 for non-comm personal use and $225 for
Commercial use when you are ready.

Of course, Audition is great, too..

Brady

On Dec 21, 2007 3:19 AM, barry threw <bthrew at gmail.com> wrote:
> You can get mobile pro tools now...the Mbox Micro...about $280 and you
> can run ProTools, if you are into that.
>
> Honestly, if I was using a PC (and wanted to be stuck with Windows)
> the last version of logic (6.3?) for it would probably be the best way
> to go for me in leu of the Toolz, you can probably find that for about
> $100 or less.
>
> There is also a lot of great open source recording software
> currently...if I really wanted to record on PC now a-days, I think the
> best option would probably be Ubuntu Studio.  http://ubuntustudio.org/
> Linux sounds scary, but at this point it isn't much more frightening
> than Windows, and setup is a breeze.  And its $Free.99.  However, this
> would necessitate an OS change, but assuming you don't have that
> laptop setup for other types of work, that shouldn't be a problem.
>
> If you search around the Darkest Interwebs, you can also find builds
> of OS X for PC, and use all of the software there supported.  I have
> many friends that have gone this route and anecdotal evidence supports
> the notion that it runs great.  However, the legality of this is in
> question...and since you are considering paying for software I am
> going to assume this is an issue for you.
>
> b
>
>
> On Dec 20, 2007, at 9:49 PM, Matt Davignon wrote:
>
> > ok....I have this new laptop that I'm planning to use as a mobile
> > recording studio. I need to install music-making software, and I'm not
> > quite sure what is the best way to go.
> >
> > I should start by saying I'm pretty dumb when it comes to music on
> > computers. No max patches for me. I'm just looking for something
> > really intuitive - a pretty easy to use multi track recorder where I
> > can throw in some volume/panning timelines, cut and paste a few
> > sections, maybe add some plugin effects here and there.
> >
> > I should also say that I'm only planning to use the computer for
> > recording and editing - making songs. I'm not planning on using it to
> > play live shows.
> >
> > I guess if I'm not convinced otherwise, I'll probably just buy the
> > upgraded version of Sony Vegas Pro, which is pretty much what I've
> > been using for multitrack stuff. The thing that I don't like about it
> > is that I usually wind up exporting tracks to SoundForge to run noise
> > reduction, bring up the levels, and add effects, which means I can't
> > hear how what I'm doing fits in the context of other tracks until I
> > save it and import it back. I'm not sure if that's really necessary or
> > if I'm just being dumb.
> >
> > I'm willing to pay for something good. Shelling out $1000 for Cubase
> > seems a bit steep, especially if I'm not sure I'm going to like it.
> >
> > I used to do a lot of cassette 4-track recording back in the day. When
> > I made the switch to computer, I wound up doing so much cleanup on
> > each recording pass that I tend to run out of patience quickly and
> > storm off to play video games.
> >
> > I have a laptop PC with a Presonus Inspire audio interface and
> > Windows XP.
> >
> > Any advice appreciated.
> >
> > Thanks!
> >
> > Matt
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
>
> Barry Threw
> Media Art and Technology
>
>
> San Francisco, CA
> Work: 857-544-3967
> Email: bthrew at gmail.com
> IM: captogreadmore (AIM)
> http:/www.barrythrew.com
>
>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From jzitt at metatronpress.com  Fri Dec 21 16:17:09 2007
From: jzitt at metatronpress.com (Joseph Zitt)
Date: Fri, 21 Dec 2007 16:17:09 -0800
Subject: [NewMusic] PC recording software advice
In-Reply-To: <a7177e350712211350l43c863c4v1e6b021343e66dc7@mail.gmail.com>
References: <c70e517b0712202149t2feb743ej630584f49dca2aeb@mail.gmail.com>
	<75EFDDC8-91FD-489C-8313-54CD24CC71D9@gmail.com>
	<a7177e350712211350l43c863c4v1e6b021343e66dc7@mail.gmail.com>
Message-ID: <cf60725f0712211617p49a86d78s739ec23e6904ad72@mail.gmail.com>

Another vote for UbuntuStudio. I'm using it as my main OS at home and
loving it, though I haven't actually used it for much music of late.

