From liberatednsf at yahoo.com  Sat Nov  1 13:47:44 2008
From: liberatednsf at yahoo.com (andrew wilshusen)
Date: Sat, 1 Nov 2008 13:47:44 -0700 (PDT)
Subject: [NewMusic] 3rd party music
Message-ID: <876385.35387.qm@web30506.mail.mud.yahoo.com>

>phillip not phil said:
>i have no idea how to answer any of those questions. how should i know what motivates human behavior? >camus asked that question, and he couldn't come up with a straight answer either.

kant immediately dismissed any attempt at understanding human motive as futile.

>i had a professor tell me when i was first starting to play that nobody listens and nobody cares. he said if you >can really dig that, you're on the right track. i think he was right. i stopped caring about whether anyone was >listening to me a long time ago and it helped my music tremendously. actually, it didn't help my playing, but it >helped my feelings about performing in public.

this is an important lesson i heard from phillip several years ago and am still trying to learn.? i get hung up on the idea of why play in public knowing nobody listens and nobody cares? ?difficult battle for me.

I'm about to push record on sound forge?to make a christmas present for friends of songs i've been writing recently.? my way of staying in touch.?(note:?trying to answer my own query.)

Andrew


      

From pgsaxo at pacbell.net  Sat Nov  1 16:16:52 2008
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Sat, 1 Nov 2008 16:16:52 -0700 (PDT)
Subject: [NewMusic] 3rd party music
In-Reply-To: <876385.35387.qm@web30506.mail.mud.yahoo.com>
Message-ID: <233179.38573.qm@web81406.mail.mud.yahoo.com>

i hope you'll send a copy of your recordings my way, andrew!

peace,
pg


--- On Sat, 11/1/08, andrew wilshusen <liberatednsf at yahoo.com> wrote:

> From: andrew wilshusen <liberatednsf at yahoo.com>
> Subject: Re: [NewMusic] 3rd party music
> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
> Date: Saturday, November 1, 2008, 1:47 PM
> >phillip not phil said:
> >i have no idea how to answer any of those questions.
> how should i know what motivates human behavior? >camus
> asked that question, and he couldn't come up with a
> straight answer either.
> 
> kant immediately dismissed any attempt at understanding
> human motive as futile.
> 
> >i had a professor tell me when i was first starting to
> play that nobody listens and nobody cares. he said if you
> >can really dig that, you're on the right track. i
> think he was right. i stopped caring about whether anyone
> was >listening to me a long time ago and it helped my
> music tremendously. actually, it didn't help my playing,
> but it >helped my feelings about performing in public.
> 
> this is an important lesson i heard from phillip several
> years ago and am still trying to learn.? i get hung up on
> the idea of why play in public knowing nobody listens and
> nobody cares? ?difficult battle for me.
> 
> I'm about to push record on sound forge?to make a
> christmas present for friends of songs i've been writing
> recently.? my way of staying in touch.?(note:?trying to
> answer my own query.)
> 
> Andrew
> 
> 
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

From campaudj at comcast.net  Sat Nov  1 16:24:22 2008
From: campaudj at comcast.net (Don Campau)
Date: Sat, 1 Nov 2008 16:24:22 -0700
Subject: [NewMusic] for posting , thanks
Message-ID: <258095ECF7DE4E9AB3675325022BD0F4@OWNERBE6D90F9C>

Everyone is welcome to send their music for airplay on "No Pigeonholes", my radio show that features home recording and all kinds of eclectic music. All styles welcome.
Get all the details and postal address here:

http://www.doncampau.com/npinfo.htm

Bring it on!
Don Campau


From djcypod at gmail.com  Sat Nov  1 21:16:35 2008
From: djcypod at gmail.com (beau)
Date: Sat, 1 Nov 2008 21:16:35 -0700
Subject: [NewMusic] 3rd party music
In-Reply-To: <233179.38573.qm@web81406.mail.mud.yahoo.com>
References: <876385.35387.qm@web30506.mail.mud.yahoo.com>
	<233179.38573.qm@web81406.mail.mud.yahoo.com>
Message-ID: <fc5507fa0811012116h1ecd2e14vc1bf3b6f89883e22@mail.gmail.com>

This make me want to get an iphone:

http://www.youtube.com/watch?v=k6iqYg8Nd4E

From slusser at pixar.com  Sun Nov  2 18:15:32 2008
From: slusser at pixar.com (David Slusser)
Date: Sun, 2 Nov 2008 18:15:32 -0800
Subject: [NewMusic] Raymond Scott Toy
Message-ID: <0B49C808-9EE4-4280-93F1-CAE7CD1452A3@pixar.com>




> It's 4500 Yen ($45.68 + shipping!):
>
> http://www.presspop.com/en/shop/raymond_scott/raymond_doll.html

From damon at balancepointacoustics.com  Mon Nov  3 10:00:25 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 3 Nov 2008 10:00:25 -0800
Subject: [NewMusic] Georg Graewe
Message-ID: <11AE2A42-59F8-4ED8-914A-49EED666C26B@balancepointacoustics.com>

Last night Georg Graewe played a fantastic solo piano concert to not  
so many people. It was really amazing. He gets one of the beautiful  
piano sounds i have ever heard, not matter how dissonant or abstract  
he gets he always has round and singing tone. All of his lines and  
ideas came out with total clarity even when it was swirls of notes.  
He is really playing better than ever.

As I tend to do I revisited his discography in preparation for the  
trio project on election day and there is really isn't a dud in the  
bunch. He made some of the very best improv albums in the last few  
decades starting with his early LPs on FMP to his  
Grubenklangorchestra, to hs fantastic tiro with Ernst Reijseger and  
Gerry Hemingway to his more recent work on the Nuscope label.

Huge stand outs are his duos with John Butcher and Evan Parker as  
well as the Spellings Quartet with The amazing K?ln bass player Hans  
Schneider, Martin Blume and John Butcher.

There are two more chances to see him and I wouldn't miss them- if  
you don't want to  hear him with me and Jerome Bryerton he is playing  
with Jon Raskin and Donald Robinson on Saturday in SF.
Also, you can talk about sausage all you want - we already took him  
to Top Dog last night.

Damon Smith

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





From slusser at pixar.com  Mon Nov  3 10:56:04 2008
From: slusser at pixar.com (David Slusser)
Date: Mon, 3 Nov 2008 10:56:04 -0800
Subject: [NewMusic] Jimmy Carl Black (RIP)
Message-ID: <12C3F2B3-B6F6-422E-8FE9-FA993367885E@pixar.com>

Jimmy passed away peacefully Saturday night
11/01/08 at 11:00 o'clock pm.
  Jimmy says hi to everybody and he doesn't
want anybody to be sad.

(Origial Mothers drummer,
recent work w/Chadbourne)

From weaselw at juno.com  Mon Nov  3 11:29:50 2008
From: weaselw at juno.com (weasel walter)
Date: Mon, 3 Nov 2008 11:29:50 -0800
Subject: [NewMusic] yo slusser
Message-ID: <20081103.112951.3380.465.weaselw@juno.com>

david slusser! i think my email is being shunned by your spam filter . .
. let me know if you can play bass clarinet with my choir at the uptown
on nov 18th!

ww
____________________________________________________________
Real Estate Investment - Click NOW!
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miWZUsoAu65JtJKkQwgYd0cqRxNUTl6VetrtihVaNHASLS2/

From jacobmakesnoise at yahoo.com  Mon Nov  3 12:02:25 2008
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Mon, 3 Nov 2008 12:02:25 -0800 (PST)
Subject: [NewMusic] Georg Graewe
In-Reply-To: <11AE2A42-59F8-4ED8-914A-49EED666C26B@balancepointacoustics.com>
Message-ID: <519230.91181.qm@web58008.mail.re3.yahoo.com>

I second the praise on Graewe's set last night.  Totally focused and clear yet relaxed and energetic, a swirling mass of multiple voices made crystaline and punctuated.  Definite suggestions of Schoenberg and Webern, alongside robust waves of free jazz energy.  All with a Gouldian sense of form, phrasing and craft.  Really great.

Jacob Lindsay
http://www.bayimproviser.com/jacoblindsay


--- On Mon, 11/3/08, Damon Smith <damon at balancepointacoustics.com> wrote:

> From: Damon Smith <damon at balancepointacoustics.com>
> Subject: [NewMusic] Georg Graewe
> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
> Date: Monday, November 3, 2008, 10:00 AM
> Last night Georg Graewe played a fantastic solo piano
> concert to not
> so many people. It was really amazing. He gets one of the
> beautiful
> piano sounds i have ever heard, not matter how dissonant or
> abstract
> he gets he always has round and singing tone. All of his
> lines and
> ideas came out with total clarity even when it was swirls
> of notes.
> He is really playing better than ever.
> 
> As I tend to do I revisited his discography in preparation
> for the
> trio project on election day and there is really isn't
> a dud in the
> bunch. He made some of the very best improv albums in the
> last few
> decades starting with his early LPs on FMP to his
> Grubenklangorchestra, to hs fantastic tiro with Ernst
> Reijseger and
> Gerry Hemingway to his more recent work on the Nuscope
> label.
> 
> Huge stand outs are his duos with John Butcher and Evan
> Parker as
> well as the Spellings Quartet with The amazing K?ln bass
> player Hans
> Schneider, Martin Blume and John Butcher.
> 
> There are two more chances to see him and I wouldn't
> miss them- if
> you don't want to  hear him with me and Jerome Bryerton
> he is playing
> with Jon Raskin and Donald Robinson on Saturday in SF.
> Also, you can talk about sausage all you want - we already
> took him
> to Top Dog last night.
> 
> Damon Smith
> 
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> New solo project:
> http://www.myspace.com/damonsmithsolo
> 
> 
> 
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic


      

From itzat at earthlink.net  Mon Nov  3 14:42:43 2008
From: itzat at earthlink.net (Ernesto Diaz-Infante)
Date: Mon, 3 Nov 2008 14:42:43 -0800
Subject: [NewMusic] Fwd: witness the Blogbirthday of the Big Sur
	Experimental Music Festival
References: <455280.46318.qm@web45516.mail.sp1.yahoo.com>
Message-ID: <4B61391C-4FBD-4CC0-9310-B1B574E8A3A9@earthlink.net>

hi Everybody,
Robert Deford put together this video blog and wanted to spread the  
word about it.
hope you're all well.
chau.chau.
E


Begin forwarded message:

> From: Robert DeFord <robertdeford000 at yahoo.com>
> Date: November 3, 2008 10:57:26 AM PST
> To: Marcos Fernandes <sounds at accretions.com>, hooker  
> <hooker99 at aol.com>, Hebard Olson <hebard at mbay.net>, "magnus at henrymiller.org 
>  Torrin" <magnus at henrymiller.org>
> Subject: witness the Blogbirthday of the Big Sur Experimental Music  
> Festival
> Reply-To: robertdeford000 at yahoo.com
>
>
> http://big-sur-x-music-festival.blogspot.com/
>
>
>
>
>
>
>
>
>
>
>
>
>
> "In questions of power, then, let no more be heard of confidence in  
> man,
> but bind him down from mischief by the chains of the Constitution."-- 
> Thomas Jefferson
> www.thegreatskull.com


From analog_life at hotmail.com  Mon Nov  3 14:45:56 2008
From: analog_life at hotmail.com (stephen r.)
Date: Mon, 3 Nov 2008 14:45:56 -0800
Subject: [NewMusic] Fwd: witness the Blogbirthday of the Big
	Sur	Experimental Music Festival
In-Reply-To: <4B61391C-4FBD-4CC0-9310-B1B574E8A3A9@earthlink.net>
References: <455280.46318.qm@web45516.mail.sp1.yahoo.com>
	<4B61391C-4FBD-4CC0-9310-B1B574E8A3A9@earthlink.net>
Message-ID: <BLU148-W3E708323701962B7E584D9C1D0@phx.gbl>


This is excellent, thanks for sending this along Ernesto.

-- 
Stephen R. :: Pixel Pusher / Sound Wrangler
---------------------------------------------------------------
http://www.myspace.com/djstephenr
http://architectheroes.blogspot.com/
http://www.myspace.com/zygote
---------------------------------------------------------------


> From: itzat at earthlink.net
> To: ba-newmus at eartha.mills.edu
> Date: Mon, 3 Nov 2008 14:42:43 -0800
> Subject: [NewMusic] Fwd: witness the Blogbirthday of the Big Sur	Experimental Music Festival
> 
> hi Everybody,
> Robert Deford put together this video blog and wanted to spread the  
> word about it.
> hope you're all well.
> chau.chau.
> E
> 
> 
> Begin forwarded message:
> 
> > From: Robert DeFord <robertdeford000 at yahoo.com>
> > Date: November 3, 2008 10:57:26 AM PST
> > To: Marcos Fernandes <sounds at accretions.com>, hooker  
> > <hooker99 at aol.com>, Hebard Olson <hebard at mbay.net>, "magnus at henrymiller.org 
> >  Torrin" <magnus at henrymiller.org>
> > Subject: witness the Blogbirthday of the Big Sur Experimental Music  
> > Festival
> > Reply-To: robertdeford000 at yahoo.com
> >
> >
> > http://big-sur-x-music-festival.blogspot.com/
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > "In questions of power, then, let no more be heard of confidence in  
> > man,
> > but bind him down from mischief by the chains of the Constitution."-- 
> > Thomas Jefferson
> > www.thegreatskull.com
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

From analog_life at hotmail.com  Mon Nov  3 14:55:34 2008
From: analog_life at hotmail.com (stephen r.)
Date: Mon, 3 Nov 2008 14:55:34 -0800
Subject: [NewMusic] Looking to book shows in the Bay Area 11/20-11/22?
In-Reply-To: <BLU148-W3E708323701962B7E584D9C1D0@phx.gbl>
References: <455280.46318.qm@web45516.mail.sp1.yahoo.com>
	<4B61391C-4FBD-4CC0-9310-B1B574E8A3A9@earthlink.net> 
	<BLU148-W3E708323701962B7E584D9C1D0@phx.gbl>
Message-ID: <BLU148-W15B1D05CAE615250AED9AE9C1D0@phx.gbl>


Hey all. Sorry for the spamy email, but I'm looking to book live and/or dj gigs in the Bay Area from 11/20 to 11/22. I'm looking to play more experimental live, and on the DJ front, more down-tempo or techno gigs. Also, I'm open to radio shows, podcasts, and whatever else might present itself.

If you can help sort something out for me, I'll try and return the favor and help out with something in LA for you.

Thanks in advance for your help. 

-- 
Stephen R. :: Pixel Pusher / Sound Wrangler
---------------------------------------------------------------
http://www.myspace.com/djstephenr
http://architectheroes.blogspot.com/
http://www.myspace.com/zygote
---------------------------------------------------------------


From jon_raskin at yahoo.com  Mon Nov  3 14:57:59 2008
From: jon_raskin at yahoo.com (Jon Raskin)
Date: Mon, 3 Nov 2008 14:57:59 -0800 (PST)
Subject: [NewMusic] Georg Graewe
Message-ID: <675040.38156.qm@web55604.mail.re4.yahoo.com>

correcting?the sausage, the gig with?Donald and myself if Friday night.
?Jon Raskin 




________________________________
From: Damon Smith <damon at balancepointacoustics.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Monday, November 3, 2008 10:00:25 AM
Subject: [NewMusic] Georg Graewe

Last night Georg Graewe played a fantastic solo piano concert to not
so many people. It was really amazing. He gets one of the beautiful
piano sounds i have ever heard, not matter how dissonant or abstract
he gets he always has round and singing tone. All of his lines and
ideas came out with total clarity even when it was swirls of notes.
He is really playing better than ever.

As I tend to do I revisited his discography in preparation for the
trio project on election day and there is really isn't a dud in the
bunch. He made some of the very best improv albums in the last few
decades starting with his early LPs on FMP to his
Grubenklangorchestra, to hs fantastic tiro with Ernst Reijseger and
Gerry Hemingway to his more recent work on the Nuscope label.

Huge stand outs are his duos with John Butcher and Evan Parker as
well as the Spellings Quartet with The amazing K?ln bass player Hans
Schneider, Martin Blume and John Butcher.

There are two more chances to see him and I wouldn't miss them- if
you don't want to? hear him with me and Jerome Bryerton he is playing
with Jon Raskin and Donald Robinson on Saturday in SF.
Also, you can talk about sausage all you want - we already took him
to Top Dog last night.

Damon Smith

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




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

From damon at balancepointacoustics.com  Mon Nov  3 15:01:37 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 3 Nov 2008 15:01:37 -0800
Subject: [NewMusic] Georg Graewe
In-Reply-To: <675040.38156.qm@web55604.mail.re4.yahoo.com>
References: <675040.38156.qm@web55604.mail.re4.yahoo.com>
Message-ID: <B637F5B8-136D-45BD-8DCF-BF5854AB3BA6@balancepointacoustics.com>

Sorry about that. It should be an awesome trio.

On Nov 3, 2008, at 2:57 PM, Jon Raskin wrote:

> correcting the sausage, the gig with Donald and myself if Friday  
> night.
>  Jon Raskin
>
>
>
>
> ________________________________
> From: Damon Smith <damon at balancepointacoustics.com>
> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Monday, November 3, 2008 10:00:25 AM
> Subject: [NewMusic] Georg Graewe
>
> Last night Georg Graewe played a fantastic solo piano concert to not
> so many people. It was really amazing. He gets one of the beautiful
> piano sounds i have ever heard, not matter how dissonant or abstract
> he gets he always has round and singing tone. All of his lines and
> ideas came out with total clarity even when it was swirls of notes.
> He is really playing better than ever.
>
> As I tend to do I revisited his discography in preparation for the
> trio project on election day and there is really isn't a dud in the
> bunch. He made some of the very best improv albums in the last few
> decades starting with his early LPs on FMP to his
> Grubenklangorchestra, to hs fantastic tiro with Ernst Reijseger and
> Gerry Hemingway to his more recent work on the Nuscope label.
>
> Huge stand outs are his duos with John Butcher and Evan Parker as
> well as the Spellings Quartet with The amazing K?ln bass player Hans
> Schneider, Martin Blume and John Butcher.
>
> There are two more chances to see him and I wouldn't miss them- if
> you don't want to  hear him with me and Jerome Bryerton he is playing
> with Jon Raskin and Donald Robinson on Saturday in SF.
> Also, you can talk about sausage all you want - we already took him
> to Top Dog last night.
>
> Damon Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> New solo project:
> http://www.myspace.com/damonsmithsolo
>
>
>
>
> _______________________________________________
> 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

Damon Smith

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





From pgsaxo at pacbell.net  Mon Nov  3 16:00:42 2008
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Mon, 3 Nov 2008 16:00:42 -0800 (PST)
Subject: [NewMusic] Jimmy Carl Black (RIP)
In-Reply-To: <12C3F2B3-B6F6-422E-8FE9-FA993367885E@pixar.com>
Message-ID: <981964.97308.qm@web81403.mail.mud.yahoo.com>

who could be sad? he gave us so much to smile about.
i'm going to put on the duo with eugene right now.
pg


--- On Mon, 11/3/08, David Slusser <slusser at pixar.com> wrote:

> From: David Slusser <slusser at pixar.com>
> Subject: [NewMusic] Jimmy Carl Black (RIP)
> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
> Date: Monday, November 3, 2008, 10:56 AM
> Jimmy passed away peacefully Saturday night
> 11/01/08 at 11:00 o'clock pm.
>   Jimmy says hi to everybody and he doesn't
> want anybody to be sad.
> 
> (Origial Mothers drummer,
> recent work w/Chadbourne)
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

From mhenry at crypticstudios.com  Mon Nov  3 21:29:46 2008
From: mhenry at crypticstudios.com (Michael Henry)
Date: Mon, 3 Nov 2008 21:29:46 -0800
Subject: [NewMusic] Jimmy Carl Black (RIP)
Message-ID: <C73CE12E0E2E6D4AA8C97475050023A60FE90045D9@proserpine.paragon.crypticstudios.com>

I'm preparing some Lumpy Gravy, after which I call up my Uncle for some Meat.

http://www.guardian.co.uk/music/2008/nov/04/popandrock

Sad that you have to go to Europe to find the obit an of an American Indian.

-MH
------------------------------

Message: 2
Date: Mon, 3 Nov 2008 10:56:04 -0800
From: David Slusser <slusser at pixar.com>
Subject: [NewMusic] Jimmy Carl Black (RIP)
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Message-ID: <12C3F2B3-B6F6-422E-8FE9-FA993367885E at pixar.com>
Content-Type: text/plain; charset=US-ASCII; format=flowed

Jimmy passed away peacefully Saturday night
11/01/08 at 11:00 o'clock pm.
  Jimmy says hi to everybody and he doesn't
want anybody to be sad.

(Origial Mothers drummer,
recent work w/Chadbourne)


------------------------------

From djll at sonic.net  Mon Nov  3 21:44:53 2008
From: djll at sonic.net (Tom Dill)
Date: Mon, 3 Nov 2008 21:44:53 -0800
Subject: [NewMusic] Jimmy Carl Black (RIP)
Message-ID: <5BD1693B-A483-4CA2-9A8F-4CE111E8312A@sonic.net>

also Yma Sumac died over the weekend...

td


Tom Djll
227 Otis St.
Santa Cruz, CA 95060
(831) 429-8072  home
(831) 423-3050 office
(831) 320-1489 cell
djll at sonic.net
tom at mythmaker.com
www.mythmaker.com

Music, calendar, & bio:
http://www.bayimproviser.com/TomDjll

More music w/sound snippets:
http://www.myspace.com/analoguelipsynthesizer

Photography:
http://www.flickr.com/photos/djll/





From Gino.Robair at penton.com  Tue Nov  4 10:45:50 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Tue, 4 Nov 2008 12:45:50 -0600
Subject: [NewMusic] Ohlone recording class needs teacher, Spring 09
Message-ID: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D4DA@MAILSRV2.pme.penton.com>

If anyone is interested, contact Jim McManus (below) and he'll send details.

> contact: Jim McManus <catmcman at pacbell.net>
>
> We're looking for somebody to teach a recording class at Ohlone this
> Spring, 2009 semester. Class meets Fridays, Noon-3 PM.
>
> If you know somebody who you think is competent and interested, would
> you have them contact me please? (this email address is fine). Much
> more details once we identify somebody.


From damon at balancepointacoustics.com  Tue Nov  4 10:58:01 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Tue, 4 Nov 2008 10:58:01 -0800
Subject: [NewMusic] Mel Graves
Message-ID: <0E6A4AA7-38D3-4BAB-9625-4DE11427A13B@balancepointacoustics.com>

http://www.metroactive.com/bohemian/10.29.08/music-graves-0844.html

Damon Smith

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





From ie at allwaysnorth.com  Tue Nov  4 11:29:41 2008
From: ie at allwaysnorth.com (Cheryl Leonard)
Date: Tue, 4 Nov 2008 11:29:41 -0800
Subject: [NewMusic] insuring music equipment for travel
Message-ID: <4DBE446B-22E2-4CD6-A75A-E92EE56AD325@allwaysnorth.com>

I need to insure a bunch (like probably $10,000 worth) of recording  
and music equipment that I am taking with me to Antarctica. Anybody  
out there have a recommendation on where I can get insurance for this?

Thanks!
Cheryl


From Gino.Robair at penton.com  Tue Nov  4 11:28:51 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Tue, 4 Nov 2008 13:28:51 -0600
Subject: [NewMusic] Jimmy Carl Black (RIP)
Message-ID: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D4E4@MAILSRV2.pme.penton.com>

<<Zappa to Jimmy Carl Black:  "if you guys learn my music, I'll make you rich and famous.">>

Djll told me that very same thing once!