I'm online right now, though, with my tiny, cheap, and utterly
droolworthy Asus Eee PC. I'm hoping to put PD on it, as well as other
relevant thngs over time.

On Dec 21, 2007 1:50 PM, Brady Sharp <bradysharp at gmail.com> wrote:
> I second UbuntuStudio.  I just recently nuked my main windows PC and
> installed it, but I guess I'm a glutton for punishment in that I enjoy
> trying to figure stuff out.  That said, it's pretty intuitive out of
> the box for just musical use (I've got a web server, print server, fax
> server, etc. running on it as well).  It contains Ardour and some
> other pretty good tools, and the audio routing capability of the Jack
> audio engine is pretty powerful, and would lend itself very well for
> performance as well, I would imagine.
>
> Another option for Windows is Reaper (www.cockos.com), which used to
> be free, but is now uncrippled, unexpiring Shareware, so it's
> definitely worth a look.  $50 for non-comm personal use and $225 for
> Commercial use when you are ready.
>
> Of course, Audition is great, too..
>
> Brady
>
>
> On Dec 21, 2007 3:19 AM, barry threw <bthrew at gmail.com> wrote:
> > You can get mobile pro tools now...the Mbox Micro...about $280 and you
> > can run ProTools, if you are into that.
> >
> > Honestly, if I was using a PC (and wanted to be stuck with Windows)
> > the last version of logic (6.3?) for it would probably be the best way
> > to go for me in leu of the Toolz, you can probably find that for about
> > $100 or less.
> >
> > There is also a lot of great open source recording software
> > currently...if I really wanted to record on PC now a-days, I think the
> > best option would probably be Ubuntu Studio.  http://ubuntustudio.org/
> > Linux sounds scary, but at this point it isn't much more frightening
> > than Windows, and setup is a breeze.  And its $Free.99.  However, this
> > would necessitate an OS change, but assuming you don't have that
> > laptop setup for other types of work, that shouldn't be a problem.
> >
> > If you search around the Darkest Interwebs, you can also find builds
> > of OS X for PC, and use all of the software there supported.  I have
> > many friends that have gone this route and anecdotal evidence supports
> > the notion that it runs great.  However, the legality of this is in
> > question...and since you are considering paying for software I am
> > going to assume this is an issue for you.
> >
> > b
> >
> >
> > On Dec 20, 2007, at 9:49 PM, Matt Davignon wrote:
> >
> > > ok....I have this new laptop that I'm planning to use as a mobile
> > > recording studio. I need to install music-making software, and I'm not
> > > quite sure what is the best way to go.
> > >
> > > I should start by saying I'm pretty dumb when it comes to music on
> > > computers. No max patches for me. I'm just looking for something
> > > really intuitive - a pretty easy to use multi track recorder where I
> > > can throw in some volume/panning timelines, cut and paste a few
> > > sections, maybe add some plugin effects here and there.
> > >
> > > I should also say that I'm only planning to use the computer for
> > > recording and editing - making songs. I'm not planning on using it to
> > > play live shows.
> > >
> > > I guess if I'm not convinced otherwise, I'll probably just buy the
> > > upgraded version of Sony Vegas Pro, which is pretty much what I've
> > > been using for multitrack stuff. The thing that I don't like about it
> > > is that I usually wind up exporting tracks to SoundForge to run noise
> > > reduction, bring up the levels, and add effects, which means I can't
> > > hear how what I'm doing fits in the context of other tracks until I
> > > save it and import it back. I'm not sure if that's really necessary or
> > > if I'm just being dumb.
> > >
> > > I'm willing to pay for something good. Shelling out $1000 for Cubase
> > > seems a bit steep, especially if I'm not sure I'm going to like it.
> > >
> > > I used to do a lot of cassette 4-track recording back in the day. When
> > > I made the switch to computer, I wound up doing so much cleanup on
> > > each recording pass that I tend to run out of patience quickly and
> > > storm off to play video games.
> > >
> > > I have a laptop PC with a Presonus Inspire audio interface and
> > > Windows XP.
> > >
> > > Any advice appreciated.
> > >
> > > Thanks!
> > >
> > > Matt
> > > _______________________________________________
> > > Bay Area New Music Discussion Group
> > > NewMusic at music.mills.edu
> > > http://music.mills.edu/mailman/listinfo/newmusic
> >
> > Barry Threw
> > Media Art and Technology
> >
> >
> > San Francisco, CA
> > Work: 857-544-3967
> > Email: bthrew at gmail.com
> > IM: captogreadmore (AIM)
> > http:/www.barrythrew.com
> >
> >
> >
> >
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From djcypod at gmail.com  Fri Dec 21 18:02:01 2007
From: djcypod at gmail.com (beau)
Date: Fri, 21 Dec 2007 18:02:01 -0800
Subject: [NewMusic] PC recording software advice
In-Reply-To: <cf60725f0712211617p49a86d78s739ec23e6904ad72@mail.gmail.com>
References: <c70e517b0712202149t2feb743ej630584f49dca2aeb@mail.gmail.com>
	<75EFDDC8-91FD-489C-8313-54CD24CC71D9@gmail.com>
	<a7177e350712211350l43c863c4v1e6b021343e66dc7@mail.gmail.com>
	<cf60725f0712211617p49a86d78s739ec23e6904ad72@mail.gmail.com>
Message-ID: <fc5507fa0712211802mf555317qf4b25e3b9112614@mail.gmail.com>

Probably the best pc freeware multi-tracker that I've used is kristal:
http://www.kreatives.org/kristal/

its give you eigth tracks and and works with audio vst effects. so if
you later change your mind about using max/msp, you can use it to host
your custom effects:
http://farm1.static.flickr.com/7/11111183_f1cf3d77fb_o.jpg

I like to use virtual instruments in addition to just effects, and for
a long time used the free version of cubase that came with my
presonus. I have also played around with audition a little, and
concider it a good call too.

But if your into looping, like me, then Ableton live can be a pretty
sweet rig for a performce/studio hybrid

Of course if you want it all for free then the best distro with no
risk to microsoft office is:
http://dynebolic.org/






On Dec 21, 2007 4:17 PM, Joseph Zitt <jzitt at metatronpress.com> wrote:
> Another vote for UbuntuStudio. I'm using it as my main OS at home and
> loving it, though I haven't actually used it for much music of late.
>
> I'm online right now, though, with my tiny, cheap, and utterly
> droolworthy Asus Eee PC. I'm hoping to put PD on it, as well as other
> relevant thngs over time.
>
>
> On Dec 21, 2007 1:50 PM, Brady Sharp <bradysharp at gmail.com> wrote:
> > I second UbuntuStudio.  I just recently nuked my main windows PC and
> > installed it, but I guess I'm a glutton for punishment in that I enjoy
> > trying to figure stuff out.  That said, it's pretty intuitive out of
> > the box for just musical use (I've got a web server, print server, fax
> > server, etc. running on it as well).  It contains Ardour and some
> > other pretty good tools, and the audio routing capability of the Jack
> > audio engine is pretty powerful, and would lend itself very well for
> > performance as well, I would imagine.
> >
> > Another option for Windows is Reaper (www.cockos.com), which used to
> > be free, but is now uncrippled, unexpiring Shareware, so it's
> > definitely worth a look.  $50 for non-comm personal use and $225 for
> > Commercial use when you are ready.
> >
> > Of course, Audition is great, too..
> >
> > Brady
> >
> >
> > On Dec 21, 2007 3:19 AM, barry threw <bthrew at gmail.com> wrote:
> > > You can get mobile pro tools now...the Mbox Micro...about $280 and you
> > > can run ProTools, if you are into that.
> > >
> > > Honestly, if I was using a PC (and wanted to be stuck with Windows)
> > > the last version of logic (6.3?) for it would probably be the best way
> > > to go for me in leu of the Toolz, you can probably find that for about
> > > $100 or less.
> > >
> > > There is also a lot of great open source recording software
> > > currently...if I really wanted to record on PC now a-days, I think the
> > > best option would probably be Ubuntu Studio.  http://ubuntustudio.org/
> > > Linux sounds scary, but at this point it isn't much more frightening
> > > than Windows, and setup is a breeze.  And its $Free.99.  However, this
> > > would necessitate an OS change, but assuming you don't have that
> > > laptop setup for other types of work, that shouldn't be a problem.
> > >
> > > If you search around the Darkest Interwebs, you can also find builds
> > > of OS X for PC, and use all of the software there supported.  I have
> > > many friends that have gone this route and anecdotal evidence supports
> > > the notion that it runs great.  However, the legality of this is in
> > > question...and since you are considering paying for software I am
> > > going to assume this is an issue for you.
> > >
> > > b
> > >
> > >
> > > On Dec 20, 2007, at 9:49 PM, Matt Davignon wrote:
> > >
> > > > ok....I have this new laptop that I'm planning to use as a mobile
> > > > recording studio. I need to install music-making software, and I'm not
> > > > quite sure what is the best way to go.
> > > >
> > > > I should start by saying I'm pretty dumb when it comes to music on
> > > > computers. No max patches for me. I'm just looking for something
> > > > really intuitive - a pretty easy to use multi track recorder where I
> > > > can throw in some volume/panning timelines, cut and paste a few
> > > > sections, maybe add some plugin effects here and there.
> > > >
> > > > I should also say that I'm only planning to use the computer for
> > > > recording and editing - making songs. I'm not planning on using it to
> > > > play live shows.
> > > >
> > > > I guess if I'm not convinced otherwise, I'll probably just buy the
> > > > upgraded version of Sony Vegas Pro, which is pretty much what I've
> > > > been using for multitrack stuff. The thing that I don't like about it
> > > > is that I usually wind up exporting tracks to SoundForge to run noise
> > > > reduction, bring up the levels, and add effects, which means I can't
> > > > hear how what I'm doing fits in the context of other tracks until I
> > > > save it and import it back. I'm not sure if that's really necessary or
> > > > if I'm just being dumb.
> > > >
> > > > I'm willing to pay for something good. Shelling out $1000 for Cubase
> > > > seems a bit steep, especially if I'm not sure I'm going to like it.
> > > >
> > > > I used to do a lot of cassette 4-track recording back in the day. When
> > > > I made the switch to computer, I wound up doing so much cleanup on
> > > > each recording pass that I tend to run out of patience quickly and
> > > > storm off to play video games.
> > > >
> > > > I have a laptop PC with a Presonus Inspire audio interface and
> > > > Windows XP.
> > > >
> > > > Any advice appreciated.
> > > >
> > > > Thanks!
> > > >
> > > > Matt
> > > > _______________________________________________
> > > > Bay Area New Music Discussion Group
> > > > NewMusic at music.mills.edu
> > > > http://music.mills.edu/mailman/listinfo/newmusic
> > >
> > > Barry Threw
> > > Media Art and Technology
> > >
> > >
> > > San Francisco, CA
> > > Work: 857-544-3967
> > > Email: bthrew at gmail.com
> > > IM: captogreadmore (AIM)
> > > http:/www.barrythrew.com
> > >
> > >
> > >
> > >
> > > _______________________________________________
> > > Bay Area New Music Discussion Group
> > > NewMusic at music.mills.edu
> > > http://music.mills.edu/mailman/listinfo/newmusic
> > >
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From weaselw at juno.com  Fri Dec 21 18:02:54 2007
From: weaselw at juno.com (weasel walter)
Date: Fri, 21 Dec 2007 18:02:54 -0800
Subject: [NewMusic] question about anthony braxton notation
Message-ID: <20071221.182209.3188.85.weaselw@juno.com>

hey . . . can any of you braxtonites help me decipher some braxton
notation? 
 
i'm looking at the score for no. 93 and he uses this symbol a lot which
looks like a diagonally slanted line with arrow heads on either end . . .
 i can't remember what that means.
 
ww

From ingalls at mills.edu  Fri Dec 21 20:02:57 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Fri, 21 Dec 2007 20:02:57 -0800 (PST)
Subject: [NewMusic] question about anthony braxton notation
In-Reply-To: <20071221.182209.3188.85.weaselw@juno.com>
References: <20071221.182209.3188.85.weaselw@juno.com>
Message-ID: <Pine.LNX.4.60.0712212002420.5008@myfiles.mills.edu>


i think it's a rest

On Fri, 21 Dec 2007, weasel walter wrote:

> hey . . . can any of you braxtonites help me decipher some braxton
> notation?
>
> i'm looking at the score for no. 93 and he uses this symbol a lot which
> looks like a diagonally slanted line with arrow heads on either end . . .
> i can't remember what that means.
>
> ww
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From michaelz at zoka.com  Fri Dec 21 20:49:52 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Fri, 21 Dec 2007 20:49:52 -0800
Subject: [NewMusic] More grist for the copyright debate
Message-ID: <p06020425c392475a3388@[192.168.0.5]>

NY Times:

>The Generational Divide in Copyright Morality
>
>By DAVID POGUE
>December 20, 2007

<http://www.nytimes.com/2007/12/20/technology/personaltech/20pogue-email.html>


From gcremaschi at hotmail.com  Sat Dec 22 03:10:59 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Sat, 22 Dec 2007 03:10:59 -0800
Subject: [NewMusic] What David Cope is up to
In-Reply-To: <575288.81350.qm@web55609.mail.re4.yahoo.com>
References: <575288.81350.qm@web55609.mail.re4.yahoo.com>
Message-ID: <BAY101-W51D2ECDEAACCB83ECB45CC15F0@phx.gbl>


More cyber crap for the desperate robots who can't live one more minute 
without another fantastic new digital autoerotic 'solution' to a problem which 
never existed. The fetishization of our ability to make more and more and 
more. Aren't we brilliant? Nearer and nearer, my God, to thee! 

The 'markets' are aboard, the 'partners' line up, checks are hoped to be cashed.  

"Our technologies can be used to put a toddler at a toy piano and have
them compose their own lullabies or nursery rhymes with such composers 
as Strauss or Mozart."

Now isn't that heartwarming?  But actually, not warm enough:

"CEO Dave Park developed, managed, produced, and marketed the recording artist
 ?Deftones? from concept to launch (worldwide sales of recorded units, concerts, and 
merchandising in excess of $100 million)."

MUCH warmer....


-George


ps - Did you hear the one where someone had a book launch on "Second Life"?
       No actual writing necessary! All of the fun, none of the dreaded work or 'content'. 
_________________________________________________________________
Get the power of Windows + Web with the new Windows Live.
http://www.windowslive.com?ocid=TXT_TAGHM_Wave2_powerofwindows_122007

From jon_raskin at yahoo.com  Sat Dec 22 08:30:08 2007
From: jon_raskin at yahoo.com (Jon Raskin)
Date: Sat, 22 Dec 2007 08:30:08 -0800 (PST)
Subject: [NewMusic] jazz 2007 lists
Message-ID: <101885.14770.qm@web55603.mail.re4.yahoo.com>

2007 top lists from the jazzhouse wiki

http://www.jazzhouse.org/jwiki/bin/view/TopTens/WebHome


 
Jon Raskin


From johnlee at bayimproviser.com  Sat Dec 22 10:08:16 2007
From: johnlee at bayimproviser.com (John Lee)
Date: Sat, 22 Dec 2007 12:08:16 -0600 (CST)
Subject: [NewMusic] jazz 2007 lists
Message-ID: <1198346896.v2.fusewebmail-215662@f>

I encourage everyone to add their favorites to the Favorite Disks page on
bayimproviser.com

John

----- Original Message -----
Subject: [NewMusic] jazz 2007 lists
Date: Sat, December 22, 2007 8:30
From: "Jon Raskin" <jon_raskin at yahoo.com>
2007 top lists from the jazzhouse wiki
>
> http://www.jazzhouse.org/jwiki/bin/view/TopTens/WebHome
>
>
>
> Jon Raskin
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>

From 21grand at 21grand.org  Sat Dec 22 11:50:52 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sat, 22 Dec 2007 11:50:52 -0800
Subject: [NewMusic]  What David Cope is up to
Message-ID: <C392AA9C.249A9%21grand@21grand.org>

George wrote:
More cyber crap for the desperate robots who can't live one more minute
without another fantastic new digital autoerotic 'solution' to a problem
which 
never existed. The fetishization of our ability to make more and more and
more. Aren't we brilliant? Nearer and nearer, my God, to thee!