From 21grand at 21grand.org  Tue Nov  4 11:39:00 2008
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Tue, 04 Nov 2008 11:39:00 -0800
Subject: [NewMusic] insuring music equipment for travel
In-Reply-To: <4DBE446B-22E2-4CD6-A75A-E92EE56AD325@allwaysnorth.com>
Message-ID: <C535E4D4.27FDF%21grand@21grand.org>

You're probably looking for what's called an "inland marine policy" - we
have one for the music equipment where I work.  Our policy is through
Traveller's, but I think you'd need to go through a local insurance broker.
I forget the name of the company we use at work. 21 Grand goes through
Fidelity Insurance in Berkeley (we don't have an inland marine policy, but
they have other clients that do).  They are very nice people.

sl

on 11/4/08 11:29 AM, Cheryl Leonard at ie at allwaysnorth.com wrote:

> I need to insure a bunch (like probably $10,000 worth) of recording
> and music equipment that I am taking with me to Antarctica. Anybody
> out there have a recommendation on where I can get insurance for this?
> 
> Thanks!
> Cheryl
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic



From jon_raskin at yahoo.com  Tue Nov  4 13:05:07 2008
From: jon_raskin at yahoo.com (Jon Raskin)
Date: Tue, 4 Nov 2008 13:05:07 -0800 (PST)
Subject: [NewMusic] insuring music equipment for travel
Message-ID: <234882.84525.qm@web55608.mail.re4.yahoo.com>

clarion insurance
http://www.clarionins.com/
?Jon Raskin 




________________________________
From: Cheryl Leonard <ie at allwaysnorth.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Tuesday, November 4, 2008 11:29:41 AM
Subject: [NewMusic] insuring music equipment for travel

I need to insure a bunch (like probably $10,000 worth) of recording? 
and music equipment that I am taking with me to Antarctica. Anybody? 
out there have a recommendation on where I can get insurance for this?

Thanks!
Cheryl

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

From electric.tokyo at gmail.com  Tue Nov  4 13:54:25 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Tue, 4 Nov 2008 13:54:25 -0800
Subject: [NewMusic] ::synth up for hock::
Message-ID: <d3165c060811041354s2a256077i10697f7ba95b0fd3@mail.gmail.com>

whaddup gang,

the subject of this little informative post is fairly straightforward
- i got me a hand-built synth on the market for reasons of poverty,
upcoming expenses and the current economic slump.

specifically, this little guy is a modified sidrassi, fully analog and
similar to those of the ciat-lonbarde variety, but with a couple
tweaks to make it a little more road-worthy - such as (hand-painted)
hard plastic casing and all wiring mounted to a sheet of plexiglass,
as opposed to the paper circuits used by its cousins in baltimore.
Added to these features is a barrel-style power supply that attaches
to a custom plug-to-battery strap cable. technically it is possible to
run it off a wall wart (9 v 200 mA or less) but I wouldn't recommend
it, considering the nature in which this thing is typically played. I
kinda find that the advantage to that is that you don't have to be
continually opening the unit up and potentially skewering its guts
each time you wanna power the little nasty.

so ok - interface, dimensions and all that jazz. what you have is a
small box, roughly 2x2x6 with 11 brass nodes on the top and one output
jack. touching these nodes, either with hands, alligator clips, etc.
causes the voltage to drop in oscillator nest (which can be viewed
either as 5 simple wien-bridge style oscillators modulating each other
or one complex "neuron-style" oscillator, or some sort of fancy hybrid
between the two...) and in turn produce a tone. i'm not gonna lie -
its pretty noisy and has a LOT of ground hum issues in certain
circumstances - but, at least in my opinion, the hum becomes part of
the sound as the oscillator(s) modulate in and out of the hum. but
then again the box is a little gear-finnicky (as in, there's a world
of difference between playing it through an amp in a house with older
wiring and, say, playing it through a mixer in a place that's a little
more modern) and due to the fact that you're running voltage through
you (in provided you're playing "hands on" on the jobber), the sounds
produced will vary - i kind of like this aspect, since it provides me
with a scenario in which you have to physically react with the
instrument, as opposed to knowing what each and every preset will do
and trying to find the cracks in the algorithms. however, if you're
looking for an instrument that will behave the same way every time you
play it, i'd look elsewhere... like, oh, guitar center. then again,
some of us are after the noisy, grounded and unpredictable, so hey,
there ya go.

oh, right - as an added bonus, the voltage output on the nodes is
pretty chaotic - if you happen to be one of those modular junkies out
there, a simple custom cable going from alligator to either 1/8", 1/4"
or banana plug will provide some extremely interesting fodder to yr
nest. in the past i've hooked some of my earlier boxes to the arp-2600
at mills and managed to get some KILLER timbres out of it. good news
if you have a 2600, i guess...

finally, pricing. all said, this is a relatively simple analog circuit
- but at the same time, it was entirely hand-made/wired/painted over
the course of the last few months. that said, circuitry aside, i'd
like to think that at least the time and craftsmanship that went into
it is at least worth SOMETHING. BUT, we're all purportedly starving
musicians in some degree or another, so I'll leave the pricing open -
make me an offer - if it seems respectable, i'll bite - if not, well,
i won't scoff, but i might try to haggle. the only thing i ask is that
the offer be more than this month's student loan payment, which is
currently hovering somewhere around $85. included in said price is the
guarantee that if anything happens to the box, if i can fix it, i will
- naturally, if you fill it with spray-foam insulation, glue it to a
20 foot lump of styrofoam and feed it through a circular saw fitted
with a splash cymbal at some Metro gig, I'm not gonna reconstruct it,
but if its a mater of minor tweaks and adjustments, shit, I'm all
game.

So, uh, yah, there you have it - if you're interested in pictures or
taking said unit for test drive, drop me line off-list and we go from
there.

anyways, just thought i'd share. anyone wanna take advantage of my
current financial insolvency? support local "artisans?" help a brotha
out or just plain pick up a cool/unique piece of gear? eh, yeah, send
me message and we talk.

best,

t.

From djll at sonic.net  Tue Nov  4 23:25:13 2008
From: djll at sonic.net (Tom Dill)
Date: Tue, 4 Nov 2008 23:25:13 -0800
Subject: [NewMusic] NewMusic Digest, Vol 31, Issue 4
In-Reply-To: <mailman.1.1225861204.10904.newmusic@music.mills.edu>
References: <mailman.1.1225861204.10904.newmusic@music.mills.edu>
Message-ID: <D029F0FC-80FB-42EE-A8C6-D7DB7EC45A75@sonic.net>

*sigh*

It's not easy, striving for the levels of personal charm that Frank  
Zappa unloaded on his bands.

Not to mention the number of notes.

td

On Nov 4, 2008, at 9:00 PM, Gino Robair wrote:

>
> <<Zappa to Jimmy Carl Black:  "if you guys learn my music, I'll  
> make you rich and famous.">>
>
> Djll told me that very same thing once!


Tom Djll
227 Otis St.
Santa Cruz, CA 95060
(831) 429-8072  home
(831) 423-3050 office
(831) 320-1489 cell
djll at sonic.net
tom at mythmaker.com
www.mythmaker.com

Music, calendar, & bio:
http://www.bayimproviser.com/TomDjll

More music w/sound snippets:
http://www.myspace.com/analoguelipsynthesizer

Photography:
http://www.flickr.com/photos/djll/





From Gino.Robair at penton.com  Wed Nov  5 16:36:44 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Wed, 5 Nov 2008 18:36:44 -0600
Subject: [NewMusic] Jimmy Carl Black in NYTimes
Message-ID: <C5377C1C.197A5%Gino.Robair@penton.com>

Finally:
http://www.nytimes.com/aponline/arts/AP-EU-Britain-Obit-Jimmy-Carl-Black.htm
l?ei=5070&emc=eta1


From Gino.Robair at penton.com  Thu Nov  6 10:48:41 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Thu, 6 Nov 2008 12:48:41 -0600
Subject: [NewMusic] Your iPod really blows, dude
In-Reply-To: <C5387BBD.1980C%Gino.Robair@penton.com>
Message-ID: <C5387C09.19810%Gino.Robair@penton.com>

Or is it the other way around?
http://www.youtube.com/watch?v=kfrONZjakRY

The iPod ocarina....




From Gino.Robair at penton.com  Thu Nov  6 11:05:47 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Thu, 6 Nov 2008 13:05:47 -0600
Subject: [NewMusic] That would iPhone, dude
Message-ID: <C538800B.19821%Gino.Robair@penton.com>

Like I said.


From ingalls at mills.edu  Thu Nov  6 11:24:40 2008
From: ingalls at mills.edu (Matt Ingalls)
Date: Thu, 6 Nov 2008 11:24:40 -0800
Subject: [NewMusic] Your iPod really blows, dude
In-Reply-To: <C5387C09.19810%Gino.Robair@penton.com>
References: <C5387BBD.1980C%Gino.Robair@penton.com>,
	<C5387C09.19810%Gino.Robair@penton.com>
Message-ID: <F81D56F650769E4587383FDD7DE82629067FA816@EXCHANGE02.mills.edu>

what an insult to all the professional ocarina players out there!

________________________________________
From: newmusic-bounces at music.mills.edu [newmusic-bounces at music.mills.edu] On Behalf Of Robair, Gino [Gino.Robair at penton.com]
Sent: Thursday, November 06, 2008 10:48 AM
To: New Music
Subject: [NewMusic] Your iPod really blows, dude

Or is it the other way around?
http://www.youtube.com/watch?v=kfrONZjakRY

The iPod ocarina....



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

From mylesaudio at aol.com  Thu Nov  6 11:25:23 2008
From: mylesaudio at aol.com (mylesaudio at aol.com)
Date: Thu, 06 Nov 2008 14:25:23 -0500
Subject: [NewMusic] Your iPod really blows, dude
In-Reply-To: <F81D56F650769E4587383FDD7DE82629067FA816@EXCHANGE02.mills.edu>
References: <C5387BBD.1980C%Gino.Robair@penton.com>,
	<C5387C09.19810%Gino.Robair@penton.com>
	<F81D56F650769E4587383FDD7DE82629067FA816@EXCHANGE02.mills.edu>
Message-ID: <8CB0E5C8C6EF6A8-1458-A00@webmail-dx13.sysops.aol.com>

Could an iPhone panflute be far behind? Can't wait for that! M


-----Original Message-----
From: Matt Ingalls <ingalls at mills.edu>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Thu, 6 Nov 2008 11:24 am
Subject: Re: [NewMusic] Your iPod really blows, dude






what an insult to all the professional ocarina players out there!

________________________________________
 From: newmusic-bounces at music.mills.edu 
[newmusic-bounces at music.mills.edu] On
Behalf Of Robair, Gino [Gino.Robair at penton.com]
Sent: Thursday, November 06, 2008 10:48 AM
To: New Music
Subject: [NewMusic] Your iPod really blows, dude

Or is it the other way around?
http://www.youtube.com/watch?v=kfrONZjakRY

The iPod ocarina....



_______________________________________________
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 Gino.Robair at penton.com  Thu Nov  6 11:26:29 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Thu, 6 Nov 2008 13:26:29 -0600
Subject: [NewMusic] K-Bow info
Message-ID: <C53884E5.19830%Gino.Robair@penton.com>

>From iThing to Kthing --- my last post for today while on a conference call
(I promise...no more typos)
Just got this in the inbox, and thought it might of interest to some of the
listers using OSC, etc (I know some of you have seen the demos already).

<<Keith McMillen Instruments Introduces K-Bow Violin Sensor Bow
?
BERKELEY, CA, NOVEMBER 6, 2008 < Players of bowed string instruments have
long wrestled with making music technology respond to the nuances of
techniques they?ve spent years acquiring. The end of their quest will be
found at booth 6227 in Hall A of the upcoming Winter NAMM exhibition, where
Keith McMillen Instruments will be showing K-Bow.
?

K-Bow is a Bluetooth-enabled sensor bow that detects and translates bow
technique and movement into control signals capable of producing an
unprecedented level of expression from synthesizers, audio processors, or
any other computer-based art form.
?
Musician/inventor Keith McMillen, creator of the world-standard Zeta violin
and numerous other pioneering innovations, has been advancing the cause of
string players in music technology for nearly 30 years. Laurie Anderson,
Boyd Tinsley (Dave Matthews Band), Mark O?Connor, Jean Luc Ponty, and the
Kronos Quartet are only a few of the renowned players who use McMillen?s
instruments.
?
While drums and keyboards fit in well with the simple event paradigm of
MIDI, stringed instruments, and, in particular, bowed instruments do not.
This has effectively shunted string players off to a frustrating
technological backwater in which they have been constrained to watch the
promise of computer musical instruments largely pass them by.
?
K-Bow, along with StringPort, KMI?s other new product, represent the
fulfillment of McMillen?s long-held dream to liberate string players from
this musical confinement. The advent of K-Bow and StringPort transform
computer interaction from an obstacle to music into the primary road to new
means of expression for string players going forward.
?
K-Bow uses multiple sensors embedded in its custom Kevlar/carbon fiber stick
to determine numerous performance parameters, including: motion on the X,Y
and Z axes; grip pressure; hair tension; tilt angle; and the position of the
bow relative to the instrument. K-Bow is available for violin, viola, cello,
and bass.
?
All of this data can be applied using an included software suite that
extracts gestural information from the data received from the bow, and uses
it to process or control the sound from a violin, synthesizer, drum machine,
or parameters of any intelligent device, whether related to music and audio
or not. K-Bow opens the door to a vast range of creative ideas: bow
direction might trigger drum sounds, or K-Bow might conduct a virtual rhythm
section.
?
Bundled with K-Bow are K-Tone (an advanced signal processor), modulation
routing, and an intuitive multitrack live recording looper. K-Bow?s
performance data can also be sent to other music software.
?
The K-Bow software suite contains a special neural network that can be
trained to recognize performance gestures specific to the performer. This
makes possible applications such as controlling lighting by the playing of a
specific passage, or selecting a track or software function by making a
designated motion through the air with K-Bow.
?
Naturally, all commands generated by K-Bow also can be sent to a MIDI
interface or as OSC (Open Sound Control) messages to control external
devices. The software is open and compatible with Max/MSP and other
authoring tools so it can be expanded by third parties and knowledgeable
users.
?
K-Bow is designed to leverage, rather than impede, the player?s technique.
The weight and feel of K-Bow are that of a fine violin bow, yet the bow
contains a sophisticated array of sensors and electronics, as well as a tiny
radio transceiver that sends the sensor data to a Mac or Windows-based
computer hundreds of times a second. Far from requiring the use of a special
violin controller, K-Bow can be used with any instrument, enabling players
to use K-Bow with their familiar instruments.
?
K-Bow?s internal electronics are powered by a lithium battery that works for
a full day before requiring recharging through a standard USB connector.
?
K-Bow will ship in Q1 of 2009 with complete systems priced at less than
$4,000. K-Bow will be available directly from Keith McMillen Instruments,
which can be found online at www.keithmcmillen.com.
?
A portion of the profits from the sale of K-Bow will go to the BEAM
Foundation (http://www.beamfoundation.org), a nonprofit corporation founded
by McMillen to spark a new Western classical music movement based on the
technologies and aesthetics of the 21st century.
>>


From damon at balancepointacoustics.com  Thu Nov  6 11:53:06 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Thu, 6 Nov 2008 11:53:06 -0800
Subject: [NewMusic] K-Bow info
In-Reply-To: <C53884E5.19830%Gino.Robair@penton.com>
References: <C53884E5.19830%Gino.Robair@penton.com>
Message-ID: <EA1E7D97-722C-4E70-AA08-60BFA790B9AB@balancepointacoustics.com>

Dresser has a bow with pick ups in it. It sounded great when I heard it.

On Nov 6, 2008, at 11:26 AM, Robair, Gino wrote:

>> From iThing to Kthing --- my last post for today while on a  
>> conference call
> (I promise...no more typos)
> Just got this in the inbox, and thought it might of interest to  
> some of the
> listers using OSC, etc (I know some of you have seen the demos  
> already).
>
> <<Keith McMillen Instruments Introduces K-Bow Violin Sensor Bow
>
> BERKELEY, CA, NOVEMBER 6, 2008 < Players of bowed string  
> instruments have
> long wrestled with making music technology respond to the nuances of
> techniques they?ve spent years acquiring. The end of their quest  
> will be
> found at booth 6227 in Hall A of the upcoming Winter NAMM  
> exhibition, where
> Keith McMillen Instruments will be showing K-Bow.
>
>
> K-Bow is a Bluetooth-enabled sensor bow that detects and translates  
> bow
> technique and movement into control signals capable of producing an
> unprecedented level of expression from synthesizers, audio  
> processors, or
> any other computer-based art form.
>
> Musician/inventor Keith McMillen, creator of the world-standard  
> Zeta violin
> and numerous other pioneering innovations, has been advancing the  
> cause of
> string players in music technology for nearly 30 years. Laurie  
> Anderson,
> Boyd Tinsley (Dave Matthews Band), Mark O?Connor, Jean Luc Ponty,  
> and the
> Kronos Quartet are only a few of the renowned players who use  
> McMillen?s
> instruments.
>
> While drums and keyboards fit in well with the simple event  
> paradigm of
> MIDI, stringed instruments, and, in particular, bowed instruments  
> do not.
> This has effectively shunted string players off to a frustrating
> technological backwater in which they have been constrained to  
> watch the
> promise of computer musical instruments largely pass them by.
>
> K-Bow, along with StringPort, KMI?s other new product, represent the
> fulfillment of McMillen?s long-held dream to liberate string  
> players from
> this musical confinement. The advent of K-Bow and StringPort transform
> computer interaction from an obstacle to music into the primary  
> road to new
> means of expression for string players going forward.
>
> K-Bow uses multiple sensors embedded in its custom Kevlar/carbon  
> fiber stick
> to determine numerous performance parameters, including: motion on  
> the X,Y
> and Z axes; grip pressure; hair tension; tilt angle; and the  
> position of the
> bow relative to the instrument. K-Bow is available for violin,  
> viola, cello,
> and bass.
>
> All of this data can be applied using an included software suite that
> extracts gestural information from the data received from the bow,  
> and uses
> it to process or control the sound from a violin, synthesizer, drum  
> machine,
> or parameters of any intelligent device, whether related to music  
> and audio
> or not. K-Bow opens the door to a vast range of creative ideas: bow
> direction might trigger drum sounds, or K-Bow might conduct a  
> virtual rhythm
> section.
>
> Bundled with K-Bow are K-Tone (an advanced signal processor),  
> modulation
> routing, and an intuitive multitrack live recording looper. K-Bow?s
> performance data can also be sent to other music software.
>
> The K-Bow software suite contains a special neural network that can be
> trained to recognize performance gestures specific to the  
> performer. This
> makes possible applications such as controlling lighting by the  
> playing of a
> specific passage, or selecting a track or software function by  
> making a
> designated motion through the air with K-Bow.
>
> Naturally, all commands generated by K-Bow also can be sent to a MIDI
> interface or as OSC (Open Sound Control) messages to control external
> devices. The software is open and compatible with Max/MSP and other
> authoring tools so it can be expanded by third parties and  
> knowledgeable
> users.
>
> K-Bow is designed to leverage, rather than impede, the player?s  
> technique.
> The weight and feel of K-Bow are that of a fine violin bow, yet the  
> bow
> contains a sophisticated array of sensors and electronics, as well  
> as a tiny
> radio transceiver that sends the sensor data to a Mac or Windows-based
> computer hundreds of times a second. Far from requiring the use of  
> a special
> violin controller, K-Bow can be used with any instrument, enabling  
> players
> to use K-Bow with their familiar instruments.
>
> K-Bow?s internal electronics are powered by a lithium battery that  
> works for
> a full day before requiring recharging through a standard USB  
> connector.
>
> K-Bow will ship in Q1 of 2009 with complete systems priced at less  
> than
> $4,000. K-Bow will be available directly from Keith McMillen  
> Instruments,
> which can be found online at www.keithmcmillen.com.
>
> A portion of the profits from the sale of K-Bow will go to the BEAM
> Foundation (http://www.beamfoundation.org), a nonprofit corporation  
> founded
> by McMillen to spark a new Western classical music movement based  
> on the
> technologies and aesthetics of the 21st century.
>>>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Damon Smith

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





From praemedia at yahoo.com  Thu Nov  6 11:55:45 2008
From: praemedia at yahoo.com (Praemedia)
Date: Thu, 6 Nov 2008 11:55:45 -0800 (PST)
Subject: [NewMusic] another i
Message-ID: <460371.34099.qm@web51606.mail.re2.yahoo.com>

http://www.thedailyswarm.com/headlines/four-track-recorder-iphone-app/

though not as great as the shruti box or eno apps for iphone. thank goodness i just have a phone that calls people. i can barely keep that one straight.


      

From electric.tokyo at gmail.com  Thu Nov  6 12:01:03 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Thu, 6 Nov 2008 12:01:03 -0800
Subject: [NewMusic] K-Bow info
In-Reply-To: <EA1E7D97-722C-4E70-AA08-60BFA790B9AB@balancepointacoustics.com>
References: <C53884E5.19830%Gino.Robair@penton.com>
	<EA1E7D97-722C-4E70-AA08-60BFA790B9AB@balancepointacoustics.com>
Message-ID: <d3165c060811061201q6fce3b82n3f1b18f9bc29f55f@mail.gmail.com>

any info on this StringPort dealy? i saw something in keith's
manifesto and in the press release but nothing on the site. while a
4000 dollar bow might not suit my fancy (unless you pair it with one
of them fancy moog guitars, some golden alligator clips, and a
platinum, diamond-encrusted ebow for the total bourgeois improv
experience), the thought of finally being able to use the digital
output on my zeta without having to interface with a 25 year old midi
box... pretty zesty, if i dont say so myself... anyone with the inside
ticket? let yr people know.

On Thu, Nov 6, 2008 at 11:53 AM, Damon Smith
<damon at balancepointacoustics.com> wrote:
> Dresser has a bow with pick ups in it. It sounded great when I heard it.
>
> On Nov 6, 2008, at 11:26 AM, Robair, Gino wrote:
>
>>> From iThing to Kthing --- my last post for today while on a
>>> conference call
>> (I promise...no more typos)
>> Just got this in the inbox, and thought it might of interest to
>> some of the
>> listers using OSC, etc (I know some of you have seen the demos
>> already).
>>
>> <<Keith McMillen Instruments Introduces K-Bow Violin Sensor Bow
>>
>> BERKELEY, CA, NOVEMBER 6, 2008 < Players of bowed string
>> instruments have
>> long wrestled with making music technology respond to the nuances of
>> techniques they?ve spent years acquiring. The end of their quest
>> will be
>> found at booth 6227 in Hall A of the upcoming Winter NAMM
>> exhibition, where
>> Keith McMillen Instruments will be showing K-Bow.
>>
>>
>> K-Bow is a Bluetooth-enabled sensor bow that detects and translates
>> bow
>> technique and movement into control signals capable of producing an
>> unprecedented level of expression from synthesizers, audio
>> processors, or
>> any other computer-based art form.
>>
>> Musician/inventor Keith McMillen, creator of the world-standard
>> Zeta violin
>> and numerous other pioneering innovations, has been advancing the
>> cause of
>> string players in music technology for nearly 30 years. Laurie
>> Anderson,
>> Boyd Tinsley (Dave Matthews Band), Mark O?Connor, Jean Luc Ponty,
>> and the
>> Kronos Quartet are only a few of the renowned players who use
>> McMillen?s
>> instruments.
>>
>> While drums and keyboards fit in well with the simple event
>> paradigm of
>> MIDI, stringed instruments, and, in particular, bowed instruments
>> do not.
>> This has effectively shunted string players off to a frustrating
>> technological backwater in which they have been constrained to
>> watch the
>> promise of computer musical instruments largely pass them by.
>>
>> K-Bow, along with StringPort, KMI?s other new product, represent the
>> fulfillment of McMillen?s long-held dream to liberate string
>> players from
>> this musical confinement. The advent of K-Bow and StringPort transform
>> computer interaction from an obstacle to music into the primary
>> road to new
>> means of expression for string players going forward.
>>
>> K-Bow uses multiple sensors embedded in its custom Kevlar/carbon
>> fiber stick
>> to determine numerous performance parameters, including: motion on
>> the X,Y
>> and Z axes; grip pressure; hair tension; tilt angle; and the
>> position of the
>> bow relative to the instrument. K-Bow is available for violin,
>> viola, cello,
>> and bass.
>>
>> All of this data can be applied using an included software suite that
>> extracts gestural information from the data received from the bow,
>> and uses
>> it to process or control the sound from a violin, synthesizer, drum
>> machine,
>> or parameters of any intelligent device, whether related to music
>> and audio
>> or not. K-Bow opens the door to a vast range of creative ideas: bow
>> direction might trigger drum sounds, or K-Bow might conduct a
>> virtual rhythm
>> section.
>>
>> Bundled with K-Bow are K-Tone (an advanced signal processor),
>> modulation
>> routing, and an intuitive multitrack live recording looper. K-Bow?s
>> performance data can also be sent to other music software.
>>
>> The K-Bow software suite contains a special neural network that can be
>> trained to recognize performance gestures specific to the
>> performer. This
>> makes possible applications such as controlling lighting by the
>> playing of a
>> specific passage, or selecting a track or software function by
>> making a
>> designated motion through the air with K-Bow.
>>
>> Naturally, all commands generated by K-Bow also can be sent to a MIDI
>> interface or as OSC (Open Sound Control) messages to control external
>> devices. The software is open and compatible with Max/MSP and other
>> authoring tools so it can be expanded by third parties and
>> knowledgeable
>> users.
>>
>> K-Bow is designed to leverage, rather than impede, the player?s
>> technique.
>> The weight and feel of K-Bow are that of a fine violin bow, yet the
>> bow
>> contains a sophisticated array of sensors and electronics, as well
>> as a tiny
>> radio transceiver that sends the sensor data to a Mac or Windows-based
>> computer hundreds of times a second. Far from requiring the use of
>> a special
>> violin controller, K-Bow can be used with any instrument, enabling
>> players
>> to use K-Bow with their familiar instruments.
>>
>> K-Bow?s internal electronics are powered by a lithium battery that
>> works for
>> a full day before requiring recharging through a standard USB
>> connector.
>>
>> K-Bow will ship in Q1 of 2009 with complete systems priced at less
>> than
>> $4,000. K-Bow will be available directly from Keith McMillen
>> Instruments,
>> which can be found online at www.keithmcmillen.com.
>>
>> A portion of the profits from the sale of K-Bow will go to the BEAM
>> Foundation (http://www.beamfoundation.org), a nonprofit corporation
>> founded
>> by McMillen to spark a new Western classical music movement based
>> on the
>> technologies and aesthetics of the 21st century.
>>>>
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>
> Damon Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> New solo project:
> http://www.myspace.com/damonsmithsolo
>
>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From Gino.Robair at penton.com  Thu Nov  6 12:02:48 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Thu, 6 Nov 2008 14:02:48 -0600
Subject: [NewMusic] K-bow info
Message-ID: <C5388D68.19858%Gino.Robair@penton.com>

Damon wrote:
<<Dresser has a bow with pick ups in it. It sounded great when I heard it.>>

This one's a little more complex than that one...


From damon at balancepointacoustics.com  Thu Nov  6 12:06:33 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Thu, 6 Nov 2008 12:06:33 -0800
Subject: [NewMusic] K-bow info
In-Reply-To: <C5388D68.19858%Gino.Robair@penton.com>
References: <C5388D68.19858%Gino.Robair@penton.com>
Message-ID: <D33D4835-AC39-4BE8-A8DB-E117B7F8D9A0@balancepointacoustics.com>


On Nov 6, 2008, at 12:02 PM, Robair, Gino wrote:

> Damon wrote:
> <<Dresser has a bow with pick ups in it. It sounded great when I  
> heard it.>>
>
> This one's a little more complex than that one...

Depends on what they are doing with it. When you have the control of  
subtones, string multiphonics and compound harmonics Dresser does you  
don't need all that processing. I doubt the Dave Mathews guy and Mark  
O'conner are doing anything all that complex.

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





From 21grand at 21grand.org  Thu Nov  6 12:29:16 2008
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Thu, 06 Nov 2008 12:29:16 -0800
Subject: [NewMusic] another i
In-Reply-To: <460371.34099.qm@web51606.mail.re2.yahoo.com>
Message-ID: <C538939C.280B0%21grand@21grand.org>

Shiurba has some fancy metronome thing for his iphone ...that I wondered
whether it could be used on a regular computer, but he couldn't find it to
tell me what it was.

John?

sl

on 11/6/08 11:55 AM, Praemedia at praemedia at yahoo.com wrote:

> http://www.thedailyswarm.com/headlines/four-track-recorder-iphone-app/
> 
> though not as great as the shruti box or eno apps for iphone. thank goodness i
> just have a phone that calls people. i can barely keep that one straight.
> 
> 
>       
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic



From Gino.Robair at penton.com  Thu Nov  6 12:32:00 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Thu, 6 Nov 2008 14:32:00 -0600
Subject: [NewMusic] StringPort info
Message-ID: <C5389440.1985E%Gino.Robair@penton.com>

For Travis, the StringPort info that came in today:

<<BERKELEY, CA, NOVEMBER 6, 2008 < While keyboards, drum pads, and even
turntables have dominated the world of commercial electronic musical
instruments, composer/guitarist/inventor Keith McMillen has spent decades
advancing the fortunes of string players.
?

Now Keith McMillen Instruments, the new company established by the creator
of the world-standard Zeta violin and Mirror 6 guitar controller ? among
many other groundbreaking inventions ? has announced the release of
McMillen?s latest innovation: StringPort, a polyphonic string-to-USB 2.0
converter coupled with a unique, powerful, and extensible software suite.
StringPort greatly expands the synthesis and processing palette of
guitarists, violinists, bassists, and other stringed instrument players.
?
StringPort will be introduced to the musical masses at booth 6227 in Hall A
of the upcoming Winter NAMM exhibition, to be held on January 15-18 at the
Anaheim Convention Center in Anaheim, Calif.
?
?StringPort solves a decades-old conundrum for string players,? explains
McMillen. ?Stringed instruments simply don?t fit the simple event model on
which MIDI is based, leaving players of some of the most expressive
instruments ever created struggling to wring emotion out of the computer
musical instruments that have exploded onto the musical scene over the last
25 years.?
?
StringPort avoids this limitation of MIDI technology by bringing the actual
sound of each string into the computer as an audio signal, where included
software applies sophisticated analysis algorithms to extract a string?s
sonic properties with low latency and high resolution. The resulting data is
used to control software synthesis with an unprecedented degree of intimacy
and expressivity. The entire system is optimized for the characteristics of
string behavior and produces much more information than simple MIDI
conversion.
?
StringPort?s software suite goes beyond analysis to provide complete
flexibility in signal processing applied to the sound, and even provides
output in the form of readable and accurate notation or tablature suitable
for use with standard scoring programs.
?
While existing devices for processing polyphonic polyphonic pickups have
opened the door for guitarists, they have been inflexible, heavy, and
expensive. StringPort, which retails for only $499, includes the VST Wall, a
matrix that enables players to make chains of any selection of standard VST
plug-ins, arranged in any order and applied to one or all strings.
?
The software suite also includes SMECK, a unique phase-driven wavetable
processor with rich sonic modulation capabilities, and a six-channel phase
vocoder bank that enables a player to polyphonically impose the sonic
qualities of his or her instrument onto any set of audio files.
?
StringPort?s capabilities can be clearly experienced when it is used with
the bundled demo copy of Synful Orchestra ? a special version customized for
use with StringPort.
?
As if this were not power enough, the software is compatible with Max/MSP
and other sound engine software, and can be freely modified and expanded on
by third parties and knowledgeable users.
StringPort requires input from a stringed instrument with a polyphonic
pickup. This input is accepted through the industry-standard DIN-13
connector, creating an easy upgrade path for guitarists who already own a
guitar controller using a polyphonic pickup such as those from Roland, Axon,
RMC, or Yamaha. StringPort is compatible with most Zeta instruments as well.
?
In addition to being both considerably more powerful and less costly than
existing string-to-MIDI systems, StringPort is also much smaller, being
housed in a quarter-rack space chassis. An optional rackmount adapter allows
up to four StringPort units to be mounted in 1U of rack space.
?
StringPort will ship in Q1 of 2009, and be available directly from Keith
McMillen Instruments, which can be found online at:
http://www.keithmcmillen.com
?
A portion of the profits from the sale of StringPort will go to the BEAM
Foundation (http://www.beamfoundation.org), a nonprofit corporation founded
by McMillen to spark a new Western classical music movement based on the
technologies and aesthetics of the 21st century.
>>


From Gino.Robair at penton.com  Thu Nov  6 12:38:30 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Thu, 6 Nov 2008 14:38:30 -0600
Subject: [NewMusic] K-Bow info
Message-ID: <C53895C6.19864%Gino.Robair@penton.com>

Damon
<<Depends on what they are doing with it. When you have the control of
subtones, string multiphonics and compound harmonics Dresser does you
don't need all that processing. I doubt the Dave Mathews guy and Mark
O'conner are doing anything all that complex>>

Not to beat this into the ground, but the product has potential that goes
beyond what an amplified bow offers. Different than what Dresser can do, and
maybe even more complex. Whether anyone will take advantage of it remains to
be seen. I'm looking forward to hearing someone master that thing.

And Dresser is probably checking the K-Bow out already.

But don't knock Mark O'C. The man's a badass player. :-)


From michaelz at zoka.com  Thu Nov  6 13:16:35 2008
From: michaelz at zoka.com (Michael Zelner)
Date: Thu, 6 Nov 2008 13:16:35 -0800
Subject: [NewMusic] Your iPod really blows, dude
In-Reply-To: <8CB0E5C8C6EF6A8-1458-A00@webmail-dx13.sysops.aol.com>
References: <C5387BBD.1980C%Gino.Robair@penton.com>,
	<C5387C09.19810%Gino.Robair@penton.com>
	<F81D56F650769E4587383FDD7DE82629067FA816@EXCHANGE02.mills.edu>
	<8CB0E5C8C6EF6A8-1458-A00@webmail-dx13.sysops.aol.com>
Message-ID: <p0624080cc5390e50a7fa@[192.168.0.5]>

On 11/6/08, mylesaudio at aol.com wrote:

>Could an iPhone panflute be far behind? Can't wait for that! M

That could help keep the giant guinea pigs away.

<http://www.southparkstudios.com/guide/1211/>

MZ




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

From michaelz at zoka.com  Thu Nov  6 13:41:08 2008
From: michaelz at zoka.com (Michael Zelner)
Date: Thu, 6 Nov 2008 13:41:08 -0800
Subject: [NewMusic] another i
In-Reply-To: <C538939C.280B0%21grand@21grand.org>
References: <C538939C.280B0%21grand@21grand.org>
Message-ID: <p0624080ec53910f24610@[192.168.0.5]>

On 11/6/08, Sarah - 21 Grand wrote:

>Shiurba has some fancy metronome thing for his iphone ...that I wondered
>whether it could be used on a regular computer, but he couldn't find it to
>tell me what it was.

I think it's this one:

<http://www.musicalscientist.com/metronome-tuner/>

But there are six others available (free and paid), so I'd have to 
see John's again to know for  sure which one he has.

All of these are only for the iPhone and iPod Touch, but there are 
plenty of other metronome apps for a desktop or laptop computer. For 
instance, there's a free metronome widget for Dashboard on the Mac:
<http://www.apple.com/downloads/dashboard/music/metronomic.html>

MZ


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

From shiurba at pacbell.net  Fri Nov  7 10:01:41 2008
From: shiurba at pacbell.net (John Shiurba)
Date: Fri, 7 Nov 2008 10:01:41 -0800
Subject: [NewMusic] NewMusic Digest, Vol 31, Issue 6
In-Reply-To: <mailman.1.1226034002.17080.newmusic@music.mills.edu>
References: <mailman.1.1226034002.17080.newmusic@music.mills.edu>
Message-ID: <BA64A4DB-44A4-4978-A25B-1385816C640A@pacbell.net>

I have two metronome apps
one is called "Metronome" and it's a straightforward metronome made  
by marketwall.com.
and the other called "TapTheBeatFree" allows you to tap in the beats  
and it gives you the tempo. this one is made by Masayuki Akamatsu
I'm not sure if either makes a version for computer as opposed to iphone

speaking of those, has anyone bought a tuner app that really works.  
the free one is kookoo.

On Nov 6, 2008, at 9:00 PM, newmusic-request at music.mills.edu wrote:

> Message: 11
> Date: Thu, 06 Nov 2008 12:29:16 -0800
> From: Sarah - 21 Grand <21grand at 21grand.org>
> Subject: Re: [NewMusic] another i
> To: Banewmus List <newmusic at music.mills.edu>
> Message-ID: <C538939C.280B0%21grand at 21grand.org>
> Content-Type: text/plain;	charset="US-ASCII"
>
> Shiurba has some fancy metronome thing for his iphone ...that I  
> wondered
> whether it could be used on a regular computer, but he couldn't  
> find it to
> tell me what it was.
>
> John?
>
> sl


From matthew at matthewgoodheart.com  Fri Nov  7 10:41:35 2008
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Fri, 7 Nov 2008 10:41:35 -0800
Subject: [NewMusic] NewMusic Digest, Vol 31, Issue 6
In-Reply-To: <BA64A4DB-44A4-4978-A25B-1385816C640A@pacbell.net>
References: <mailman.1.1226034002.17080.newmusic@music.mills.edu>
	<BA64A4DB-44A4-4978-A25B-1385816C640A@pacbell.net>
Message-ID: <E9F044C3-10A0-45F1-A37F-F9885C155979@matthewgoodheart.com>

Probably wouldn't work for what you want, but I  use "Piano Tuner"  
Katsura. The mid-range is very accurate, though the low end is tricky;  
and it's got various ways of viewing the cents difference and a  
hilbert scope. It's also got a slew of historical temperaments (I use  
Lehman-Bach).


Can't wait to hear your meantone guitar. . .


mg


On Nov 7, 2008, at 10:01 AM, John Shiurba wrote:

> I have two metronome apps
> one is called "Metronome" and it's a straightforward metronome made
> by marketwall.com.
> and the other called "TapTheBeatFree" allows you to tap in the beats
> and it gives you the tempo. this one is made by Masayuki Akamatsu
> I'm not sure if either makes a version for computer as opposed to  
> iphone
>
> speaking of those, has anyone bought a tuner app that really works.
> the free one is kookoo.
>
> On Nov 6, 2008, at 9:00 PM, newmusic-request at music.mills.edu wrote:
>
>> Message: 11
>> Date: Thu, 06 Nov 2008 12:29:16 -0800
>> From: Sarah - 21 Grand <21grand at 21grand.org>
>> Subject: Re: [NewMusic] another i
>> To: Banewmus List <newmusic at music.mills.edu>
>> Message-ID: <C538939C.280B0%21grand at 21grand.org>
>> Content-Type: text/plain;	charset="US-ASCII"
>>
>> Shiurba has some fancy metronome thing for his iphone ...that I
>> wondered
>> whether it could be used on a regular computer, but he couldn't
>> find it to
>> tell me what it was.
>>
>> John?
>>
>> sl
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Matthew Goodheart
composer ~ improviser ~ pianist
matthew at matthewgoodheart.com
http://matthewgoodheart.com
http://myspace.com/matthewgoodheart





From matthew at matthewgoodheart.com  Fri Nov  7 11:37:14 2008
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Fri, 7 Nov 2008 11:37:14 -0800
Subject: [NewMusic] Ecoute?
In-Reply-To: <E9F044C3-10A0-45F1-A37F-F9885C155979@matthewgoodheart.com>
References: <mailman.1.1226034002.17080.newmusic@music.mills.edu>
	<BA64A4DB-44A4-4978-A25B-1385816C640A@pacbell.net>
	<E9F044C3-10A0-45F1-A37F-F9885C155979@matthewgoodheart.com>
Message-ID: <26236B68-4BAD-4263-8DDC-BB80384E224A@matthewgoodheart.com>

Any chance someone has a copy of the documentary Ecoute that I could  
borrow for a month or so? Pref. on DVD. . .

I didn't think so. . .

mg

Matthew Goodheart
composer ~ improviser ~ pianist
matthew at matthewgoodheart.com
http://matthewgoodheart.com
http://myspace.com/matthewgoodheart





From polly.moller at gmail.com  Sat Nov  8 08:16:17 2008
From: polly.moller at gmail.com (Polly Moller)
Date: Sat, 8 Nov 2008 08:16:17 -0800
Subject: [NewMusic] Arts funding woes in SF
Message-ID: <2eb068d40811080816x3eb0f1ebh5cf01dc1879463a6@mail.gmail.com>

I attended the Grants for the Arts application workshop yesterday, as
I do every year.
Grants for the Arts has provided arts funding from the San Francisco
Hotel Tax Fund since 1960.
GFTA's share is 8% of the Fund.  The rest goes to public works,
police, fire, and other non-arts city services.

Director Kary Schulman shared very bad news in the wake of high level
meetings she had attended at City Hall.
As a result of the City's budget woes, and the economic downturn, it
is extremely unlikely that any new grantees will be added to the GFTA
roster in 2009-2010.
Recurring grantees should expect no increases in funding, and
depending on how bad it really gets in the months to come, funding to
recurring grantees may in fact go down -- but there have been no
specific funding cuts authorized yet, so they just don't know.
The good news is that all funding contracts for 2008-2009 will be
honored, so everybody who was awarded funding this year will get it.

P.

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

From 21grand at 21grand.org  Sat Nov  8 17:18:33 2008
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sat, 08 Nov 2008 17:18:33 -0800
Subject: [NewMusic] Arts funding woes in SF
In-Reply-To: <2eb068d40811080816x3eb0f1ebh5cf01dc1879463a6@mail.gmail.com>
Message-ID: <C53B7A69.281D5%21grand@21grand.org>

on 11/8/08 8:16 AM, Polly Moller at polly.moller at gmail.com wrote:
> 
> Director Kary Schulman shared very bad news in the wake of high level
> meetings she had attended at City Hall.
> As a result of the City's budget woes, and the economic downturn, it
> is extremely unlikely that any new grantees will be added to the GFTA
> roster in 2009-2010.

But seriously, isn't it already a seniority-based system, and new grantees
are generally at a disadvantage?

o
> specific funding cuts authorized yet, so they just don't know.
> The good news is that all funding contracts for 2008-2009 will be
> honored, so everybody who was awarded funding this year will get it.

That's good considering they've already signed contracts and have started
making payments.

sl
> 
> P.



From 21grand at 21grand.org  Sat Nov  8 17:24:09 2008
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sat, 08 Nov 2008 17:24:09 -0800
Subject: [NewMusic] Sf weekly Review of braxton box
Message-ID: <C53B7BB9.281D6%21grand@21grand.org>

If you're like me and never pick up the sfweekly --

http://www.sfweekly.com/2008-11-05/music/anthony-braxton/

By Phil Freeman

Sl



From djll at sonic.net  Sat Nov  8 21:25:54 2008
From: djll at sonic.net (Tom Dill)
Date: Sat, 8 Nov 2008 21:25:54 -0800
Subject: [NewMusic] Sf weekly Review of braxton box
In-Reply-To: <mailman.1.1226206804.20152.newmusic@music.mills.edu>
References: <mailman.1.1226206804.20152.newmusic@music.mills.edu>
Message-ID: <52FEB61F-B73D-45C5-8A0F-26BFB5458506@sonic.net>

Phil Freeman? On Braxton?

td

On Nov 8, 2008, at 9:00 PM, newmusic-request at music.mills.edu wrote:

> If you're like me and never pick up the sfweekly --
>
> http://www.sfweekly.com/2008-11-05/music/anthony-braxton/
>
> By Phil Freeman
>
> Sl


Tom Djll
227 Otis St.
Santa Cruz, CA 95060
(831) 429-8072  home
(831) 423-3050 office
(831) 320-1489 cell
djll at sonic.net
tom at mythmaker.com
www.mythmaker.com

Music, calendar, & bio:
http://www.bayimproviser.com/TomDjll

More music w/sound snippets:
http://www.myspace.com/analoguelipsynthesizer

Photography:
http://www.flickr.com/photos/djll/





From mhenry at crypticstudios.com  Sat Nov  8 23:10:20 2008
From: mhenry at crypticstudios.com (Michael Henry)
Date: Sat, 8 Nov 2008 23:10:20 -0800
Subject: [NewMusic] Sf weekly Review of braxton box
Message-ID: <C73CE12E0E2E6D4AA8C97475050023A60FE90045F6@proserpine.paragon.crypticstudios.com>

Phil Freeman writes:

>> It's great to have this material back (with the possible exception of that orchestral piece and For Two Pianos, neither of which feature Braxton playing an instrument).

Ugh...what a stupidly moronic thing to say (not that he has much to say in his "review"). Does he really want those two pieces to go away simply because Braxton isn't performing on them?

That said, I must say I am extremely happy to see this vintage Braxton return (not that it ever really went away).  I have probably 4-5 copies of "Creative Orchestra Music" in my collection, both because I kept wearing them out, and my original copy suffered from Arista's horrible pressings back in the day (pimple-like air bumps underneath the vinyl during the Duke Ellington-inspired number #55). I once had a policy that whenever I stumbled across a copy, I'd buy it to see if it was in better shape than the best copy I had, or to keep it as a backup.

-MH
------------------------------

Message: 3
Date: Sat, 08 Nov 2008 17:24:09 -0800
From: Sarah - 21 Grand <21grand at 21grand.org>
Subject: [NewMusic] Sf weekly Review of braxton box
To: Banewmus List <newmusic at music.mills.edu>
Message-ID: <C53B7BB9.281D6%21grand at 21grand.org>
Content-Type: text/plain;       charset="US-ASCII"

If you're like me and never pick up the sfweekly --

http://www.sfweekly.com/2008-11-05/music/anthony-braxton/

By Phil Freeman

Sl




------------------------------

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


End of NewMusic Digest, Vol 31, Issue 8
***************************************

From weaselw at juno.com  Sat Nov  8 23:46:33 2008
From: weaselw at juno.com (weasel walter)
Date: Sat, 8 Nov 2008 23:46:33 -0800
Subject: [NewMusic] Sf weekly Review of braxton box
Message-ID: <20081108.234653.3840.122.weaselw@juno.com>

> >> It's great to have this material back (with the possible 
> exception of that orchestral piece and For Two Pianos, neither of 
> which feature Braxton playing an instrument).
> 
> Ugh...what a stupidly moronic thing to say (not that he has much to 
> say in his "review"). Does he really want those two pieces to go 
> away simply because Braxton isn't performing on them?

well, phil is an extremely simplistic thinker and not much of a critical
listener, so he's more interested in personalities and dogma and
sloganeering than actual music. don't get me started. 

the orchestra pieces and the piece for two pianos are great music. he's
too cracked out to notice. 

ww
____________________________________________________________
Experience the wonder of a Costa Rican vacation. Click here for great package deals!
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3mpM3vAHIfJbZq5IcqGTEVFIlaEPZHbDj3LVBrw7c0KIHcVA/

From bthrew at gmail.com  Sun Nov  9 02:48:40 2008
From: bthrew at gmail.com (barry threw)
Date: Sun, 9 Nov 2008 02:48:40 -0800
Subject: [NewMusic] K-bow info
In-Reply-To: <D33D4835-AC39-4BE8-A8DB-E117B7F8D9A0@balancepointacoustics.com>
References: <C5388D68.19858%Gino.Robair@penton.com>
	<D33D4835-AC39-4BE8-A8DB-E117B7F8D9A0@balancepointacoustics.com>
Message-ID: <07B68AE9-5D84-4089-97AE-380D347C90A0@gmail.com>

I guarantee Dresser will have one.

bt


On Nov 6, 2008, at 12:06 PM, Damon Smith wrote:

>
> On Nov 6, 2008, at 12:02 PM, Robair, Gino wrote:
>
>> Damon wrote:
>> <<Dresser has a bow with pick ups in it. It sounded great when I
>> heard it.>>
>>
>> This one's a little more complex than that one...
>
> Depends on what they are doing with it. When you have the control of
> subtones, string multiphonics and compound harmonics Dresser does you
> don't need all that processing. I doubt the Dave Mathews guy and Mark
> O'conner are doing anything all that complex.
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> New solo project:
> http://www.myspace.com/damonsmithsolo


From polly.moller at gmail.com  Sun Nov  9 06:52:55 2008
From: polly.moller at gmail.com (Polly Moller)
Date: Sun, 9 Nov 2008 06:52:55 -0800
Subject: [NewMusic] Arts funding woes in SF
In-Reply-To: <C53B7A69.281D5%21grand@21grand.org>
References: <2eb068d40811080816x3eb0f1ebh5cf01dc1879463a6@mail.gmail.com>
	<C53B7A69.281D5%21grand@21grand.org>
Message-ID: <2eb068d40811090652p3be52c0au70877dd51d3bf0ca@mail.gmail.com>

On Sat, Nov 8, 2008 at 5:18 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote:
> on 11/8/08 8:16 AM, Polly Moller at polly.moller at gmail.com wrote:
>>
>> Director Kary Schulman shared very bad news in the wake of high level
>> meetings she had attended at City Hall.
>> As a result of the City's budget woes, and the economic downturn, it
>> is extremely unlikely that any new grantees will be added to the GFTA
>> roster in 2009-2010.
>
> But seriously, isn't it already a seniority-based system, and new grantees
> are generally at a disadvantage?