- Well, considering capitalism and the financial markets that are an
integral part of it have "growth" as a requirement, I don't know how much
this is about becoming closer to God. If budgets, profits, etc. don't expand
through the introduction of new products and services then a company, or the
economy isn't "healthy."

And health is very important.  Think of the children!

sl


From gcremaschi at hotmail.com  Sat Dec 22 13:35:10 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Sat, 22 Dec 2007 13:35:10 -0800
Subject: [NewMusic] What David Cope is up to
In-Reply-To: <C392AA9C.249A9%21grand@21grand.org>
References: <C392AA9C.249A9%21grand@21grand.org>
Message-ID: <BAY101-W391872A85980EBB6F838E2C15F0@phx.gbl>


Sarah wrote:

> If budgets, profits, etc. don't expand through the introduction 
> of new products and services then a company, or the economy
> isn't "healthy."

The economy isn't, and isn't going to be, "healthy". It's a sick
and dying animal, and any moments of prosperity are rest stops
on the road to oblivion. Though I'm sure the fetishists imagine they'll 
dream up a new technology to re-freeze the polar icecaps, or some 
such nonsense. Or maybe a huge water evaporator. Or how about
a giant space bucket - you know, to reach down, scoop out some water,
and then fling it into space? I did mention God - maybe He can help?

-George
_________________________________________________________________
The best games are on Xbox 360.  Click here for a special offer on an Xbox 360 Console.
http://www.xbox.com/en-US/hardware/wheretobuy/

From mhenry at crypticstudios.com  Sun Dec 23 08:29:19 2007
From: mhenry at crypticstudios.com (Michael Henry)
Date: Sun, 23 Dec 2007 08:29:19 -0800
Subject: [NewMusic] Will someone PLEASE put Baby Bernie to bed?
Message-ID: <C73CE12E0E2E6D4AA8C97475050023A608C5429787@proserpine.paragon.crypticstudios.com>


...and change his diaper, too?  It's so full of crap it's overflowing.

http://www.nytimes.com/2007/12/23/arts/music/23holl.html


"The heavens, the earth, music and people?s insides, all responding to an overriding symmetry: an appealing idea. The universe sang a celestial tune, and Mozart sang along in emulation. Earth, air, fire and water were the common denominators for the human condition. Despite evidence to the contrary, the old stories prevailed. It almost made you sympathize with those slap-happy creationists and intelligent designers trying to do in the theory of evolution. Not too different are the numerous haters of contemporary music: listeners who pine for an orderly past, not an unpleasant present.

Unpleasant truths were another topic brought back forcefully by a concert at the Kitchen in September, by the fine young group Either/Or. Here was a program of 1960s arrogance and self-absorption, with people like Cornelius Cardew, Christian Wolff and Earle Brown as the main offenders. Listening to a collection of composers sharing inside jokes and private messages in music that reeked of contempt for the public made me get down on my knees and give thanks that an era so damaging to music was over. It didn?t drive an intelligent public away from classical music by itself, but it helped."

From pgsaxo at pacbell.net  Mon Dec 24 12:26:33 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Mon, 24 Dec 2007 12:26:33 -0800 (PST)
Subject: [NewMusic] RIP Oscar Peterson
In-Reply-To: <c70e517b0712202149t2feb743ej630584f49dca2aeb@mail.gmail.com>
Message-ID: <21581.36767.qm@web81415.mail.mud.yahoo.com>

Dear bListers,
   
  The great canadian pianist Oscar Peterson has passed away. I saw him a few times and it was always a real treat. No, this isn't new music, but for you jazz heads out there, here are a few obits...
   
  http://canadianpress.google.com/article/ALeqM5jysfV8l_cM9t30j6K61HrnzB_i2w
 
 http://ca.news.yahoo.com/s/cbc/arts_music_obit_peterson_oscar


  Peace to all,
  PG


From pgsaxo at pacbell.net  Wed Dec 26 15:03:47 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 26 Dec 2007 15:03:47 -0800 (PST)
Subject: [NewMusic] matt d in the house?
In-Reply-To: <C73CE12E0E2E6D4AA8C97475050023A608C5429787@proserpine.paragon.crypticstudios.com>
Message-ID: <996923.62342.qm@web81402.mail.mud.yahoo.com>

Hey Folks,
   
  I'm trying to get in touch with Matt Davignon by phone. Anyone have his phone number?
   