GFTA's mission is to award general operating support on a permanent
ongoing basis, so yes,
it's really competitive, as they're looking for organizations that
they will feel good about entering
into a long-term relationship with.   The past few years were really
good ones for the hotel tax fund,
so the last time around, there were 10 new grantees out of 30 who applied.
That's a really high number; usually each year there are only 2 or 3.

P.

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

From ingalls at mills.edu  Sun Nov  9 10:34:28 2008
From: ingalls at mills.edu (Matt Ingalls)
Date: Sun, 9 Nov 2008 10:34:28 -0800
Subject: [NewMusic] keith rowe @ mills last night
Message-ID: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>


sometimes less is less

From bthrew at gmail.com  Sun Nov  9 12:36:00 2008
From: bthrew at gmail.com (barry threw)
Date: Sun, 9 Nov 2008 12:36:00 -0800
Subject: [NewMusic] K-Bow info
In-Reply-To: <d3165c060811061201q6fce3b82n3f1b18f9bc29f55f@mail.gmail.com>
References: <C53884E5.19830%Gino.Robair@penton.com>
	<EA1E7D97-722C-4E70-AA08-60BFA790B9AB@balancepointacoustics.com>
	<d3165c060811061201q6fce3b82n3f1b18f9bc29f55f@mail.gmail.com>
Message-ID: <B6C6F5E6-63C5-4A4F-924F-0D9452136358@gmail.com>

FWIW 4000 isn't too bad for a bow.

Yeah. Lots of SP info. What would you like to know?

$500.00

Roland d-13 (or zeta pickup) to 6 channel USB.

we will be shipping with a software suite including a multichannel vst  
host, tone processor, phase vocoder bank, a phase based waveshaping  
synth, a string resynthesis application, and some other percussive  
thing that i haven't built yet so i'm not sure what its going to be  
like.

bt

On Nov 6, 2008, at 12:01 PM, Travis Johns wrote:

> any info on this StringPort dealy? i saw something in keith's
> manifesto and in the press release but nothing on the site. while a
> 4000 dollar bow might not suit my fancy (unless you pair it with one
> of them fancy moog guitars, some golden alligator clips, and a
> platinum, diamond-encrusted ebow for the total bourgeois improv
> experience), the thought of finally being able to use the digital
> output on my zeta without having to interface with a 25 year old midi
> box... pretty zesty, if i dont say so myself... anyone with the inside
> ticket? let yr people know.
>
> On Thu, Nov 6, 2008 at 11:53 AM, Damon Smith
> <damon at balancepointacoustics.com> wrote:
>> Dresser has a bow with pick ups in it. It sounded great when I  
>> heard it.
>>
>> On Nov 6, 2008, at 11:26 AM, Robair, Gino wrote:
>>
>>>> From iThing to Kthing --- my last post for today while on a
>>>> conference call
>>> (I promise...no more typos)
>>> Just got this in the inbox, and thought it might of interest to
>>> some of the
>>> listers using OSC, etc (I know some of you have seen the demos
>>> already).
>>>
>>> <<Keith McMillen Instruments Introduces K-Bow Violin Sensor Bow
>>>
>>> BERKELEY, CA, NOVEMBER 6, 2008 < Players of bowed string
>>> instruments have
>>> long wrestled with making music technology respond to the nuances of
>>> techniques they?ve spent years acquiring. The end of their quest
>>> will be
>>> found at booth 6227 in Hall A of the upcoming Winter NAMM
>>> exhibition, where
>>> Keith McMillen Instruments will be showing K-Bow.
>>>
>>>
>>> K-Bow is a Bluetooth-enabled sensor bow that detects and translates
>>> bow
>>> technique and movement into control signals capable of producing an
>>> unprecedented level of expression from synthesizers, audio
>>> processors, or
>>> any other computer-based art form.
>>>
>>> Musician/inventor Keith McMillen, creator of the world-standard
>>> Zeta violin
>>> and numerous other pioneering innovations, has been advancing the
>>> cause of
>>> string players in music technology for nearly 30 years. Laurie
>>> Anderson,
>>> Boyd Tinsley (Dave Matthews Band), Mark O?Connor, Jean Luc Ponty,
>>> and the
>>> Kronos Quartet are only a few of the renowned players who use
>>> McMillen?s
>>> instruments.
>>>
>>> While drums and keyboards fit in well with the simple event
>>> paradigm of
>>> MIDI, stringed instruments, and, in particular, bowed instruments
>>> do not.
>>> This has effectively shunted string players off to a frustrating
>>> technological backwater in which they have been constrained to
>>> watch the
>>> promise of computer musical instruments largely pass them by.
>>>
>>> K-Bow, along with StringPort, KMI?s other new product, represent the
>>> fulfillment of McMillen?s long-held dream to liberate string
>>> players from
>>> this musical confinement. The advent of K-Bow and StringPort  
>>> transform
>>> computer interaction from an obstacle to music into the primary
>>> road to new
>>> means of expression for string players going forward.
>>>
>>> K-Bow uses multiple sensors embedded in its custom Kevlar/carbon
>>> fiber stick
>>> to determine numerous performance parameters, including: motion on
>>> the X,Y
>>> and Z axes; grip pressure; hair tension; tilt angle; and the
>>> position of the
>>> bow relative to the instrument. K-Bow is available for violin,
>>> viola, cello,
>>> and bass.
>>>
>>> All of this data can be applied using an included software suite  
>>> that
>>> extracts gestural information from the data received from the bow,
>>> and uses
>>> it to process or control the sound from a violin, synthesizer, drum
>>> machine,
>>> or parameters of any intelligent device, whether related to music
>>> and audio
>>> or not. K-Bow opens the door to a vast range of creative ideas: bow
>>> direction might trigger drum sounds, or K-Bow might conduct a
>>> virtual rhythm
>>> section.
>>>
>>> Bundled with K-Bow are K-Tone (an advanced signal processor),
>>> modulation
>>> routing, and an intuitive multitrack live recording looper. K-Bow?s
>>> performance data can also be sent to other music software.
>>>
>>> The K-Bow software suite contains a special neural network that  
>>> can be
>>> trained to recognize performance gestures specific to the
>>> performer. This
>>> makes possible applications such as controlling lighting by the
>>> playing of a
>>> specific passage, or selecting a track or software function by
>>> making a
>>> designated motion through the air with K-Bow.
>>>
>>> Naturally, all commands generated by K-Bow also can be sent to a  
>>> MIDI
>>> interface or as OSC (Open Sound Control) messages to control  
>>> external
>>> devices. The software is open and compatible with Max/MSP and other
>>> authoring tools so it can be expanded by third parties and
>>> knowledgeable
>>> users.
>>>
>>> K-Bow is designed to leverage, rather than impede, the player?s
>>> technique.
>>> The weight and feel of K-Bow are that of a fine violin bow, yet the
>>> bow
>>> contains a sophisticated array of sensors and electronics, as well
>>> as a tiny
>>> radio transceiver that sends the sensor data to a Mac or Windows- 
>>> based
>>> computer hundreds of times a second. Far from requiring the use of
>>> a special
>>> violin controller, K-Bow can be used with any instrument, enabling
>>> players
>>> to use K-Bow with their familiar instruments.
>>>
>>> K-Bow?s internal electronics are powered by a lithium battery that
>>> works for
>>> a full day before requiring recharging through a standard USB
>>> connector.
>>>
>>> K-Bow will ship in Q1 of 2009 with complete systems priced at less
>>> than
>>> $4,000. K-Bow will be available directly from Keith McMillen
>>> Instruments,
>>> which can be found online at www.keithmcmillen.com.
>>>
>>> A portion of the profits from the sale of K-Bow will go to the BEAM
>>> Foundation (http://www.beamfoundation.org), a nonprofit corporation
>>> founded
>>> by McMillen to spark a new Western classical music movement based
>>> on the
>>> technologies and aesthetics of the 21st century.
>>>>>
>>>
>>> _______________________________________________
>>> Bay Area New Music Discussion Group
>>> NewMusic at music.mills.edu
>>> http://music.mills.edu/mailman/listinfo/newmusic
>>
>> Damon Smith
>>
>> http://www.balancepointacoustics.com
>> http://myspace.com/smithdamon
>> New solo project:
>> http://www.myspace.com/damonsmithsolo
>>
>>
>>
>>
>> _______________________________________________
>> 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



barry threw
Media Art and Technology

San Francisco, CA
Work: 857-544-3967
Email: bthrew (at) gmail (dot) com
Web: www.barrythrew.com


From bthrew at gmail.com  Sun Nov  9 12:44:37 2008
From: bthrew at gmail.com (barry threw)
Date: Sun, 9 Nov 2008 12:44:37 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>
References: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>
Message-ID: <BE686287-B85E-4938-A259-6F1F5EC584CC@gmail.com>

shit was quiet.

On Nov 9, 2008, at 10:34 AM, Matt Ingalls wrote:
> sometimes less is less
> _______________________________________________
> 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 (dot) com
Web: www.barrythrew.com


From letucepry at yahoo.com  Sun Nov  9 13:21:55 2008
From: letucepry at yahoo.com (Ron Lettuce)
Date: Sun, 9 Nov 2008 13:21:55 -0800 (PST)
Subject: [NewMusic] keith rowe @ mills last night
References: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>
Message-ID: <567988.10923.qm@web54307.mail.re2.yahoo.com>

Personally, although I really didn't think it was that bad, just not really my cup of tea, I thought daypiece was almost indistinugishable from nightpiece, except that there was almost no vocals in nightpiece. Having been in AMM with Cardew, I?just figgured?he would have some extra insight on how Cardew wanted these performed, so I just assumed that's about what Cardew wanted. 

Not having been through the Mills thing and therefore being a total ignoamus on the academic treatment of EAI pieces, I did have to wonder how do they decide these things, are there rehearsals? a runthrough??What sort of planning goes into an "academic" version of?this sort of performance? or is it just a minimalist free-for all while thinking about tigers and trees and Amy ("Bro...Nice use of Space...was that an AMM quote...")...just make sure you play like Keith Rowe.
Is it any different from the shows that I usually am drawn to, which in many cases are ad hoc improv, which seem to rely almost solely on familiarity of the other artist's work (I know a lot of you do form groups and play together often, in pre-meditated fashion, it just seems like quite a few of the "Pros" are in Stockholm one day playing with X and then in New York the next day, and three days later show up in the Bay Area and immediately play 1 show and leave...).

I did think?his solo in the middle was OK.




________________________________
From: Matt Ingalls <ingalls at mills.edu>
To: "newmusic at music.mills.edu" <newmusic at music.mills.edu>
Sent: Sunday, November 9, 2008 10:34:28 AM
Subject: [NewMusic] keith rowe @ mills last night


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

From letucepry at yahoo.com  Sun Nov  9 13:22:43 2008
From: letucepry at yahoo.com (Ron Lettuce)
Date: Sun, 9 Nov 2008 13:22:43 -0800 (PST)
Subject: [NewMusic] keith rowe @ mills last night
References: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>
	<BE686287-B85E-4938-A259-6F1F5EC584CC@gmail.com>
Message-ID: <996309.29743.qm@web54302.mail.re2.yahoo.com>

Except for the guy who was playing the heating ducts...




________________________________
From: barry threw <bthrew at gmail.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Sunday, November 9, 2008 12:44:37 PM
Subject: Re: [NewMusic] keith rowe @ mills last night

shit was quiet.

On Nov 9, 2008, at 10:34 AM, Matt Ingalls wrote:
> sometimes less is less
> _______________________________________________
> 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 (dot) com
Web: www.barrythrew.com

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

From ingalls at mills.edu  Sun Nov  9 13:52:41 2008
From: ingalls at mills.edu (Matt Ingalls)
Date: Sun, 9 Nov 2008 13:52:41 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <567988.10923.qm@web54307.mail.re2.yahoo.com>
References: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>,
	<567988.10923.qm@web54307.mail.re2.yahoo.com>
Message-ID: <F81D56F650769E4587383FDD7DE82629067FA81B@EXCHANGE02.mills.edu>

well i was bored.

i'm definitely not an expert of AMMs music - i know they are supposed to be the forefathers of lowercase/eai or whatever you call it improv, right?  my take on this kind of music is that it is an opportunity to get *inside* the sound - BUT you gotta have interesting sounds! - it doesn't work with just any sounds spaced apart executed with little intent.

i did see AMM's show at beanbenders in in 1996 ( with upstairs dance party ) and my memory of that is more positive but i also remember being bored then too.    i usually don't like monophonic narrow-band pickup/contact mic through guitar amp, but if Rowe had at least shaped his sounds i could have handled it -- it all seemed totally arbitrary and i was really not impressed.

as for the ensemble, i don't want to criticize student players, but the thought did occur to me was that mills now has an IMPROV DEGREE, right?  i would have thought that *at least* the players would have been familiar with the "genre" - seemed to me like there were too many sounds and approaches that didn't fit the convention of lowercase/eai.

-m

________________________________________
From: newmusic-bounces at music.mills.edu [newmusic-bounces at music.mills.edu] On Behalf Of Ron Lettuce [letucepry at yahoo.com]
Sent: Sunday, November 09, 2008 1:21 PM
To: Bay Area New Music Discussion Group
Subject: Re: [NewMusic] keith rowe @ mills last night

Personally, although I really didn't think it was that bad, just not really my cup of tea, I thought daypiece was almost indistinugishable from nightpiece, except that there was almost no vocals in nightpiece. Having been in AMM with Cardew, I just figgured he would have some extra insight on how Cardew wanted these performed, so I just assumed that's about what Cardew wanted.

Not having been through the Mills thing and therefore being a total ignoamus on the academic treatment of EAI pieces, I did have to wonder how do they decide these things, are there rehearsals? a runthrough? What sort of planning goes into an "academic" version of this sort of performance? or is it just a minimalist free-for all while thinking about tigers and trees and Amy ("Bro...Nice use of Space...was that an AMM quote...")...just make sure you play like Keith Rowe.
Is it any different from the shows that I usually am drawn to, which in many cases are ad hoc improv, which seem to rely almost solely on familiarity of the other artist's work (I know a lot of you do form groups and play together often, in pre-meditated fashion, it just seems like quite a few of the "Pros" are in Stockholm one day playing with X and then in New York the next day, and three days later show up in the Bay Area and immediately play 1 show and leave...).

I did think his solo in the middle was OK.




________________________________
From: Matt Ingalls <ingalls at mills.edu>
To: "newmusic at music.mills.edu" <newmusic at music.mills.edu>
Sent: Sunday, November 9, 2008 10:34:28 AM
Subject: [NewMusic] keith rowe @ mills last night


sometimes less is less
_______________________________________________
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 damon at balancepointacoustics.com  Sun Nov  9 14:01:04 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Sun, 9 Nov 2008 14:01:04 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <F81D56F650769E4587383FDD7DE82629067FA81B@EXCHANGE02.mills.edu>
References: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>,
	<567988.10923.qm@web54307.mail.re2.yahoo.com>
	<F81D56F650769E4587383FDD7DE82629067FA81B@EXCHANGE02.mills.edu>
Message-ID: <F55CE0EC-C57F-4F34-93BE-CEDAF3135996@balancepointacoustics.com>

I am a pretty big fan of EAI and Rowe, but it rarely works for me  
live. It is great livingroom/headphone music but I just have not seen  
many great concerts of it. So I didn't bother to go. Rowe's recent  
cds "Room" and "Between" w/Toshi Nakamura are both amazing.

On Nov 9, 2008, at 1:52 PM, Matt Ingalls wrote:

> well i was bored.
>
> i'm definitely not an expert of AMMs music - i know they are  
> supposed to be the forefathers of lowercase/eai or whatever you  
> call it improv, right?  my take on this kind of music is that it is  
> an opportunity to get *inside* the sound - BUT you gotta have  
> interesting sounds! - it doesn't work with just any sounds spaced  
> apart executed with little intent.
>
> i did see AMM's show at beanbenders in in 1996 ( with upstairs  
> dance party ) and my memory of that is more positive but i also  
> remember being bored then too.    i usually don't like monophonic  
> narrow-band pickup/contact mic through guitar amp, but if Rowe had  
> at least shaped his sounds i could have handled it -- it all seemed  
> totally arbitrary and i was really not impressed.
>
> as for the ensemble, i don't want to criticize student players, but  
> the thought did occur to me was that mills now has an IMPROV  
> DEGREE, right?  i would have thought that *at least* the players  
> would have been familiar with the "genre" - seemed to me like there  
> were too many sounds and approaches that didn't fit the convention  
> of lowercase/eai.
>
> -m
>
> ________________________________________
> From: newmusic-bounces at music.mills.edu [newmusic- 
> bounces at music.mills.edu] On Behalf Of Ron Lettuce  
> [letucepry at yahoo.com]
> Sent: Sunday, November 09, 2008 1:21 PM
> To: Bay Area New Music Discussion Group
> Subject: Re: [NewMusic] keith rowe @ mills last night
>
> Personally, although I really didn't think it was that bad, just  
> not really my cup of tea, I thought daypiece was almost  
> indistinugishable from nightpiece, except that there was almost no  
> vocals in nightpiece. Having been in AMM with Cardew, I just  
> figgured he would have some extra insight on how Cardew wanted  
> these performed, so I just assumed that's about what Cardew wanted.
>
> Not having been through the Mills thing and therefore being a total  
> ignoamus on the academic treatment of EAI pieces, I did have to  
> wonder how do they decide these things, are there rehearsals? a  
> runthrough? What sort of planning goes into an "academic" version  
> of this sort of performance? or is it just a minimalist free-for  
> all while thinking about tigers and trees and Amy ("Bro...Nice use  
> of Space...was that an AMM quote...")...just make sure you play  
> like Keith Rowe.
> Is it any different from the shows that I usually am drawn to,  
> which in many cases are ad hoc improv, which seem to rely almost  
> solely on familiarity of the other artist's work (I know a lot of  
> you do form groups and play together often, in pre-meditated  
> fashion, it just seems like quite a few of the "Pros" are in  
> Stockholm one day playing with X and then in New York the next day,  
> and three days later show up in the Bay Area and immediately play 1  
> show and leave...).
>
> I did think his solo in the middle was OK.
>
>
>
>
> ________________________________
> From: Matt Ingalls <ingalls at mills.edu>
> To: "newmusic at music.mills.edu" <newmusic at music.mills.edu>
> Sent: Sunday, November 9, 2008 10:34:28 AM
> Subject: [NewMusic] keith rowe @ mills last night
>
>
> sometimes less is less
> _______________________________________________
> 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

Damon Smith

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





From 21grand at 21grand.org  Sun Nov  9 14:04:58 2008
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sun, 09 Nov 2008 14:04:58 -0800
Subject: [NewMusic] Arts funding woes in SF
In-Reply-To: <2eb068d40811090652p3be52c0au70877dd51d3bf0ca@mail.gmail.com>
Message-ID: <C53C9E8A.28202%21grand@21grand.org>

on 11/9/08 6:52 AM, Polly Moller at polly.moller at gmail.com wrote:

>> 
>> But seriously, isn't it already a seniority-based system, and new grantees
>> are generally at a disadvantage?
> 
> GFTA's mission is to award general operating support on a permanent
> ongoing basis, so yes,
> it's really competitive, as they're looking for organizations that
> they will feel good about entering
> into a long-term relationship with.

-- Very different philosophy than Oakland with its biannual competitive
process for general operating support and regular requirements for strategic
planning. I'm sure that's not the only reason why there are far more healthy
long-lived arts orgs in SF than Oakland per capita ...I think Oakland's
focus on kids comes at the expense of serious art for adults, though I would
be shocked if the kiddie art orgs didn't do a lot to shield the Oakland
program from more brutal cuts ... In much the same way as in Hollywood
thrillers where small children are used as human shields in potential
gunfights.

 The past few years were really
> good ones for the hotel tax fund,
> so the last time around, there were 10 new grantees out of 30 who applied.
> That's a really high number; usually each year there are only 2 or 3.

-- so the thinking is that the new grantees will get the shaft next time
around?

sl
> 
> P.



From polly.moller at gmail.com  Sun Nov  9 14:18:03 2008
From: polly.moller at gmail.com (Polly Moller)
Date: Sun, 9 Nov 2008 14:18:03 -0800
Subject: [NewMusic] Arts funding woes in SF
In-Reply-To: <C53C9E8A.28202%21grand@21grand.org>
References: <2eb068d40811090652p3be52c0au70877dd51d3bf0ca@mail.gmail.com>
	<C53C9E8A.28202%21grand@21grand.org>
Message-ID: <2eb068d40811091418j537b20c5o92f76f3407dfac91@mail.gmail.com>

On Sun, Nov 9, 2008 at 2:04 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote:
> on 11/9/08 6:52 AM, Polly Moller at polly.moller at gmail.com wrote:
>  The past few years were really
>> good ones for the hotel tax fund,
>> so the last time around, there were 10 new grantees out of 30 who applied.
>> That's a really high number; usually each year there are only 2 or 3.
>
> -- so the thinking is that the new grantees will get the shaft next time
> around?

The thinking is that GFTA won't be able to afford to add any new orgs.
They'll be giving the funding they do get to the ones currently on the roster
(including the 10 new ones who were just added).

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

From damon at balancepointacoustics.com  Sun Nov  9 14:34:01 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Sun, 9 Nov 2008 14:34:01 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
Message-ID: <74E23E7F-2DEE-4430-8C17-1339FB6CC6A6@balancepointacoustics.com>

SFMOMA finally woke up from a mis-managed commercial stupor. Of  
interest to this list would be the art of participation show. They  
use Cage as a starting point and have a performance of 4'33" everyday  
at noon.
The concept has a huge potential to go wrong but it is pretty great.  
There are tons of great artists, Kappow, Beuys, Acconci, Gonzales- 
Torres, Paik and others.
They have a show of Contemporary art from collection and a great show  
of Martin Puryear sculpture.
Warhol's Jews at the CJM is worth seeing and I have warmed up to some  
of the pieces in Zorn's sound installation like Chris Brown and Erik  
Friedlander.

Damon Smith

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





From letucepry at yahoo.com  Sun Nov  9 14:38:42 2008
From: letucepry at yahoo.com (Ron Lettuce)
Date: Sun, 9 Nov 2008 14:38:42 -0800 (PST)
Subject: [NewMusic] keith rowe @ mills last night
References: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>,
	<567988.10923.qm@web54307.mail.re2.yahoo.com>
	<F81D56F650769E4587383FDD7DE82629067FA81B@EXCHANGE02.mills.edu>
	<F55CE0EC-C57F-4F34-93BE-CEDAF3135996@balancepointacoustics.com>
Message-ID: <829507.55873.qm@web54304.mail.re2.yahoo.com>

Funny, that's almost exactly the opposite of my experience with EAI. I can't seem to find anyplace quiet enough "except" for a venue (more specifically art gallery type venues) for the breathing level volume necessary...Japanese venues are much better for this (like meeting at offsite). And for the most part I hate headphones...In general an auditorium is probably not the right venue for this.

lettuce


________________________________
From: Damon Smith <damon at balancepointacoustics.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Sunday, November 9, 2008 2:01:04 PM
Subject: Re: [NewMusic] keith rowe @ mills last night

I am a pretty big fan of EAI and Rowe, but it rarely works for me? 
live. It is great livingroom/headphone music but I just have not seen? 
many great concerts of it. So I didn't bother to go. Rowe's recent? 
cds "Room" and "Between" w/Toshi Nakamura are both amazing.

On Nov 9, 2008, at 1:52 PM, Matt Ingalls wrote:

> well i was bored.
>
> i'm definitely not an expert of AMMs music - i know they are? 
> supposed to be the forefathers of lowercase/eai or whatever you? 
> call it improv, right?? my take on this kind of music is that it is? 
> an opportunity to get *inside* the sound - BUT you gotta have? 
> interesting sounds! - it doesn't work with just any sounds spaced? 
> apart executed with little intent.
>
> i did see AMM's show at beanbenders in in 1996 ( with upstairs? 
> dance party ) and my memory of that is more positive but i also? 
> remember being bored then too.? ? i usually don't like monophonic? 
> narrow-band pickup/contact mic through guitar amp, but if Rowe had? 
> at least shaped his sounds i could have handled it -- it all seemed? 
> totally arbitrary and i was really not impressed.
>
> as for the ensemble, i don't want to criticize student players, but? 
> the thought did occur to me was that mills now has an IMPROV? 
> DEGREE, right?? i would have thought that *at least* the players? 
> would have been familiar with the "genre" - seemed to me like there? 
> were too many sounds and approaches that didn't fit the convention? 
> of lowercase/eai.
>
> -m
>
> ________________________________________
> From: newmusic-bounces at music.mills.edu [newmusic- 
> bounces at music.mills.edu] On Behalf Of Ron Lettuce? 
> [letucepry at yahoo.com]
> Sent: Sunday, November 09, 2008 1:21 PM
> To: Bay Area New Music Discussion Group
> Subject: Re: [NewMusic] keith rowe @ mills last night
>
> Personally, although I really didn't think it was that bad, just? 
> not really my cup of tea, I thought daypiece was almost? 
> indistinugishable from nightpiece, except that there was almost no? 
> vocals in nightpiece. Having been in AMM with Cardew, I just? 
> figgured he would have some extra insight on how Cardew wanted? 
> these performed, so I just assumed that's about what Cardew wanted.
>
> Not having been through the Mills thing and therefore being a total? 
> ignoamus on the academic treatment of EAI pieces, I did have to? 
> wonder how do they decide these things, are there rehearsals? a? 
> runthrough? What sort of planning goes into an "academic" version? 
> of this sort of performance? or is it just a minimalist free-for? 
> all while thinking about tigers and trees and Amy ("Bro...Nice use? 
> of Space...was that an AMM quote...")...just make sure you play? 
> like Keith Rowe.
> Is it any different from the shows that I usually am drawn to,? 
> which in many cases are ad hoc improv, which seem to rely almost? 
> solely on familiarity of the other artist's work (I know a lot of? 
> you do form groups and play together often, in pre-meditated? 
> fashion, it just seems like quite a few of the "Pros" are in? 
> Stockholm one day playing with X and then in New York the next day,? 
> and three days later show up in the Bay Area and immediately play 1? 
> show and leave...).
>
> I did think his solo in the middle was OK.
>
>
>
>
> ________________________________
> From: Matt Ingalls <ingalls at mills.edu>
> To: "newmusic at music.mills.edu" <newmusic at music.mills.edu>
> Sent: Sunday, November 9, 2008 10:34:28 AM
> Subject: [NewMusic] keith rowe @ mills last night
>
>
> sometimes less is less
> _______________________________________________
> 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

Damon Smith

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




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

From weaselw at juno.com  Sun Nov  9 15:16:44 2008
From: weaselw at juno.com (weasel walter)
Date: Sun, 9 Nov 2008 15:16:44 -0800
Subject: [NewMusic] keith rowe @ mills last night
Message-ID: <20081109.152113.3840.153.weaselw@juno.com>

> i'm definitely not an expert of AMMs music - i know they are 
> supposed to be the forefathers of lowercase/eai or whatever you call 
> it improv, right?  

a lot of their early music was proto-borbetomagus styled audio holocaust
. . . i'm not sure when they made the transition into quieter stuff. not
up on their history too much either. i did like the solo cd rowe had on
the terrible grob label - that was some violent shit.

ww
____________________________________________________________
Find the apartment of your dreams by clicking here now!
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miigh0hU5IJruorw65lInFABEDsAkuungizn8OsWABTBPV0/

From wobbly at detritus.net  Sun Nov  9 15:58:57 2008
From: wobbly at detritus.net (wobbly at detritus.net)
Date: Sun, 9 Nov 2008 15:58:57 -0800 (PST)
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <20081109.152113.3840.153.weaselw@juno.com>
References: <20081109.152113.3840.153.weaselw@juno.com>
Message-ID: <6f4672db31eef12e91a6a6ae8508814c.squirrel@webmail.detritus.net>

AMM's 'The Crypt' from 1968 I'd put on a list of top ten noise records of
all time due to the first half, but the second half slowly drifts into
some very delicate textures, very unique & balanced album.  lineup changes
mean the 70's records are all over the place but they really locked into
something with the 80's records, I can see 'Inexhaustible Document' and
'Newfoundland' being touchstones for lowercase, they aren't restful, but
they're more deep than loud or raucous.  Those three records are huge
contributions, and they're just the tip...

the 96 beanbenders show was incredible for me, I nearly forgot who I was
there for a while, and Tilbury's responses when the subwoofers upstairs
kicked in playing house music was sort of the perfect ending.  the 2001
AMM show in Eli Crews's living room was great too, it was so close they
felt like the audience too.

I would have loved to have seen last night for myself -- a friend who
played in the group was conflicted.  there have been so many improv shows
where 'always play less' would seem like unbeatable advice, but my friend
said perhaps that aesthetic is also in danger of becoming overprescribed.

-jl









>> i'm definitely not an expert of AMMs music - i know they are
>> supposed to be the forefathers of lowercase/eai or whatever you call
>> it improv, right?
>
> a lot of their early music was proto-borbetomagus styled audio holocaust
> . . . i'm not sure when they made the transition into quieter stuff. not
> up on their history too much either. i did like the solo cd rowe had on
> the terrible grob label - that was some violent shit.
>
> ww
> ____________________________________________________________
> Find the apartment of your dreams by clicking here now!
> http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miigh0hU5IJruorw65lInFABEDsAkuungizn8OsWABTBPV0/
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



From electric.tokyo at gmail.com  Sun Nov  9 16:06:31 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Sun, 9 Nov 2008 16:06:31 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <6f4672db31eef12e91a6a6ae8508814c.squirrel@webmail.detritus.net>
References: <20081109.152113.3840.153.weaselw@juno.com>
	<6f4672db31eef12e91a6a6ae8508814c.squirrel@webmail.detritus.net>
Message-ID: <d3165c060811091606s54694954mef2b51898353ef77@mail.gmail.com>

...why don't we ever talk about OUR gigs like this?

duck and weave,

t.



On Sun, Nov 9, 2008 at 3:58 PM,  <wobbly at detritus.net> wrote:
> AMM's 'The Crypt' from 1968 I'd put on a list of top ten noise records of
> all time due to the first half, but the second half slowly drifts into
> some very delicate textures, very unique & balanced album.  lineup changes
> mean the 70's records are all over the place but they really locked into
> something with the 80's records, I can see 'Inexhaustible Document' and
> 'Newfoundland' being touchstones for lowercase, they aren't restful, but
> they're more deep than loud or raucous.  Those three records are huge
> contributions, and they're just the tip...
>
> the 96 beanbenders show was incredible for me, I nearly forgot who I was
> there for a while, and Tilbury's responses when the subwoofers upstairs
> kicked in playing house music was sort of the perfect ending.  the 2001
> AMM show in Eli Crews's living room was great too, it was so close they
> felt like the audience too.
>
> I would have loved to have seen last night for myself -- a friend who
> played in the group was conflicted.  there have been so many improv shows
> where 'always play less' would seem like unbeatable advice, but my friend
> said perhaps that aesthetic is also in danger of becoming overprescribed.
>
> -jl
>
>
>
>
>
>
>
>
>
>>> i'm definitely not an expert of AMMs music - i know they are
>>> supposed to be the forefathers of lowercase/eai or whatever you call
>>> it improv, right?
>>
>> a lot of their early music was proto-borbetomagus styled audio holocaust
>> . . . i'm not sure when they made the transition into quieter stuff. not
>> up on their history too much either. i did like the solo cd rowe had on
>> the terrible grob label - that was some violent shit.
>>
>> ww
>> ____________________________________________________________
>> Find the apartment of your dreams by clicking here now!
>> http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miigh0hU5IJruorw65lInFABEDsAkuungizn8OsWABTBPV0/
>> _______________________________________________
>> 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 wobbly at detritus.net  Sun Nov  9 16:35:42 2008
From: wobbly at detritus.net (wobbly at detritus.net)
Date: Sun, 9 Nov 2008 16:35:42 -0800 (PST)
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <d3165c060811091606s54694954mef2b51898353ef77@mail.gmail.com>
References: <20081109.152113.3840.153.weaselw@juno.com>
	<6f4672db31eef12e91a6a6ae8508814c.squirrel@webmail.detritus.net>
	<d3165c060811091606s54694954mef2b51898353ef77@mail.gmail.com>
Message-ID: <26bdbf6349b89146ce1885b502e32c11.squirrel@webmail.detritus.net>

see you at sf sound tonight then!

-jl




> ...why don't we ever talk about OUR gigs like this?
>
> duck and weave,
>
> t.
>
>
>
> On Sun, Nov 9, 2008 at 3:58 PM,  <wobbly at detritus.net> wrote:
>> AMM's 'The Crypt' from 1968 I'd put on a list of top ten noise records
>> of
>> all time due to the first half, but the second half slowly drifts into
>> some very delicate textures, very unique & balanced album.  lineup
>> changes
>> mean the 70's records are all over the place but they really locked into
>> something with the 80's records, I can see 'Inexhaustible Document' and
>> 'Newfoundland' being touchstones for lowercase, they aren't restful, but
>> they're more deep than loud or raucous.  Those three records are huge
>> contributions, and they're just the tip...
>>
>> the 96 beanbenders show was incredible for me, I nearly forgot who I was
>> there for a while, and Tilbury's responses when the subwoofers upstairs
>> kicked in playing house music was sort of the perfect ending.  the 2001
>> AMM show in Eli Crews's living room was great too, it was so close they
>> felt like the audience too.
>>
>> I would have loved to have seen last night for myself -- a friend who
>> played in the group was conflicted.  there have been so many improv
>> shows
>> where 'always play less' would seem like unbeatable advice, but my
>> friend
>> said perhaps that aesthetic is also in danger of becoming
>> overprescribed.
>>
>> -jl
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>>> i'm definitely not an expert of AMMs music - i know they are
>>>> supposed to be the forefathers of lowercase/eai or whatever you call
>>>> it improv, right?
>>>
>>> a lot of their early music was proto-borbetomagus styled audio
>>> holocaust
>>> . . . i'm not sure when they made the transition into quieter stuff.
>>> not
>>> up on their history too much either. i did like the solo cd rowe had on
>>> the terrible grob label - that was some violent shit.
>>>
>>> ww
>>> ____________________________________________________________
>>> Find the apartment of your dreams by clicking here now!
>>> http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miigh0hU5IJruorw65lInFABEDsAkuungizn8OsWABTBPV0/
>>> _______________________________________________
>>> 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 bthrew at gmail.com  Sun Nov  9 17:07:25 2008
From: bthrew at gmail.com (barry threw)
Date: Sun, 9 Nov 2008 17:07:25 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <F81D56F650769E4587383FDD7DE82629067FA81B@EXCHANGE02.mills.edu>
References: <F81D56F650769E4587383FDD7DE82629067FA81A@EXCHANGE02.mills.edu>,
	<567988.10923.qm@web54307.mail.re2.yahoo.com>
	<F81D56F650769E4587383FDD7DE82629067FA81B@EXCHANGE02.mills.edu>
Message-ID: <E12BCE61-7EEB-4E25-A259-2F6360B44AA5@gmail.com>

The main thing for me is that I usually like music that suspends time  
for me, and this made me hyper aware of it. I wouldn't say I was  
bored, more like super anxious or something. I couldn't get into it  
because the whole thing of being in an audience, and the ambience of  
the auditorium overpowered the music. It just didn't create any kind  
of enveloping world for me, it was all these frames of me, then the  
auditorium, then the players, then the music, which is the kind of  
thing I like to vanish for me in a concert.

bt


On Nov 9, 2008, at 1:52 PM, Matt Ingalls wrote:

> well i was bored.
>
> i'm definitely not an expert of AMMs music - i know they are  
> supposed to be the forefathers of lowercase/eai or whatever you call  
> it improv, right?  my take on this kind of music is that it is an  
> opportunity to get *inside* the sound - BUT you gotta have  
> interesting sounds! - it doesn't work with just any sounds spaced  
> apart executed with little intent.
>
> i did see AMM's show at beanbenders in in 1996 ( with upstairs dance  
> party ) and my memory of that is more positive but i also remember  
> being bored then too.    i usually don't like monophonic narrow-band  
> pickup/contact mic through guitar amp, but if Rowe had at least  
> shaped his sounds i could have handled it -- it all seemed totally  
> arbitrary and i was really not impressed.
>
> as for the ensemble, i don't want to criticize student players, but  
> the thought did occur to me was that mills now has an IMPROV DEGREE,  
> right?  i would have thought that *at least* the players would have  
> been familiar with the "genre" - seemed to me like there were too  
> many sounds and approaches that didn't fit the convention of  
> lowercase/eai.
>
> -m
>
> ________________________________________
> From: newmusic-bounces at music.mills.edu [newmusic-bounces at music.mills.edu 
> ] On Behalf Of Ron Lettuce [letucepry at yahoo.com]
> Sent: Sunday, November 09, 2008 1:21 PM
> To: Bay Area New Music Discussion Group
> Subject: Re: [NewMusic] keith rowe @ mills last night
>
> Personally, although I really didn't think it was that bad, just not  
> really my cup of tea, I thought daypiece was almost  
> indistinugishable from nightpiece, except that there was almost no  
> vocals in nightpiece. Having been in AMM with Cardew, I just  
> figgured he would have some extra insight on how Cardew wanted these  
> performed, so I just assumed that's about what Cardew wanted.
>
> Not having been through the Mills thing and therefore being a total  
> ignoamus on the academic treatment of EAI pieces, I did have to  
> wonder how do they decide these things, are there rehearsals? a  
> runthrough? What sort of planning goes into an "academic" version of  
> this sort of performance? or is it just a minimalist free-for all  
> while thinking about tigers and trees and Amy ("Bro...Nice use of  
> Space...was that an AMM quote...")...just make sure you play like  
> Keith Rowe.
> Is it any different from the shows that I usually am drawn to, which  
> in many cases are ad hoc improv, which seem to rely almost solely on  
> familiarity of the other artist's work (I know a lot of you do form  
> groups and play together often, in pre-meditated fashion, it just  
> seems like quite a few of the "Pros" are in Stockholm one day  
> playing with X and then in New York the next day, and three days  
> later show up in the Bay Area and immediately play 1 show and  
> leave...).
>
> I did think his solo in the middle was OK.
>
>
>
>
> ________________________________
> From: Matt Ingalls <ingalls at mills.edu>
> To: "newmusic at music.mills.edu" <newmusic at music.mills.edu>
> Sent: Sunday, November 9, 2008 10:34:28 AM
> Subject: [NewMusic] keith rowe @ mills last night
>
>
> sometimes less is less
> _______________________________________________
> 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

barry threw
Media Art and Technology

San Francisco, CA
Work: 857-544-3967
Email: bthrew (at) gmail (dot) com
Web: www.barrythrew.com


From bthrew at gmail.com  Sun Nov  9 17:08:10 2008
From: bthrew at gmail.com (barry threw)
Date: Sun, 9 Nov 2008 17:08:10 -0800
Subject: [NewMusic] K-Bow info
In-Reply-To: <d3165c060811061201q6fce3b82n3f1b18f9bc29f55f@mail.gmail.com>
References: <C53884E5.19830%Gino.Robair@penton.com>
	<EA1E7D97-722C-4E70-AA08-60BFA790B9AB@balancepointacoustics.com>
	<d3165c060811061201q6fce3b82n3f1b18f9bc29f55f@mail.gmail.com>
Message-ID: <BAB1B478-7581-46B6-82B0-B05A35FC8324@gmail.com>

BTW Travis, I think you live like 3 blocks from me, and I should have  
a StringPort at my house by the end of next week if you want to check  
it out.

bt

On Nov 6, 2008, at 12:01 PM, Travis Johns wrote:

> any info on this StringPort dealy? i saw something in keith's
> manifesto and in the press release but nothing on the site. while a
> 4000 dollar bow might not suit my fancy (unless you pair it with one
> of them fancy moog guitars, some golden alligator clips, and a
> platinum, diamond-encrusted ebow for the total bourgeois improv
> experience), the thought of finally being able to use the digital
> output on my zeta without having to interface with a 25 year old midi
> box... pretty zesty, if i dont say so myself... anyone with the inside
> ticket? let yr people know.
>
> On Thu, Nov 6, 2008 at 11:53 AM, Damon Smith
> <damon at balancepointacoustics.com> wrote:
>> Dresser has a bow with pick ups in it. It sounded great when I  
>> heard it.
>>
>> On Nov 6, 2008, at 11:26 AM, Robair, Gino wrote:
>>
>>>> From iThing to Kthing --- my last post for today while on a
>>>> conference call
>>> (I promise...no more typos)
>>> Just got this in the inbox, and thought it might of interest to
>>> some of the
>>> listers using OSC, etc (I know some of you have seen the demos
>>> already).
>>>
>>> <<Keith McMillen Instruments Introduces K-Bow Violin Sensor Bow
>>>
>>> BERKELEY, CA, NOVEMBER 6, 2008 < Players of bowed string
>>> instruments have
>>> long wrestled with making music technology respond to the nuances of
>>> techniques they?ve spent years acquiring. The end of their quest
>>> will be
>>> found at booth 6227 in Hall A of the upcoming Winter NAMM
>>> exhibition, where
>>> Keith McMillen Instruments will be showing K-Bow.
>>>
>>>
>>> K-Bow is a Bluetooth-enabled sensor bow that detects and translates
>>> bow
>>> technique and movement into control signals capable of producing an
>>> unprecedented level of expression from synthesizers, audio
>>> processors, or
>>> any other computer-based art form.
>>>
>>> Musician/inventor Keith McMillen, creator of the world-standard
>>> Zeta violin
>>> and numerous other pioneering innovations, has been advancing the
>>> cause of
>>> string players in music technology for nearly 30 years. Laurie
>>> Anderson,
>>> Boyd Tinsley (Dave Matthews Band), Mark O?Connor, Jean Luc Ponty,
>>> and the
>>> Kronos Quartet are only a few of the renowned players who use
>>> McMillen?s
>>> instruments.
>>>
>>> While drums and keyboards fit in well with the simple event
>>> paradigm of
>>> MIDI, stringed instruments, and, in particular, bowed instruments
>>> do not.
>>> This has effectively shunted string players off to a frustrating
>>> technological backwater in which they have been constrained to
>>> watch the
>>> promise of computer musical instruments largely pass them by.
>>>
>>> K-Bow, along with StringPort, KMI?s other new product, represent the
>>> fulfillment of McMillen?s long-held dream to liberate string
>>> players from
>>> this musical confinement. The advent of K-Bow and StringPort  
>>> transform
>>> computer interaction from an obstacle to music into the primary
>>> road to new
>>> means of expression for string players going forward.
>>>
>>> K-Bow uses multiple sensors embedded in its custom Kevlar/carbon
>>> fiber stick
>>> to determine numerous performance parameters, including: motion on
>>> the X,Y
>>> and Z axes; grip pressure; hair tension; tilt angle; and the
>>> position of the
>>> bow relative to the instrument. K-Bow is available for violin,
>>> viola, cello,
>>> and bass.
>>>
>>> All of this data can be applied using an included software suite  
>>> that
>>> extracts gestural information from the data received from the bow,
>>> and uses
>>> it to process or control the sound from a violin, synthesizer, drum
>>> machine,
>>> or parameters of any intelligent device, whether related to music
>>> and audio
>>> or not. K-Bow opens the door to a vast range of creative ideas: bow
>>> direction might trigger drum sounds, or K-Bow might conduct a
>>> virtual rhythm
>>> section.
>>>
>>> Bundled with K-Bow are K-Tone (an advanced signal processor),
>>> modulation
>>> routing, and an intuitive multitrack live recording looper. K-Bow?s
>>> performance data can also be sent to other music software.
>>>
>>> The K-Bow software suite contains a special neural network that  
>>> can be
>>> trained to recognize performance gestures specific to the
>>> performer. This
>>> makes possible applications such as controlling lighting by the
>>> playing of a
>>> specific passage, or selecting a track or software function by
>>> making a
>>> designated motion through the air with K-Bow.
>>>
>>> Naturally, all commands generated by K-Bow also can be sent to a  
>>> MIDI
>>> interface or as OSC (Open Sound Control) messages to control  
>>> external
>>> devices. The software is open and compatible with Max/MSP and other
>>> authoring tools so it can be expanded by third parties and
>>> knowledgeable
>>> users.
>>>
>>> K-Bow is designed to leverage, rather than impede, the player?s
>>> technique.
>>> The weight and feel of K-Bow are that of a fine violin bow, yet the
>>> bow
>>> contains a sophisticated array of sensors and electronics, as well
>>> as a tiny
>>> radio transceiver that sends the sensor data to a Mac or Windows- 
>>> based
>>> computer hundreds of times a second. Far from requiring the use of
>>> a special
>>> violin controller, K-Bow can be used with any instrument, enabling
>>> players
>>> to use K-Bow with their familiar instruments.
>>>
>>> K-Bow?s internal electronics are powered by a lithium battery that
>>> works for
>>> a full day before requiring recharging through a standard USB
>>> connector.
>>>
>>> K-Bow will ship in Q1 of 2009 with complete systems priced at less
>>> than
>>> $4,000. K-Bow will be available directly from Keith McMillen
>>> Instruments,
>>> which can be found online at www.keithmcmillen.com.
>>>
>>> A portion of the profits from the sale of K-Bow will go to the BEAM
>>> Foundation (http://www.beamfoundation.org), a nonprofit corporation
>>> founded
>>> by McMillen to spark a new Western classical music movement based
>>> on the
>>> technologies and aesthetics of the 21st century.
>>>>>
>>>
>>> _______________________________________________
>>> Bay Area New Music Discussion Group
>>> NewMusic at music.mills.edu
>>> http://music.mills.edu/mailman/listinfo/newmusic
>>
>> Damon Smith
>>
>> http://www.balancepointacoustics.com
>> http://myspace.com/smithdamon
>> New solo project:
>> http://www.myspace.com/damonsmithsolo
>>
>>
>>
>>
>> _______________________________________________
>> 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



barry threw
Media Art and Technology

San Francisco, CA
Work: 857-544-3967
Email: bthrew (at) gmail (dot) com
Web: www.barrythrew.com


From electric.tokyo at gmail.com  Sun Nov  9 18:27:39 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Sun, 9 Nov 2008 18:27:39 -0800
Subject: [NewMusic] K-Bow info
In-Reply-To: <BAB1B478-7581-46B6-82B0-B05A35FC8324@gmail.com>
References: <C53884E5.19830%Gino.Robair@penton.com>
	<EA1E7D97-722C-4E70-AA08-60BFA790B9AB@balancepointacoustics.com>
	<d3165c060811061201q6fce3b82n3f1b18f9bc29f55f@mail.gmail.com>
	<BAB1B478-7581-46B6-82B0-B05A35FC8324@gmail.com>
Message-ID: <d3165c060811091827v24cf030ake20ab7771999a698@mail.gmail.com>

well, considering that i was planning on writing gino to see if he'd
want me to review it for em or something, yah, tha'd be great. just
one teensy-tiny problem, though - my bass is n ny right now.

any chance you'll still have one floating around in oh, say, january?

but ala the 3 blocks thing, cmon and saunter down to the lodge
sometime an grab yerself a beer. weird music folks always welcome -
noone turned away for lack o' funds.