  Matt?
   
  Are you there?
   
  If so, call me:
  510-653-8994
   
  Peace,
  PG


From bthrew at gmail.com  Wed Dec 26 19:54:34 2007
From: bthrew at gmail.com (barry threw)
Date: Wed, 26 Dec 2007 19:54:34 -0800
Subject: [NewMusic] What David Cope is up to
In-Reply-To: <BAY101-W51D2ECDEAACCB83ECB45CC15F0@phx.gbl>
References: <575288.81350.qm@web55609.mail.re4.yahoo.com>
	<BAY101-W51D2ECDEAACCB83ECB45CC15F0@phx.gbl>
Message-ID: <A7A5377A-5D50-41CA-885B-561335ABE95A@gmail.com>

Some of us really believe in this "cyber crap", and see the potential  
for a lot of innovative, visionary, and endearing work to come of it.  
I understand that the technologies Cope is developing could have  
unfortunate uses, but a dismissal like this seems overly reactionary  
to me.

> ps - Did you hear the one where someone had a book launch on "Second  
> Life"?
>       No actual writing necessary! All of the fun, none of the  
> dreaded work or 'content'.

Give me a break. It was a book launch...hence someone had to write the  
dreaded content of a book to launch it.

b

On Dec 22, 2007, at 3:10 AM, George Cremaschi wrote:

>
> More cyber crap for the desperate robots who can't live one more  
> minute
> without another fantastic new digital autoerotic 'solution' to a  
> problem which
> never existed. The fetishization of our ability to make more and  
> more and
> more. Aren't we brilliant? Nearer and nearer, my God, to thee!
>
> The 'markets' are aboard, the 'partners' line up, checks are hoped  
> to be cashed.
>
> "Our technologies can be used to put a toddler at a toy piano and have
> them compose their own lullabies or nursery rhymes with such composers
> as Strauss or Mozart."
>
> Now isn't that heartwarming?  But actually, not warm enough:
>
> "CEO Dave Park developed, managed, produced, and marketed the  
> recording artist
> ?Deftones? from concept to launch (worldwide sales of recorded  
> units, concerts, and
> merchandising in excess of $100 million)."
>
> MUCH warmer....
>
>
> -George
>
>
> ps - Did you hear the one where someone had a book launch on "Second  
> Life"?
>       No actual writing necessary! All of the fun, none of the  
> dreaded work or 'content'.
> _________________________________________________________________
> Get the power of Windows + Web with the new Windows Live.
> http://www.windowslive.com?ocid=TXT_TAGHM_Wave2_powerofwindows_122007
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Barry Threw
Media Art and Technology


San Francisco, CA
Work: 857-544-3967
Email: bthrew at gmail.com
IM: captogreadmore (AIM)
http:/www.barrythrew.com




From djcypod at gmail.com  Wed Dec 26 21:01:04 2007
From: djcypod at gmail.com (beau)
Date: Wed, 26 Dec 2007 21:01:04 -0800
Subject: [NewMusic] What David Cope is up to
In-Reply-To: <A7A5377A-5D50-41CA-885B-561335ABE95A@gmail.com>
References: <575288.81350.qm@web55609.mail.re4.yahoo.com>
	<BAY101-W51D2ECDEAACCB83ECB45CC15F0@phx.gbl>
	<A7A5377A-5D50-41CA-885B-561335ABE95A@gmail.com>
Message-ID: <fc5507fa0712262101h5ef3f107va2e5c1a643e4e621@mail.gmail.com>

My take on it is that Professor Cope uses computer technology to
perform certain types of musical analysis. I know music theory isn't
that popular on this list, but the fact that some one is finding new
ways to innovate in a field that has such a long and rich history is
kind of amazing to me.

>
> > ps - Did you hea