On Sun, Nov 9, 2008 at 5:08 PM, barry threw <bthrew at gmail.com> wrote:
> BTW Travis, I think you live like 3 blocks from me, and I should have
> a StringPort at my house by the end of next week if you want to check
> it out.
>
> bt
>
> On Nov 6, 2008, at 12:01 PM, Travis Johns wrote:
>
>> any info on this StringPort dealy? i saw something in keith's
>> manifesto and in the press release but nothing on the site. while a
>> 4000 dollar bow might not suit my fancy (unless you pair it with one
>> of them fancy moog guitars, some golden alligator clips, and a
>> platinum, diamond-encrusted ebow for the total bourgeois improv
>> experience), the thought of finally being able to use the digital
>> output on my zeta without having to interface with a 25 year old midi
>> box... pretty zesty, if i dont say so myself... anyone with the inside
>> ticket? let yr people know.
>>
>> On Thu, Nov 6, 2008 at 11:53 AM, Damon Smith
>> <damon at balancepointacoustics.com> wrote:
>>> Dresser has a bow with pick ups in it. It sounded great when I
>>> heard it.
>>>
>>> On Nov 6, 2008, at 11:26 AM, Robair, Gino wrote:
>>>
>>>>> From iThing to Kthing --- my last post for today while on a
>>>>> conference call
>>>> (I promise...no more typos)
>>>> Just got this in the inbox, and thought it might of interest to
>>>> some of the
>>>> listers using OSC, etc (I know some of you have seen the demos
>>>> already).
>>>>
>>>> <<Keith McMillen Instruments Introduces K-Bow Violin Sensor Bow
>>>>
>>>> BERKELEY, CA, NOVEMBER 6, 2008 < Players of bowed string
>>>> instruments have
>>>> long wrestled with making music technology respond to the nuances of
>>>> techniques they?ve spent years acquiring. The end of their quest
>>>> will be
>>>> found at booth 6227 in Hall A of the upcoming Winter NAMM
>>>> exhibition, where
>>>> Keith McMillen Instruments will be showing K-Bow.
>>>>
>>>>
>>>> K-Bow is a Bluetooth-enabled sensor bow that detects and translates
>>>> bow
>>>> technique and movement into control signals capable of producing an
>>>> unprecedented level of expression from synthesizers, audio
>>>> processors, or
>>>> any other computer-based art form.
>>>>
>>>> Musician/inventor Keith McMillen, creator of the world-standard
>>>> Zeta violin
>>>> and numerous other pioneering innovations, has been advancing the
>>>> cause of
>>>> string players in music technology for nearly 30 years. Laurie
>>>> Anderson,
>>>> Boyd Tinsley (Dave Matthews Band), Mark O?Connor, Jean Luc Ponty,
>>>> and the
>>>> Kronos Quartet are only a few of the renowned players who use
>>>> McMillen?s
>>>> instruments.
>>>>
>>>> While drums and keyboards fit in well with the simple event
>>>> paradigm of
>>>> MIDI, stringed instruments, and, in particular, bowed instruments
>>>> do not.
>>>> This has effectively shunted string players off to a frustrating
>>>> technological backwater in which they have been constrained to
>>>> watch the
>>>> promise of computer musical instruments largely pass them by.
>>>>
>>>> K-Bow, along with StringPort, KMI?s other new product, represent the
>>>> fulfillment of McMillen?s long-held dream to liberate string
>>>> players from
>>>> this musical confinement. The advent of K-Bow and StringPort
>>>> transform
>>>> computer interaction from an obstacle to music into the primary
>>>> road to new
>>>> means of expression for string players going forward.
>>>>
>>>> K-Bow uses multiple sensors embedded in its custom Kevlar/carbon
>>>> fiber stick
>>>> to determine numerous performance parameters, including: motion on
>>>> the X,Y
>>>> and Z axes; grip pressure; hair tension; tilt angle; and the
>>>> position of the
>>>> bow relative to the instrument. K-Bow is available for violin,
>>>> viola, cello,
>>>> and bass.
>>>>
>>>> All of this data can be applied using an included software suite
>>>> that
>>>> extracts gestural information from the data received from the bow,
>>>> and uses
>>>> it to process or control the sound from a violin, synthesizer, drum
>>>> machine,
>>>> or parameters of any intelligent device, whether related to music
>>>> and audio
>>>> or not. K-Bow opens the door to a vast range of creative ideas: bow
>>>> direction might trigger drum sounds, or K-Bow might conduct a
>>>> virtual rhythm
>>>> section.
>>>>
>>>> Bundled with K-Bow are K-Tone (an advanced signal processor),
>>>> modulation
>>>> routing, and an intuitive multitrack live recording looper. K-Bow?s
>>>> performance data can also be sent to other music software.
>>>>
>>>> The K-Bow software suite contains a special neural network that
>>>> can be
>>>> trained to recognize performance gestures specific to the
>>>> performer. This
>>>> makes possible applications such as controlling lighting by the
>>>> playing of a
>>>> specific passage, or selecting a track or software function by
>>>> making a
>>>> designated motion through the air with K-Bow.
>>>>
>>>> Naturally, all commands generated by K-Bow also can be sent to a
>>>> MIDI
>>>> interface or as OSC (Open Sound Control) messages to control
>>>> external
>>>> devices. The software is open and compatible with Max/MSP and other
>>>> authoring tools so it can be expanded by third parties and
>>>> knowledgeable
>>>> users.
>>>>
>>>> K-Bow is designed to leverage, rather than impede, the player?s
>>>> technique.
>>>> The weight and feel of K-Bow are that of a fine violin bow, yet the
>>>> bow
>>>> contains a sophisticated array of sensors and electronics, as well
>>>> as a tiny
>>>> radio transceiver that sends the sensor data to a Mac or Windows-
>>>> based
>>>> computer hundreds of times a second. Far from requiring the use of
>>>> a special
>>>> violin controller, K-Bow can be used with any instrument, enabling
>>>> players
>>>> to use K-Bow with their familiar instruments.
>>>>
>>>> K-Bow?s internal electronics are powered by a lithium battery that
>>>> works for
>>>> a full day before requiring recharging through a standard USB
>>>> connector.
>>>>
>>>> K-Bow will ship in Q1 of 2009 with complete systems priced at less
>>>> than
>>>> $4,000. K-Bow will be available directly from Keith McMillen
>>>> Instruments,
>>>> which can be found online at www.keithmcmillen.com.
>>>>
>>>> A portion of the profits from the sale of K-Bow will go to the BEAM
>>>> Foundation (http://www.beamfoundation.org), a nonprofit corporation
>>>> founded
>>>> by McMillen to spark a new Western classical music movement based
>>>> on the
>>>> technologies and aesthetics of the 21st century.
>>>>>>
>>>>
>>>> _______________________________________________
>>>> Bay Area New Music Discussion Group
>>>> NewMusic at music.mills.edu
>>>> http://music.mills.edu/mailman/listinfo/newmusic
>>>
>>> Damon Smith
>>>
>>> http://www.balancepointacoustics.com
>>> http://myspace.com/smithdamon
>>> New solo project:
>>> http://www.myspace.com/damonsmithsolo
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> 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
>
>
>
> barry threw
> Media Art and Technology
>
> San Francisco, CA
> Work: 857-544-3967
> Email: bthrew (at) gmail (dot) com
> Web: www.barrythrew.com
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From electric.tokyo at gmail.com  Sun Nov  9 18:30:49 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Sun, 9 Nov 2008 18:30:49 -0800
Subject: [NewMusic] K-Bow info
In-Reply-To: <d3165c060811091827v24cf030ake20ab7771999a698@mail.gmail.com>
References: <C53884E5.19830%Gino.Robair@penton.com>
	<EA1E7D97-722C-4E70-AA08-60BFA790B9AB@balancepointacoustics.com>
	<d3165c060811061201q6fce3b82n3f1b18f9bc29f55f@mail.gmail.com>
	<BAB1B478-7581-46B6-82B0-B05A35FC8324@gmail.com>
	<d3165c060811091827v24cf030ake20ab7771999a698@mail.gmail.com>
Message-ID: <d3165c060811091830l4a39e3f7u52ad06f848c892a7@mail.gmail.com>

uhm, that just went to the list, didn't it...

whoops.

uhm, sorry y'all. well, erm, i still stand firm to the lodge + beer +
weird music folks welcome + noone turned away for lack o' whatevs
thing.

more apologies. egg on face. yum.


On Sun, Nov 9, 2008 at 6:27 PM, Travis Johns <electric.tokyo at gmail.com> wrote:
> well, considering that i was planning on writing gino to see if he'd
> want me to review it for em or something, yah, tha'd be great. just
> one teensy-tiny problem, though - my bass is n ny right now.
>
> any chance you'll still have one floating around in oh, say, january?
>
> but ala the 3 blocks thing, cmon and saunter down to the lodge
> sometime an grab yerself a beer. weird music folks always welcome -
> noone turned away for lack o' funds.
>
>
>
> On Sun, Nov 9, 2008 at 5:08 PM, barry threw <bthrew at gmail.com> wrote:
>> BTW Travis, I think you live like 3 blocks from me, and I should have
>> a StringPort at my house by the end of next week if you want to check
>> it out.
>>
>> bt
>>
>> On Nov 6, 2008, at 12:01 PM, Travis Johns wrote:
>>
>>> any info on this StringPort dealy? i saw something in keith's
>>> manifesto and in the press release but nothing on the site. while a
>>> 4000 dollar bow might not suit my fancy (unless you pair it with one
>>> of them fancy moog guitars, some golden alligator clips, and a
>>> platinum, diamond-encrusted ebow for the total bourgeois improv
>>> experience), the thought of finally being able to use the digital
>>> output on my zeta without having to interface with a 25 year old midi
>>> box... pretty zesty, if i dont say so myself... anyone with the inside
>>> ticket? let yr people know.
>>>
>>> On Thu, Nov 6, 2008 at 11:53 AM, Damon Smith
>>> <damon at balancepointacoustics.com> wrote:
>>>> Dresser has a bow with pick ups in it. It sounded great when I
>>>> heard it.
>>>>
>>>> On Nov 6, 2008, at 11:26 AM, Robair, Gino wrote:
>>>>
>>>>>> From iThing to Kthing --- my last post for today while on a
>>>>>> conference call
>>>>> (I promise...no more typos)
>>>>> Just got this in the inbox, and thought it might of interest to
>>>>> some of the
>>>>> listers using OSC, etc (I know some of you have seen the demos
>>>>> already).
>>>>>
>>>>> <<Keith McMillen Instruments Introduces K-Bow Violin Sensor Bow
>>>>>
>>>>> BERKELEY, CA, NOVEMBER 6, 2008 < Players of bowed string
>>>>> instruments have
>>>>> long wrestled with making music technology respond to the nuances of
>>>>> techniques they?ve spent years acquiring. The end of their quest
>>>>> will be
>>>>> found at booth 6227 in Hall A of the upcoming Winter NAMM
>>>>> exhibition, where
>>>>> Keith McMillen Instruments will be showing K-Bow.
>>>>>
>>>>>
>>>>> K-Bow is a Bluetooth-enabled sensor bow that detects and translates
>>>>> bow
>>>>> technique and movement into control signals capable of producing an
>>>>> unprecedented level of expression from synthesizers, audio
>>>>> processors, or
>>>>> any other computer-based art form.
>>>>>
>>>>> Musician/inventor Keith McMillen, creator of the world-standard
>>>>> Zeta violin
>>>>> and numerous other pioneering innovations, has been advancing the
>>>>> cause of
>>>>> string players in music technology for nearly 30 years. Laurie
>>>>> Anderson,
>>>>> Boyd Tinsley (Dave Matthews Band), Mark O?Connor, Jean Luc Ponty,
>>>>> and the
>>>>> Kronos Quartet are only a few of the renowned players who use
>>>>> McMillen?s
>>>>> instruments.
>>>>>
>>>>> While drums and keyboards fit in well with the simple event
>>>>> paradigm of
>>>>> MIDI, stringed instruments, and, in particular, bowed instruments
>>>>> do not.
>>>>> This has effectively shunted string players off to a frustrating
>>>>> technological backwater in which they have been constrained to
>>>>> watch the
>>>>> promise of computer musical instruments largely pass them by.
>>>>>
>>>>> K-Bow, along with StringPort, KMI?s other new product, represent the
>>>>> fulfillment of McMillen?s long-held dream to liberate string
>>>>> players from
>>>>> this musical confinement. The advent of K-Bow and StringPort
>>>>> transform
>>>>> computer interaction from an obstacle to music into the primary
>>>>> road to new
>>>>> means of expression for string players going forward.
>>>>>
>>>>> K-Bow uses multiple sensors embedded in its custom Kevlar/carbon
>>>>> fiber stick
>>>>> to determine numerous performance parameters, including: motion on
>>>>> the X,Y
>>>>> and Z axes; grip pressure; hair tension; tilt angle; and the
>>>>> position of the
>>>>> bow relative to the instrument. K-Bow is available for violin,
>>>>> viola, cello,
>>>>> and bass.
>>>>>
>>>>> All of this data can be applied using an included software suite
>>>>> that
>>>>> extracts gestural information from the data received from the bow,
>>>>> and uses
>>>>> it to process or control the sound from a violin, synthesizer, drum
>>>>> machine,
>>>>> or parameters of any intelligent device, whether related to music
>>>>> and audio
>>>>> or not. K-Bow opens the door to a vast range of creative ideas: bow
>>>>> direction might trigger drum sounds, or K-Bow might conduct a
>>>>> virtual rhythm
>>>>> section.
>>>>>
>>>>> Bundled with K-Bow are K-Tone (an advanced signal processor),
>>>>> modulation
>>>>> routing, and an intuitive multitrack live recording looper. K-Bow?s
>>>>> performance data can also be sent to other music software.
>>>>>
>>>>> The K-Bow software suite contains a special neural network that
>>>>> can be
>>>>> trained to recognize performance gestures specific to the
>>>>> performer. This
>>>>> makes possible applications such as controlling lighting by the
>>>>> playing of a
>>>>> specific passage, or selecting a track or software function by
>>>>> making a
>>>>> designated motion through the air with K-Bow.
>>>>>
>>>>> Naturally, all commands generated by K-Bow also can be sent to a
>>>>> MIDI
>>>>> interface or as OSC (Open Sound Control) messages to control
>>>>> external
>>>>> devices. The software is open and compatible with Max/MSP and other
>>>>> authoring tools so it can be expanded by third parties and
>>>>> knowledgeable
>>>>> users.
>>>>>
>>>>> K-Bow is designed to leverage, rather than impede, the player?s
>>>>> technique.
>>>>> The weight and feel of K-Bow are that of a fine violin bow, yet the
>>>>> bow
>>>>> contains a sophisticated array of sensors and electronics, as well
>>>>> as a tiny
>>>>> radio transceiver that sends the sensor data to a Mac or Windows-
>>>>> based
>>>>> computer hundreds of times a second. Far from requiring the use of
>>>>> a special
>>>>> violin controller, K-Bow can be used with any instrument, enabling
>>>>> players
>>>>> to use K-Bow with their familiar instruments.
>>>>>
>>>>> K-Bow?s internal electronics are powered by a lithium battery that
>>>>> works for
>>>>> a full day before requiring recharging through a standard USB
>>>>> connector.
>>>>>
>>>>> K-Bow will ship in Q1 of 2009 with complete systems priced at less
>>>>> than
>>>>> $4,000. K-Bow will be available directly from Keith McMillen
>>>>> Instruments,
>>>>> which can be found online at www.keithmcmillen.com.
>>>>>
>>>>> A portion of the profits from the sale of K-Bow will go to the BEAM
>>>>> Foundation (http://www.beamfoundation.org), a nonprofit corporation
>>>>> founded
>>>>> by McMillen to spark a new Western classical music movement based
>>>>> on the
>>>>> technologies and aesthetics of the 21st century.
>>>>>>>
>>>>>
>>>>> _______________________________________________
>>>>> Bay Area New Music Discussion Group
>>>>> NewMusic at music.mills.edu
>>>>> http://music.mills.edu/mailman/listinfo/newmusic
>>>>
>>>> Damon Smith
>>>>
>>>> http://www.balancepointacoustics.com
>>>> http://myspace.com/smithdamon
>>>> New solo project:
>>>> http://www.myspace.com/damonsmithsolo
>>>>
>>>>
>>>>
>>>>
>>>> _______________________________________________
>>>> 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
>>
>>
>>
>> barry threw
>> Media Art and Technology
>>
>> San Francisco, CA
>> Work: 857-544-3967
>> Email: bthrew (at) gmail (dot) com
>> Web: www.barrythrew.com
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>>
>

From 21grand at 21grand.org  Sun Nov  9 18:45:47 2008
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sun, 09 Nov 2008 18:45:47 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <d3165c060811091606s54694954mef2b51898353ef77@mail.gmail.com>
Message-ID: <C53CE05B.2821B%21grand@21grand.org>

Because we don't go to them.

sl

on 11/9/08 4:06 PM, Travis Johns at electric.tokyo at gmail.com wrote:

> ...why don't we ever talk about OUR gigs like this?
> 
> duck and weave,
> 
> t.
> 
> 



From electric.tokyo at gmail.com  Sun Nov  9 18:59:58 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Sun, 9 Nov 2008 18:59:58 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <C53CE05B.2821B%21grand@21grand.org>
References: <d3165c060811091606s54694954mef2b51898353ef77@mail.gmail.com>
	<C53CE05B.2821B%21grand@21grand.org>
Message-ID: <d3165c060811091859i33768e59xfa29d86187e66345@mail.gmail.com>

...point well taken.

ala the wobbly/sfsound thing, eh, i've been in bed with a headcold and
a fever all weekend. as much as i'd love to come check it out, you
REALLY don't want what I got right now... though if anyone wants to
hear a list of the shows that I really wanted to go to this weekend
before I woke up yesterday morning drenched in sweat and with a head
full of drunk bees, drop me a line and I'll gladly spell them out for
ya...

On Sun, Nov 9, 2008 at 6:45 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote:
> Because we don't go to them.
>
> sl
>
> on 11/9/08 4:06 PM, Travis Johns at electric.tokyo at gmail.com wrote:
>
>> ...why don't we ever talk about OUR gigs like this?
>>
>> duck and weave,
>>
>> t.
>>
>>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From Gino.Robair at penton.com  Sun Nov  9 21:31:07 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Sun, 9 Nov 2008 23:31:07 -0600
Subject: [NewMusic] AMM/Keith Rowe, etc
Message-ID: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>

I'm bummed I couldn't make this show, but it's interesting to read the responses.
Re the idea that Keith is EAI (whatever that really is) is absurd. The genre names (lowercase, EAI) have been created around his and others' work, but he doesn't really fit neatly into any of them. The guy makes music, and his interpretations of Cardew's work varies. 

It's also good to remember that improvisation is risky business, and sometimes it doesn't work (even with master players). That's the fun of it.

Speaking of Bay Area AMM shows, the last one at Mills (11 years ago?) had the most amazing 10-minute silence I've heard in a performance. An incredibly powerful moment in a very good night of AMMMusic.

But Weasel and Wobbly are right: AMM used to dish out the noise like nobody's business.

From djll at sonic.net  Sun Nov  9 21:50:13 2008
From: djll at sonic.net (Tom Dill)
Date: Sun, 9 Nov 2008 21:50:13 -0800
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <mailman.1.1226293203.16332.newmusic@music.mills.edu>
References: <mailman.1.1226293203.16332.newmusic@music.mills.edu>
Message-ID: <4A9B419F-CEEE-4DB0-8123-3DEC193271EA@sonic.net>

I missed the Rowe concert --

AMM (Rowe and Tilbury) played at Mills, too, can't remember when,  
late 90s sometime, and it was fine. They were even better at the Noe  
Valley Ministry (with Eddie Prevost) in the early 90s. That was  
transcendent, I would venture to opine. In that case, it was only  
sometimes quiet, very long-form improvisation, and it didn't strike  
me as a new genre or movement. The structures they created just  
happened to unfold very slowly, much like late-period Feldman.

I've had less luck with eai on CD -- I prefer this sort of music  
live. My feeling is that the aesthetic of "not getting anywhere" and  
"remove all human drama or interest" in order to make something  
really interesting (because it's really uncomfortable for the  
listener), played itself out years ago. Seeing Toshimaru Nakamura at  
Mills that one time was great -- and just enough of that stuff for  
me. As Eric Hoffer said, ?Every great cause begins as a movement,  
becomes a business and eventually degenerates into a racket.? A quiet  
racket, in this case. :)

Matt's comments below are right on.


td

On Nov 9, 2008, at 9:00 PM, newmusic-request at music.mills.edu wrote:

> From: Matt Ingalls <ingalls at mills.edu>
> Subject: Re: [NewMusic] keith rowe @ mills last night
> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Message-ID:
> 	<F81D56F650769E4587383FDD7DE82629067FA81B at EXCHANGE02.mills.edu>
> Content-Type: text/plain; charset="us-ascii"
>
> well i was bored.
>
> i'm definitely not an expert of AMMs music - i know they are  
> supposed to be the forefathers of lowercase/eai or whatever you  
> call it improv, right?  my take on this kind of music is that it is  
> an opportunity to get *inside* the sound - BUT you gotta have  
> interesting sounds! - it doesn't work with just any sounds spaced  
> apart executed with little intent.
>
> i did see AMM's show at beanbenders in in 1996 ( with upstairs  
> dance party ) and my memory of that is more positive but i also  
> remember being bored then too.    i usually don't like monophonic  
> narrow-band pickup/contact mic through guitar amp, but if Rowe had  
> at least shaped his sounds i could have handled it -- it all seemed  
> totally arbitrary and i was really not impressed.
>
> as for the ensemble, i don't want to criticize student players, but  
> the thought did occur to me was that mills now has an IMPROV  
> DEGREE, right?  i would have thought that *at least* the players  
> would have been familiar with the "genre" - seemed to me like there  
> were too many sounds and approaches that didn't fit the convention  
> of lowercase/eai.
>
> -m


Tom Djll
227 Otis St.
Santa Cruz, CA 95060
(831) 429-8072  home
(831) 423-3050 office
(831) 320-1489 cell
djll at sonic.net
tom at mythmaker.com
www.mythmaker.com

Music, calendar, & bio:
http://www.bayimproviser.com/TomDjll

More music w/sound snippets:
http://www.myspace.com/analoguelipsynthesizer

Photography:
http://www.flickr.com/photos/djll/





From damon at balancepointacoustics.com  Sun Nov  9 22:41:13 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Sun, 9 Nov 2008 22:41:13 -0800
Subject: [NewMusic] AMM/Keith Rowe, etc
In-Reply-To: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>
References: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>
Message-ID: <A44B04D3-CC67-4BD0-8B70-C0D8527A0C89@balancepointacoustics.com>

On Nov 9, 2008, at 9:31 PM, Robair, Gino wrote:

> Re the idea that Keith is EAI (whatever that really is) is absurd.

- Like it or not, EAI as a genre has been pretty much defined by  
Rowe, Jon Abbey and Rowe's close collaborators.  He has stayed pretty  
squarely in that field since leaving AMM, the duo cd with Evan Parker  
being one of the few collaborations that isn't strictly EAI. If he is  
working on other areas of music he sure is keeping quiet about it.

Damon Smith

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





From letucepry at yahoo.com  Sun Nov  9 23:55:19 2008
From: letucepry at yahoo.com (Ron Lettuce)
Date: Sun, 9 Nov 2008 23:55:19 -0800 (PST)
Subject: [NewMusic] keith rowe @ mills last night
References: <d3165c060811091606s54694954mef2b51898353ef77@mail.gmail.com>
	<C53CE05B.2821B%21grand@21grand.org>
	<d3165c060811091859i33768e59xfa29d86187e66345@mail.gmail.com>
Message-ID: <203400.32290.qm@web54305.mail.re2.yahoo.com>

Actually, I don't think there were 10 empty seats in the house tonight.


lettuce




________________________________
From: Travis Johns <electric.tokyo at gmail.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Sunday, November 9, 2008 6:59:58 PM
Subject: Re: [NewMusic] keith rowe @ mills last night

...point well taken.

ala the wobbly/sfsound thing, eh, i've been in bed with a headcold and
a fever all weekend. as much as i'd love to come check it out, you
REALLY don't want what I got right now... though if anyone wants to
hear a list of the shows that I really wanted to go to this weekend
before I woke up yesterday morning drenched in sweat and with a head
full of drunk bees, drop me a line and I'll gladly spell them out for
ya...

On Sun, Nov 9, 2008 at 6:45 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote:
> Because we don't go to them.
>
> sl
>
> on 11/9/08 4:06 PM, Travis Johns at electric.tokyo at gmail.com wrote:
>
>> ...why don't we ever talk about OUR gigs like this?
>>
>> duck and weave,
>>
>> t.
>>
>>
>
>
> _______________________________________________
> 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 ingalls at mills.edu  Mon Nov 10 02:07:27 2008
From: ingalls at mills.edu (Matt Ingalls)
Date: Mon, 10 Nov 2008 02:07:27 -0800
Subject: [NewMusic] AMM/Keith Rowe, etc
In-Reply-To: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>
References: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>
Message-ID: <F81D56F650769E4587383FDD7DE82629067FA81C@EXCHANGE02.mills.edu>

well.. his bio in the program says:  "He is seen as the godfather of electroacoustic improvisation..."

________________________________________
From: newmusic-bounces at music.mills.edu [newmusic-bounces at music.mills.edu] On Behalf Of Robair, Gino [Gino.Robair at penton.com]
Sent: Sunday, November 09, 2008 9:31 PM
To: New Music
Subject: [NewMusic] AMM/Keith Rowe, etc

I'm bummed I couldn't make this show, but it's interesting to read the responses.
Re the idea that Keith is EAI (whatever that really is) is absurd. The genre names (lowercase, EAI) have been created around his and others' work, but he doesn't really fit neatly into any of them. The guy makes music, and his interpretations of Cardew's work varies.

It's also good to remember that improvisation is risky business, and sometimes it doesn't work (even with master players). That's the fun of it.

Speaking of Bay Area AMM shows, the last one at Mills (11 years ago?) had the most amazing 10-minute silence I've heard in a performance. An incredibly powerful moment in a very good night of AMMMusic.

But Weasel and Wobbly are right: AMM used to dish out the noise like nobody's business.
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic

From Gino.Robair at penton.com  Mon Nov 10 09:53:25 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Mon, 10 Nov 2008 11:53:25 -0600
Subject: [NewMusic] AMM/Keith Rowe, etc
Message-ID: <C53DB515.19A30%Gino.Robair@penton.com>

Damon wrote:
<<- Like it or not, EAI as a genre has been pretty much defined by
Rowe, Jon Abbey and Rowe's close collaborators.>>

That's just marketing rubbish, and I blame Jon Abbey for boxing Keith in
(but praise him for getting Keith's music out to a wider audience). It's one
thing to be the so-called "godfather" of a genre, yet quite another to be
part of it. 

Like when they say Iggy Pop is the godfather of punk. Etc.

Sure Rowe plays with EAI folks, but his work outstretches it (if you look at
it in the long term and not just at a few of the recent ones).


From damon at balancepointacoustics.com  Mon Nov 10 10:03:25 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 10 Nov 2008 10:03:25 -0800
Subject: [NewMusic] AMM/Keith Rowe, etc
In-Reply-To: <C53DB515.19A30%Gino.Robair@penton.com>
References: <C53DB515.19A30%Gino.Robair@penton.com>
Message-ID: <7355DFED-312E-4A4A-960D-C2C620ADBBD7@balancepointacoustics.com>

Yeah, that really isn't true. He has been on board the whole time  
with Abbey and has really left everything else behind like Radu  
Malfatti. I don't think it is problem, but it is what it is.
If he was working with anyone outside the EAI fraternity you might  
have a point but we talking about his output for well over a decade  
on and off Erstwhile.
I don't think we are going to see a duo with William Parker or Paul  
Lovens anytime soon. I think he fine in the box they  created.


On Nov 10, 2008, at 9:53 AM, Robair, Gino wrote:

> Damon wrote:
> <<- Like it or not, EAI as a genre has been pretty much defined by
> Rowe, Jon Abbey and Rowe's close collaborators.>>
>
> That's just marketing rubbish, and I blame Jon Abbey for boxing  
> Keith in
> (but praise him for getting Keith's music out to a wider audience).  
> It's one
> thing to be the so-called "godfather" of a genre, yet quite another  
> to be
> part of it.
>
> Like when they say Iggy Pop is the godfather of punk. Etc.
>
> Sure Rowe plays with EAI folks, but his work outstretches it (if  
> you look at
> it in the long term and not just at a few of the recent ones).
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Damon Smith

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





From jfheule at gmail.com  Mon Nov 10 10:05:29 2008
From: jfheule at gmail.com (jacob felix heule)
Date: Mon, 10 Nov 2008 10:05:29 -0800
Subject: [NewMusic] AMM/Keith Rowe, etc
In-Reply-To: <C53DB515.19A30%Gino.Robair@penton.com>
References: <C53DB515.19A30%Gino.Robair@penton.com>
Message-ID: <9c5cfa860811101005j42afbcd0oaf53b2f94afc262@mail.gmail.com>

there was also a full paragraph of his bio about how much syd barrett liked
his music.

On Mon, Nov 10, 2008 at 9:53 AM, Robair, Gino <Gino.Robair at penton.com>wrote:

> Damon wrote:
> <<- Like it or not, EAI as a genre has been pretty much defined by
> Rowe, Jon Abbey and Rowe's close collaborators.>>
>
> That's just marketing rubbish, and I blame Jon Abbey for boxing Keith in
> (but praise him for getting Keith's music out to a wider audience). It's
> one
> thing to be the so-called "godfather" of a genre, yet quite another to be
> part of it.
>
> Like when they say Iggy Pop is the godfather of punk. Etc.
>
> Sure Rowe plays with EAI folks, but his work outstretches it (if you look
> at
> it in the long term and not just at a few of the recent ones).
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



-- 
http://www.heule.us
http://www.myspace.com/jacobfelix

From Gino.Robair at penton.com  Mon Nov 10 10:12:13 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Mon, 10 Nov 2008 12:12:13 -0600
Subject: [NewMusic] AMM/Keith Rowe, etc
Message-ID: <C53DB97D.19A39%Gino.Robair@penton.com>

Damon sez:
<<I don't think we are going to see a duo with William Parker or Paul
Lovens anytime soon. I think he fine in the box they  created.>>

Why would he play with William Parker? But then again, that might make a
kickass project. You've got a label --- propose it to them!

Anyway, I think you have to scratch a little deeper on his output, Damon.
Rowe can still go farther than you think. Unless, when he's in the US, Abbey
doesn't let him! ;-)

(And yes, Pink Floyd and AMM shared the same bill on stage....)


From damon at balancepointacoustics.com  Mon Nov 10 10:15:28 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 10 Nov 2008 10:15:28 -0800
Subject: [NewMusic] AMM/Keith Rowe, etc
In-Reply-To: <C53DB97D.19A39%Gino.Robair@penton.com>
References: <C53DB97D.19A39%Gino.Robair@penton.com>
Message-ID: <BF07C422-C77D-434E-AD56-28C74524A617@balancepointacoustics.com>

How about you point me to an album in since the late 90s that goes  
beyond EAI? I have heard most of them.

On Nov 10, 2008, at 10:12 AM, Robair, Gino wrote:

> Damon sez:
> <<I don't think we are going to see a duo with William Parker or Paul
> Lovens anytime soon. I think he fine in the box they  created.>>
>
> Why would he play with William Parker? But then again, that might  
> make a
> kickass project. You've got a label --- propose it to them!
>
> Anyway, I think you have to scratch a little deeper on his output,  
> Damon.
> Rowe can still go farther than you think. Unless, when he's in the  
> US, Abbey
> doesn't let him! ;-)
>
> (And yes, Pink Floyd and AMM shared the same bill on stage....)
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Damon Smith

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





From Gino.Robair at penton.com  Mon Nov 10 10:26:34 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Mon, 10 Nov 2008 12:26:34 -0600
Subject: [NewMusic] Rowe etc
Message-ID: <C53DBCDA.19A44%Gino.Robair@penton.com>

Damon,
I'll have to see what I still have of his. I remember one of the tracks of
Harsh surprising me about how aggressive it was. And there's an  interesting
group he was in on a small French label with some French  musicians that had
some really lovely work that was relatively active. (I think it's called
[N:Q])

Mind you, I don't have anything that would be active in the William
Parker/Paul Lovens vein. But in terms of going to zero like Radu, I think
you can find more variation in Rowe's playing. 


From damon at balancepointacoustics.com  Mon Nov 10 10:34:28 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 10 Nov 2008 10:34:28 -0800
Subject: [NewMusic] Rowe etc
In-Reply-To: <C53DBCDA.19A44%Gino.Robair@penton.com>
References: <C53DBCDA.19A44%Gino.Robair@penton.com>
Message-ID: <9CFA9A11-9F96-46EB-B65D-51EE5A896FE2@balancepointacoustics.com>

See, I think EAI is less narrow and more active than you might think.  
I don't see it as problem that he sticks to that anymore than Richard  
Serra sticking to monumental steel sculpture and  oil stick drawings.
Rowe's recent erstwhile albums have a lot going on.

On Nov 10, 2008, at 10:26 AM, Robair, Gino wrote:

> Damon,
> I'll have to see what I still have of his. I remember one of the  
> tracks of
> Harsh surprising me about how aggressive it was. And there's an   
> interesting
> group he was in on a small French label with some French  musicians  
> that had
> some really lovely work that was relatively active. (I think it's  
> called
> [N:Q])
>
> Mind you, I don't have anything that would be active in the William
> Parker/Paul Lovens vein. But in terms of going to zero like Radu, I  
> think
> you can find more variation in Rowe's playing.
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Damon Smith

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





From bthrew at gmail.com  Mon Nov 10 10:48:14 2008
From: bthrew at gmail.com (barry threw)
Date: Mon, 10 Nov 2008 10:48:14 -0800
Subject: [NewMusic] AMM/Keith Rowe, etc
In-Reply-To: <F81D56F650769E4587383FDD7DE82629067FA81C@EXCHANGE02.mills.edu>
References: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>
	<F81D56F650769E4587383FDD7DE82629067FA81C@EXCHANGE02.mills.edu>
Message-ID: <AA856CE3-7380-4C14-93D3-AB1A80C3EEFA@gmail.com>


On Nov 10, 2008, at 2:07 AM, Matt Ingalls wrote:

> well.. his bio in the program says:  "He is seen as the godfather of  
> electroacoustic improvisation..."

Fuck.  Guess I have to change mine now.


barry threw
Media Art and Technology

San Francisco, CA
Work: 857-544-3967
Email: bthrew (at) gmail (dot) com
Web: www.barrythrew.com


From Gino.Robair at penton.com  Mon Nov 10 10:50:24 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Mon, 10 Nov 2008 12:50:24 -0600
Subject: [NewMusic] Rowe, etc
Message-ID: <C53DC270.19A49%Gino.Robair@penton.com>

<<See, I think EAI is less narrow and more active than you might think.  >>

You're right. But that's what I said in my first comment about EAI:
"Whatever that is." Is EAI like pron, where, you can't exactly define it,
but you know it when you hear it? Where are the boundaries? What density and
what volume has to be exceed to leave EAI and become ... Noise, or "jazz",
or whatever?

I think that term has nothing to do with the real music, but is rather a
term used by labels to market certain artists and their CDs and help folks
get grants. And reviewers and listeners use the term somewhat loosely. I
have live recordings of Cage and Tudor doing music that covers the same
territory as the Erstwhile-like bands. Are they the great-grandfathers of
EAI?

<<I don't see it as problem that he sticks to that anymore than Richard
Serra sticking to monumental steel sculpture and  oil stick drawings.>>

Sure.

<<Rowe's recent erstwhile albums have a lot going on.>>

Indeed! 


From letucepry at yahoo.com  Mon Nov 10 14:31:44 2008
From: letucepry at yahoo.com (Ron Lettuce)
Date: Mon, 10 Nov 2008 14:31:44 -0800 (PST)
Subject: [NewMusic] AMM/Keith Rowe, etc
References: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>
	<F81D56F650769E4587383FDD7DE82629067FA81C@EXCHANGE02.mills.edu>
	<AA856CE3-7380-4C14-93D3-AB1A80C3EEFA@gmail.com>
Message-ID: <653013.48414.qm@web54302.mail.re2.yahoo.com>

Yeah, but maybe you can do something like:

Barry?was once?negatively?influenced by a performance by Keith Rowe. He is seen as the godfather of electroacoustic improvisation.



lettuce?




________________________________
From: barry threw <bthrew at gmail.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Monday, November 10, 2008 10:48:14 AM
Subject: Re: [NewMusic] AMM/Keith Rowe, etc


On Nov 10, 2008, at 2:07 AM, Matt Ingalls wrote:

> well.. his bio in the program says:? "He is seen as the godfather of? 
> electroacoustic improvisation..."

Fuck.? Guess I have to change mine now.


barry threw
Media Art and Technology

San Francisco, CA
Work: 857-544-3967
Email: bthrew (at) gmail (dot) com
Web: www.barrythrew.com

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

From electric.tokyo at gmail.com  Mon Nov 10 14:34:46 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Mon, 10 Nov 2008 14:34:46 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <74E23E7F-2DEE-4430-8C17-1339FB6CC6A6@balancepointacoustics.com>
References: <74E23E7F-2DEE-4430-8C17-1339FB6CC6A6@balancepointacoustics.com>
Message-ID: <d3165c060811101434j4be05c37v39992e6e06674267@mail.gmail.com>

it gets better: one of the installations in said exhibit offers free
beer every thursday night... with cost of admission and valid id, of
course, but eh, extra incentive to go to museums on thursdays.
herelink:

http://www.sfmoma.org/events/1246



On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
<damon at balancepointacoustics.com> wrote:
> SFMOMA finally woke up from a mis-managed commercial stupor. Of
> interest to this list would be the art of participation show. They
> use Cage as a starting point and have a performance of 4'33" everyday
> at noon.
> The concept has a huge potential to go wrong but it is pretty great.
> There are tons of great artists, Kappow, Beuys, Acconci, Gonzales-
> Torres, Paik and others.
> They have a show of Contemporary art from collection and a great show
> of Martin Puryear sculpture.
> Warhol's Jews at the CJM is worth seeing and I have warmed up to some
> of the pieces in Zorn's sound installation like Chris Brown and Erik
> Friedlander.
>
> Damon Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> New solo project:
> http://www.myspace.com/damonsmithsolo
>
>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From weaselw at juno.com  Mon Nov 10 18:32:26 2008
From: weaselw at juno.com (weasel walter)
Date: Mon, 10 Nov 2008 18:32:26 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE. HELP!
Message-ID: <20081110.183228.3840.161.weaselw@juno.com>

godammit. technology. friend and enemy at the same time.

i'm trying out Finale for my transcriptions and finding it to have some
pretty severe limitations on a basic level. if anyone has an answer for
this question, please let me know . . . or, if somebody can recommend a
similar application which has an easy learning curve, i will prob. ditch
this thing. 

although i consider most of my music tonal, i tend not to write in keys,
so, frequent accidentals are necessary. the problem i'm having is that
Finale always wants to force the transcription into awkward intervals
like augmented seconds (e.g. Bb to C#). 

apparently one cannot change these C#s to Dbs easily in Finale? i tried
selecting the entire composition with the mass edit tool, checking "favor
flats" in the enharmonic equivalent menu and respelling the composition
numerous times and it hasn't changed squat. in fact i've tried all kinds
of variables with this method and nothing is changing. 

help if you can. 

ww
____________________________________________________________
Find the apartment of your dreams by clicking here now!
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miihE7U7mgFsDg41BEevIv5fPo2UhpmdMmPtxhr0lHkHy7U/

From djll at sonic.net  Mon Nov 10 21:09:06 2008
From: djll at sonic.net (Tom Dill)
Date: Mon, 10 Nov 2008 21:09:06 -0800
Subject: [NewMusic] NewMusic Digest, Vol 31, Issue 10
In-Reply-To: <mailman.1.1226379603.18102.newmusic@music.mills.edu>
References: <mailman.1.1226379603.18102.newmusic@music.mills.edu>
Message-ID: <3943DE20-A0EC-49C3-8A09-F6EEBBD65E1A@sonic.net>

On Nov 10, 2008, at 9:00 PM, Gino Robair wrote:

>  I have live recordings of Cage and Tudor doing music that covers  
> the same
> territory as the Erstwhile-like bands. Are they the great- 
> grandfathers of
> EAI?

Coincidentally, just last week I suggested something very much like  
this to the guardians of eai over at I Hate Music, and they pulled  
out the knives.

td


Tom Djll
227 Otis St.
Santa Cruz, CA 95060
(831) 429-8072  home
(831) 423-3050 office
(831) 320-1489 cell
djll at sonic.net
tom at mythmaker.com
www.mythmaker.com

Music, calendar, & bio:
http://www.bayimproviser.com/TomDjll

More music w/sound snippets:
http://www.myspace.com/analoguelipsynthesizer

Photography:
http://www.flickr.com/photos/djll/





From bthrew at gmail.com  Mon Nov 10 21:39:35 2008
From: bthrew at gmail.com (Barry Threw)
Date: Mon, 10 Nov 2008 21:39:35 -0800
Subject: [NewMusic] AMM/Keith Rowe, etc
In-Reply-To: <653013.48414.qm@web54302.mail.re2.yahoo.com>
References: <C65FA6D01E469549B210B278C2EC8BD31EB8E9D502@MAILSRV2.pme.penton.com>
	<F81D56F650769E4587383FDD7DE82629067FA81C@EXCHANGE02.mills.edu>
	<AA856CE3-7380-4C14-93D3-AB1A80C3EEFA@gmail.com>
	<653013.48414.qm@web54302.mail.re2.yahoo.com>
Message-ID: <32AE1522-5671-43DD-B139-87EEBBDD6B45@gmail.com>

I think "negatively influenced" is a little strong.

At any rate, I have an example of what not to do now, I would say I  
was positively affected in that sense.

bt

On Nov 10, 2008, at 2:31 PM, Ron Lettuce wrote:

> Yeah, but maybe you can do something like:
>
> Barry was once negatively influenced by a performance by Keith Rowe.  
> He is seen as the godfather of electroacoustic improvisation.
>
> lettuce
>
> On Nov 10, 2008, at 2:07 AM, Matt Ingalls wrote:
>
>> well.. his bio in the program says:  "He is seen as the godfather of
>> electroacoustic improvisation..."
>
> Fuck.  Guess I have to change mine now.
>
>
> barry threw
> Media Art and Technology
>
> San Francisco, CA
> Work: 857-544-3967
> Email: bthrew (at) gmail (dot) com
> Web: www.barrythrew.com

From bthrew at gmail.com  Mon Nov 10 21:40:17 2008
From: bthrew at gmail.com (barry threw)
Date: Mon, 10 Nov 2008 21:40:17 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <d3165c060811101434j4be05c37v39992e6e06674267@mail.gmail.com>
References: <74E23E7F-2DEE-4430-8C17-1339FB6CC6A6@balancepointacoustics.com>
	<d3165c060811101434j4be05c37v39992e6e06674267@mail.gmail.com>
Message-ID: <F36155D3-A52D-4087-A3C4-9F93E21DBFC7@gmail.com>

I hope its Pabst.

bt

On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:

> it gets better: one of the installations in said exhibit offers free
> beer every thursday night... with cost of admission and valid id, of
> course, but eh, extra incentive to go to museums on thursdays.
> herelink:
>
> http://www.sfmoma.org/events/1246
>
>
>
> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
> <damon at balancepointacoustics.com> wrote:
>> SFMOMA finally woke up from a mis-managed commercial stupor. Of
>> interest to this list would be the art of participation show. They
>> use Cage as a starting point and have a performance of 4'33" everyday
>> at noon.
>> The concept has a huge potential to go wrong but it is pretty great.
>> There are tons of great artists, Kappow, Beuys, Acconci, Gonzales-
>> Torres, Paik and others.
>> They have a show of Contemporary art from collection and a great show
>> of Martin Puryear sculpture.
>> Warhol's Jews at the CJM is worth seeing and I have warmed up to some
>> of the pieces in Zorn's sound installation like Chris Brown and Erik
>> Friedlander.
>>
>> Damon Smith
>>


barry threw
Media Art and Technology

San Francisco, CA
Work: 857-544-3967
Email: bthrew (at) gmail (dot) com
Web: www.barrythrew.com


From mhenry at crypticstudios.com  Mon Nov 10 21:51:05 2008
From: mhenry at crypticstudios.com (Michael Henry)
Date: Mon, 10 Nov 2008 21:51:05 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
Message-ID: <C73CE12E0E2E6D4AA8C97475050023A60FE90045FE@proserpine.paragon.crypticstudios.com>

Not sure how you are going about "Transcribing" (Hyperscribe tool? MIDI import?) but you should brobably start with a template that has no major/minor key signature.

As for harmonics you can change them on a not-by-note level (below) or a global search and replace function(also below).
--------------------------------------------


To change a note to its enharmonic equivalent:

 Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
 Press the directional arrow keys until the insertion bar and crossbar are positioned squarely on the notehead you want to change. You can also click the notehead with the mouse. If the note you want to change is the only entry, the crossbar does not have to be directly on the notehead.

Press the 9 key. Pressing the 9 key flips a note to its enharmonic equivalent. If you press 9 again while the crossbar is positioned on the changed notehead, the note will flip back to its original identity.

Special feature: If you press option-9, you?ll also change all other notes on the same line or space in the measure. The crossbar does not have to be on a notehead to use this option.

To change a note to its enharmonic equivalent (Simple Entry)
Click the Simple Entry Tool .
Ctrl-click a note to select it.
Press the \ (Backslash) key. The note changes to its enharmonic equivalent.

To change a chord?s enharmonic spelling:

Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
Press the right arrow key until the cursor is positioned on the chord you want to change. Press the up and down arrow keys until the crossbar is not on a notehead. You can also click the chord with the mouse.
Press the 9 key several times. Each time you press 9, Finale cycles to the next possible enharmonic spelling of the chord. If the chord contains several notes with accidentals, there could be many different possibilities.
To change all occurrences of a note (search and replace)

You can change every occurrence of a note to its enharmonic equivalent?changing every G sharp to an A flat, for example. See Search and replace.

------------------------
Search and replace:

You can search for a pitch, a specific pitch-and-rhythm combination, or even an entire motif anywhere in a score and modify every occurrence in one of several ways.

For example, you can flip every occurrence of a G to its enharmonic equivalent (F), or change two of the notes in a recurrent theme.

To change occurrences of a note or motif (search and replace)

>From the Window Menu, choose Advanced Tools. Click the Note Mover Tool  . Click the measure containing the first occurrence of the note you want to change. A handle appears on each notehead.

Select the notes to be changed. Select one note by clicking, additional notes by shift-clicking, a group of notes by drag-enclosing, and additional groups of notes by shift?drag-enclosing. Note that you can select nonadjacent notes, as long as they?re in the same measure.

Choose Search and Replace from the Note Mover Menu. The Search and Replace dialog box appears, letting you further specify criteria for the search-and-replace process. If you want Finale to look for the selected notes only in their original octave, select In Selected Octave Only. If you want to search for the selected notes in any octave, select In All Octaves. Furthermore, you can confine the search-and-replace process to notes with the same rhythmic values by checking Match Duration.c

With all of these options, Finale considers the selected notes? scale degrees. For example, if you?re searching for a C in the key of C, Finale won?t consider C in the key of F a match. Instead, it will consider F a match in the key of F.

Click OK. The Alteration for Slot dialog box appears, asking what sort of transposition you want to apply. You can specify a different transposition for each of the selected notes; in effect, you have the option of completely rewriting a selected motif.

Click Transpose to specify a transposition option for the first selected note (or click Enharmonic to flip the note to its enharmonic equivalent). If you click Transpose, a dialog box appears, in which you can specify the precise transposition that you want to apply to the note. Make your selections from the drop-down list, and then click OK.

Note: If you?ve selected several notes, all of which are to receive the same transposition, click Set All. The transposition you just specified will be assigned to all selected notes. Skip to step 7.

If more than one note was selected, click Next. The number in ?Slot (#),? advances. (A ?slot? is a selected note; Finale numbers them from bottom to top within a chord, and from left to right in the measure.) Set the transposition option for this note in the same way. Continue through the selected notes (?slots?), clicking Prev or Next as necessary, and setting the transposition option for each.

Click OK (or press enter). A new menu, Search, appears. Its commands are Find, which finds the next occurrence of notes matching your criteria; Replace, which modifies the currently selected notes according to your transposition specifications; Replace then Find, which modifies the current notes and then finds the next occurrence; and Replace All, which reads through your piece, measure by measure, in every staff, changing all notes that meet your search criteria.

Choose a command from the Search Menu. The Replace All command may take Finale some time to complete.

Choose Quit Search from the Search Menu.

------------------------------

Message: 17
Date: Mon, 10 Nov 2008 18:32:26 -0800
From: weasel walter <weaselw at juno.com>
Subject: [NewMusic] question about enharmonic equivalents in FINALE.
        HELP!
To: newmusic at music.mills.edu
Cc: newmusic at music.mills.edu
Message-ID: <20081110.183228.3840.161.weaselw at juno.com>
Content-Type: text/plain; charset=us-ascii

godammit. technology. friend and enemy at the same time.

i'm trying out Finale for my transcriptions and finding it to have some
pretty severe limitations on a basic level. if anyone has an answer for
this question, please let me know . . . or, if somebody can recommend a
similar application which has an easy learning curve, i will prob. ditch
this thing.

although i consider most of my music tonal, i tend not to write in keys,
so, frequent accidentals are necessary. the problem i'm having is that
Finale always wants to force the transcription into awkward intervals
like augmented seconds (e.g. Bb to C#).

apparently one cannot change these C#s to Dbs easily in Finale? i tried
selecting the entire composition with the mass edit tool, checking "favor
flats" in the enharmonic equivalent menu and respelling the composition
numerous times and it hasn't changed squat. in fact i've tried all kinds
of variables with this method and nothing is changing.

help if you can.

ww
____________________________________________________________
Find the apartment of your dreams by clicking here now!
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miihE7U7mgFsDg41BEevIv5fPo2UhpmdMmPtxhr0lHkHy7U/


------------------------------

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


End of NewMusic Digest, Vol 31, Issue 10
****************************************

From djcypod at gmail.com  Mon Nov 10 21:57:18 2008
From: djcypod at gmail.com (beau)
Date: Mon, 10 Nov 2008 21:57:18 -0800
Subject: [NewMusic]  Tremolo Plug-in
Message-ID: <fc5507fa0811102157t50345b14u8c4589229e141489@mail.gmail.com>

Hi Mac Users,

    I created a basic tremolo plug-in effect plug-in using
SuperCollider. It requires an Audio Units Host. See a screen shot and
download a copy to try out for your self from my blog:

http://cypod.blogspot.com/

-
B

From shiurba at pacbell.net  Mon Nov 10 22:48:36 2008
From: shiurba at pacbell.net (John Shiurba)
Date: Mon, 10 Nov 2008 22:48:36 -0800
Subject: [NewMusic] NewMusic Digest, Vol 31, Issue 10
In-Reply-To: <mailman.1.1226379603.18102.newmusic@music.mills.edu>
References: <mailman.1.1226379603.18102.newmusic@music.mills.edu>
Message-ID: <40DE9EBC-EE01-4439-B020-E54A81E3EA1E@pacbell.net>

yeah, wow! 40 years down the drain because of a half dozen years of  
flaccidity,.?
AMM had nothing to do with EAI
On Nov 10, 2008, at 9:00 PM, newmusic-request at music.mills.edu wrote:

> I'm bummed I couldn't make this show, but it's interesting to read  
> the responses.
> Re the idea that Keith is EAI (whatever that really is) is absurd.  
> The genre names (lowercase, EAI) have been created around his and  
> others' work, but he doesn't really fit neatly into any of them.  
> The guy makes music, and his interpretations of Cardew's work varies.
>
> It's also good to remember that improvisation is risky business,  
> and sometimes it doesn't work (even with master players). That's  
> the fun of it.
>
> Speaking of Bay Area AMM shows, the last one at Mills (11 years  
> ago?) had the most amazing 10-minute silence I've heard in a  
> performance. An incredibly powerful moment in a very good night of  
> AMMMusic.
>
> But Weasel and Wobbly are right: AMM used to dish out the noise  
> like nobody's business.


From electric.tokyo at gmail.com  Mon Nov 10 22:49:03 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Mon, 10 Nov 2008 22:49:03 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <F36155D3-A52D-4087-A3C4-9F93E21DBFC7@gmail.com>
References: <74E23E7F-2DEE-4430-8C17-1339FB6CC6A6@balancepointacoustics.com>
	<d3165c060811101434j4be05c37v39992e6e06674267@mail.gmail.com>
	<F36155D3-A52D-4087-A3C4-9F93E21DBFC7@gmail.com>
Message-ID: <d3165c060811102249q3cdf39f1qb2838200d03c343e@mail.gmail.com>

pabst!?!?

...bourgeois slime.

On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com> wrote:
> I hope its Pabst.
>
> bt
>
> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>
>> it gets better: one of the installations in said exhibit offers free
>> beer every thursday night... with cost of admission and valid id, of
>> course, but eh, extra incentive to go to museums on thursdays.
>> herelink:
>>
>> http://www.sfmoma.org/events/1246
>>
>>
>>
>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>> <damon at balancepointacoustics.com> wrote:
>>> SFMOMA finally woke up from a mis-managed commercial stupor. Of
>>> interest to this list would be the art of participation show. They
>>> use Cage as a starting point and have a performance of 4'33" everyday
>>> at noon.
>>> The concept has a huge potential to go wrong but it is pretty great.
>>> There are tons of great artists, Kappow, Beuys, Acconci, Gonzales-
>>> Torres, Paik and others.
>>> They have a show of Contemporary art from collection and a great show
>>> of Martin Puryear sculpture.
>>> Warhol's Jews at the CJM is worth seeing and I have warmed up to some
>>> of the pieces in Zorn's sound installation like Chris Brown and Erik
>>> Friedlander.
>>>
>>> Damon Smith
>>>
>
>
> barry threw
> Media Art and Technology
>
> San Francisco, CA
> Work: 857-544-3967
> Email: bthrew (at) gmail (dot) com
> Web: www.barrythrew.com
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From damon at balancepointacoustics.com  Mon Nov 10 22:53:42 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 10 Nov 2008 22:53:42 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <d3165c060811102249q3cdf39f1qb2838200d03c343e@mail.gmail.com>
References: <74E23E7F-2DEE-4430-8C17-1339FB6CC6A6@balancepointacoustics.com>
	<d3165c060811101434j4be05c37v39992e6e06674267@mail.gmail.com>
	<F36155D3-A52D-4087-A3C4-9F93E21DBFC7@gmail.com>
	<d3165c060811102249q3cdf39f1qb2838200d03c343e@mail.gmail.com>
Message-ID: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>

I think it is Anchor Steam, that is what it was in the original  
piece. It is Tom Marioni's piece I highly recommend his book "Beer,  
Art and Philosophy". He has some great drawings done with drum  
brushes and violin rosin.

On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:

> pabst!?!?
>
> ...bourgeois slime.
>
> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com> wrote:
>> I hope its Pabst.
>>
>> bt
>>
>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>
>>> it gets better: one of the installations in said exhibit offers free
>>> beer every thursday night... with cost of admission and valid id, of
>>> course, but eh, extra incentive to go to museums on thursdays.
>>> herelink:
>>>
>>> http://www.sfmoma.org/events/1246
>>>
>>>
>>>
>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>> <damon at balancepointacoustics.com> wrote:
>>>> SFMOMA finally woke up from a mis-managed commercial stupor. Of
>>>> interest to this list would be the art of participation show. They
>>>> use Cage as a starting point and have a performance of 4'33"  
>>>> everyday
>>>> at noon.
>>>> The concept has a huge potential to go wrong but it is pretty  
>>>> great.
>>>> There are tons of great artists, Kappow, Beuys, Acconci, Gonzales-
>>>> Torres, Paik and others.
>>>> They have a show of Contemporary art from collection and a great  
>>>> show
>>>> of Martin Puryear sculpture.
>>>> Warhol's Jews at the CJM is worth seeing and I have warmed up to  
>>>> some
>>>> of the pieces in Zorn's sound installation like Chris Brown and  
>>>> Erik
>>>> Friedlander.
>>>>
>>>> Damon Smith
>>>>
>>
>>
>> barry threw
>> Media Art and Technology
>>
>> San Francisco, CA
>> Work: 857-544-3967
>> Email: bthrew (at) gmail (dot) com
>> Web: 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

Damon Smith

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





From damon at balancepointacoustics.com  Mon Nov 10 22:58:55 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 10 Nov 2008 22:58:55 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <d3165c060811102249q3cdf39f1qb2838200d03c343e@mail.gmail.com>
References: <74E23E7F-2DEE-4430-8C17-1339FB6CC6A6@balancepointacoustics.com>
	<d3165c060811101434j4be05c37v39992e6e06674267@mail.gmail.com>
	<F36155D3-A52D-4087-A3C4-9F93E21DBFC7@gmail.com>
	<d3165c060811102249q3cdf39f1qb2838200d03c343e@mail.gmail.com>
Message-ID: <8B20185F-DDED-4A07-8565-265ACC3CB0C2@balancepointacoustics.com>

The catalog also has a photo of a very young Br?tzmann installing a  
Paik piece in Wuppertal.

On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:

> pabst!?!?
>
> ...bourgeois slime.
>
> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com> wrote:
>> I hope its Pabst.
>>
>> bt
>>
>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>
>>> it gets better: one of the installations in said exhibit offers free
>>> beer every thursday night... with cost of admission and valid id, of
>>> course, but eh, extra incentive to go to museums on thursdays.
>>> herelink:
>>>
>>> http://www.sfmoma.org/events/1246
>>>
>>>
>>>
>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>> <damon at balancepointacoustics.com> wrote:
>>>> SFMOMA finally woke up from a mis-managed commercial stupor. Of
>>>> interest to this list would be the art of participation show. They
>>>> use Cage as a starting point and have a performance of 4'33"  
>>>> everyday
>>>> at noon.
>>>> The concept has a huge potential to go wrong but it is pretty  
>>>> great.
>>>> There are tons of great artists, Kappow, Beuys, Acconci, Gonzales-
>>>> Torres, Paik and others.
>>>> They have a show of Contemporary art from collection and a great  
>>>> show
>>>> of Martin Puryear sculpture.
>>>> Warhol's Jews at the CJM is worth seeing and I have warmed up to  
>>>> some
>>>> of the pieces in Zorn's sound installation like Chris Brown and  
>>>> Erik
>>>> Friedlander.
>>>>
>>>> Damon Smith
>>>>
>>
>>
>> barry threw
>> Media Art and Technology
>>
>> San Francisco, CA
>> Work: 857-544-3967
>> Email: bthrew (at) gmail (dot) com
>> Web: 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

Damon Smith

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





From weaselw at juno.com  Mon Nov 10 23:49:27 2008
From: weaselw at juno.com (weasel walter)
Date: Mon, 10 Nov 2008 23:49:27 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
Message-ID: <20081110.235157.3840.175.weaselw@juno.com>

> Not sure how you are going about "Transcribing" (Hyperscribe tool? 
> MIDI import?) but you should brobably start with a template that has 
> no major/minor key signature.

specifically i imported a pre-existing MIDI file i had culled from a
SONAR template and imported it into finale to try and tweak the score and
parts. when my parts got transposed to Bb and Eb in finale, the evil
enharmonic equivalents came to town . . . 

> or a global search and replace function(also below).

ugh. duh. yes. i should have thought of this, but i was focused on a
technicality that was disturbing me, i couldn't think straight. i will do
this. 

i'm green with finale . . . i basically just installed it a few days ago
and have been trying to learn it on the fly after having done a lot with
sonar and given up on sibelius (keypad stuff was too intense to learn
quickly - don't have time to master russian these days). 

> To change a note to its enharmonic equivalent:

thanks! this is the kind of quick trick i needed. 

ww
____________________________________________________________
Find the apartment of your dreams by clicking here now!
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miigi3BfQB0YCFvFLMt2rZHGG3S30pT8S64dVxusu2n2T0q/

From pgsaxo at pacbell.net  Tue Nov 11 10:49:24 2008
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Tue, 11 Nov 2008 10:49:24 -0800 (PST)
Subject: [NewMusic] question about enharmonic equivalents in FINALE
In-Reply-To: <C73CE12E0E2E6D4AA8C97475050023A60FE90045FE@proserpine.paragon.crypticstudios.com>
Message-ID: <201685.94547.qm@web81401.mail.mud.yahoo.com>

i don't know the dynamics of the program, but you're probably running into trouble if the system disagrees with your spelling of any given harmonic sequence. if a passage is in C# major, for example, the program isn't going to want to call a note Bb, it's going to want to call it A#. and so on.


--- On Mon, 11/10/08, Michael Henry <mhenry at crypticstudios.com> wrote:

> From: Michael Henry <mhenry at crypticstudios.com>
> Subject: Re: [NewMusic] question about enharmonic equivalents in FINALE
> To: "newmusic at music.mills.edu" <newmusic at music.mills.edu>
> Date: Monday, November 10, 2008, 9:51 PM
> Not sure how you are going about "Transcribing"
> (Hyperscribe tool? MIDI import?) but you should brobably
> start with a template that has no major/minor key signature.
> 
> As for harmonics you can change them on a not-by-note level
> (below) or a global search and replace function(also below).
> --------------------------------------------
> 
> 
> To change a note to its enharmonic equivalent:
> 
>  Click the Speedy Entry Tool , and click the measure in
> question. The editing frame appears.
>  Press the directional arrow keys until the insertion bar
> and crossbar are positioned squarely on the notehead you
> want to change. You can also click the notehead with the
> mouse. If the note you want to change is the only entry, the
> crossbar does not have to be directly on the notehead.
> 
> Press the 9 key. Pressing the 9 key flips a note to its
> enharmonic equivalent. If you press 9 again while the
> crossbar is positioned on the changed notehead, the note
> will flip back to its original identity.
> 
> Special feature: If you press option-9, you?ll also
> change all other notes on the same line or space in the
> measure. The crossbar does not have to be on a notehead to
> use this option.
> 
> To change a note to its enharmonic equivalent (Simple
> Entry)
> Click the Simple Entry Tool .
> Ctrl-click a note to select it.
> Press the \ (Backslash) key. The note changes to its
> enharmonic equivalent.
> 
> To change a chord?s enharmonic spelling:
> 
> Click the Speedy Entry Tool , and click the measure in
> question. The editing frame appears.
> Press the right arrow key until the cursor is positioned on
> the chord you want to change. Press the up and down arrow
> keys until the crossbar is not on a notehead. You can also
> click the chord with the mouse.
> Press the 9 key several times. Each time you press 9,
> Finale cycles to the next possible enharmonic spelling of
> the chord. If the chord contains several notes with
> accidentals, there could be many different possibilities.
> To change all occurrences of a note (search and replace)
> 
> You can change every occurrence of a note to its enharmonic
> equivalent?changing every G sharp to an A flat, for
> example. See Search and replace.
> 
> ------------------------
> Search and replace:
> 
> You can search for a pitch, a specific pitch-and-rhythm
> combination, or even an entire motif anywhere in a score and
> modify every occurrence in one of several ways.
> 
> For example, you can flip every occurrence of a G to its
> enharmonic equivalent (F), or change two of the notes in a
> recurrent theme.
> 
> To change occurrences of a note or motif (search and
> replace)
> 
> >From the Window Menu, choose Advanced Tools. Click the
> Note Mover Tool  . Click the measure containing the first
> occurrence of the note you want to change. A handle appears
> on each notehead.
> 
> Select the notes to be changed. Select one note by
> clicking, additional notes by shift-clicking, a group of
> notes by drag-enclosing, and additional groups of notes by
> shift?drag-enclosing. Note that you can select nonadjacent
> notes, as long as they?re in the same measure.
> 
> Choose Search and Replace from the Note Mover Menu. The
> Search and Replace dialog box appears, letting you further
> specify criteria for the search-and-replace process. If you
> want Finale to look for the selected notes only in their
> original octave, select In Selected Octave Only. If you want
> to search for the selected notes in any octave, select In
> All Octaves. Furthermore, you can confine the
> search-and-replace process to notes with the same rhythmic
> values by checking Match Duration.c
> 
> With all of these options, Finale considers the selected
> notes? scale degrees. For example, if you?re searching
> for a C in the key of C, Finale won?t consider C in the
> key of F a match. Instead, it will consider F a match in the
> key of F.
> 
> Click OK. The Alteration for Slot dialog box appears,
> asking what sort of transposition you want to apply. You can
> specify a different transposition for each of the selected
> notes; in effect, you have the option of completely
> rewriting a selected motif.
> 
> Click Transpose to specify a transposition option for the
> first selected note (or click Enharmonic to flip the note to
> its enharmonic equivalent). If you click Transpose, a dialog
> box appears, in which you can specify the precise
> transposition that you want to apply to the note. Make your
> selections from the drop-down list, and then click OK.
> 
> Note: If you?ve selected several notes, all of which are
> to receive the same transposition, click Set All. The
> transposition you just specified will be assigned to all
> selected notes. Skip to step 7.
> 
> If more than one note was selected, click Next. The number
> in ?Slot (#),? advances. (A ?slot? is a selected
> note; Finale numbers them from bottom to top within a chord,
> and from left to right in the measure.) Set the
> transposition option for this note in the same way. Continue
> through the selected notes (?slots?), clicking Prev or
> Next as necessary, and setting the transposition option for
> each.
> 
> Click OK (or press enter). A new menu, Search, appears. Its
> commands are Find, which finds the next occurrence of notes
> matching your criteria; Replace, which modifies the
> currently selected notes according to your transposition
> specifications; Replace then Find, which modifies the
> current notes and then finds the next occurrence; and
> Replace All, which reads through your piece, measure by
> measure, in every staff, changing all notes that meet your
> search criteria.
> 
> Choose a command from the Search Menu. The Replace All
> command may take Finale some time to complete.
> 
> Choose Quit Search from the Search Menu.
> 
> ------------------------------
> 
> Message: 17
> Date: Mon, 10 Nov 2008 18:32:26 -0800
> From: weasel walter <weaselw at juno.com>
> Subject: [NewMusic] question about enharmonic equivalents
> in FINALE.
>         HELP!
> To: newmusic at music.mills.edu
> Cc: newmusic at music.mills.edu
> Message-ID:
> <20081110.183228.3840.161.weaselw at juno.com>
> Content-Type: text/plain; charset=us-ascii
> 
> godammit. technology. friend and enemy at the same time.
> 
> i'm trying out Finale for my transcriptions and finding
> it to have some
> pretty severe limitations on a basic level. if anyone has
> an answer for
> this question, please let me know . . . or, if somebody can
> recommend a
> similar application which has an easy learning curve, i
> will prob. ditch
> this thing.
> 
> although i consider most of my music tonal, i tend not to
> write in keys,
> so, frequent accidentals are necessary. the problem i'm
> having is that
> Finale always wants to force the transcription into awkward
> intervals
> like augmented seconds (e.g. Bb to C#).
> 
> apparently one cannot change these C#s to Dbs easily in
> Finale? i tried
> selecting the entire composition with the mass edit tool,
> checking "favor
> flats" in the enharmonic equivalent menu and
> respelling the composition
> numerous times and it hasn't changed squat. in fact
> i've tried all kinds
> of variables with this method and nothing is changing.
> 
> help if you can.
> 
> ww
> ____________________________________________________________
> Find the apartment of your dreams by clicking here now!
> http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miihE7U7mgFsDg41BEevIv5fPo2UhpmdMmPtxhr0lHkHy7U/
> 
> 
> ------------------------------
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 
> 
> End of NewMusic Digest, Vol 31, Issue 10
> ****************************************
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

From weaselw at juno.com  Tue Nov 11 11:50:04 2008
From: weaselw at juno.com (weasel walter)
Date: Tue, 11 Nov 2008 11:50:04 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
Message-ID: <20081111.115008.3840.183.weaselw@juno.com>

whoa! insane response! i'll plug it through my gibberish filter and see
what happens!

ww
 
On Tue, 11 Nov 2008 10:49:24 -0800 (PST) Phillip Greenlief
<pgsaxo at pacbell.net> writes:
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> ?z?"????)zYb?
> j|????????x????zw???j???p?j:+~??u???az?????????0j{m???????[?? 
> ?)???hq?e????(?s?2????t?O
??ZzQ????????????????l+???????ZzQ????????????????d?n7???{.?'*??-???n?
?zxZ?j'?O?+????)? 
> ? :'{       
??'&???)e??n??&????"rh????6?x?'u?????m???m4??u<?h??z0????(?xn??N?????n)
?*^??+?????L 
>
2"??+????????u??m????Z??"??zjej???aj?????????{+"?v??????+????x??*.q????z
?^????[?z-zW?zV??(??%??????r?v????~??*'j[(m?h?:???y????h???????q???z
{B?'$??????I??$??V?u?brKazg????z?z?b?t?y?b?)?~??y?iy??>????^v*?r???Z??0?
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????!jxvz-z?v?^??^?)e~X?m?$???????)?'^???*^r&?}???*.?????m???????l??Z?
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>
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>
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b?
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> ?z?h??Z??^??????y??)?~??
> )?????)??(??(??z????^???|V?j?!"{-y?b????'?'^?V?j?!?{azG???B?'$8??x  
     mz?????????bjZ 
>
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>
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ay????0?X?????rX????*.????-y????z-z?????'!j?????z+??jg????"?*'rX??'?
YS??kj{)??????????)y???p?Y[y?,?       
?v??[??-y?????*m??^???????w???j???-y?%??
{S?????t??????z?,??b????-y????b??^???z?-??????h??-??"??i?h??u???W???+?
m?{azg????I?m??kj{)?????????+????^?{az?{?
> ???{????m????-y????,??lrX??)?>????^?????t???m?x-??kj{)?????????+y?!
>
X?????g?????&z{?y???iy??"??i?????b??!??_?wl??{hq????z??????\?)???r??z
??E?eij?'!??b~'???????r??^r???^????b?
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> ???{
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)? 
> ? q =:'{        ??'&???)e??n       
???k????'&?Yly?z????M<?]t???????Mz????p???r???{^?????^????r???
 
____________________________________________________________
Find the apartment of your dreams by clicking here now!
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miig3IqhBDbVBgotGCe6U3RU4ACrV7d1gvprCdqLaP5mMge/

From ingalls at mills.edu  Tue Nov 11 12:13:57 2008
From: ingalls at mills.edu (Matt Ingalls)
Date: Tue, 11 Nov 2008 12:13:57 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
In-Reply-To: <20081111.115008.3840.183.weaselw@juno.com>
References: <20081111.115008.3840.183.weaselw@juno.com>
Message-ID: <F81D56F650769E4587383FDD7DE82629067FA81E@EXCHANGE02.mills.edu>

sibelius is probably the best thing out there

my day job is working for a music software company
(remember Encore?)  http://gvox.com

our products suck more than finale, but in general they are easier to use, at least.
-- for your enharmonic problem, for example, you just drag-select over the notes and there is a "enharmonics" menu command.

 if anyone is interested in trying Encore out, i could probably get you on our beta testing list
(a new windows beta version is just about to come out)




From Gino.Robair at penton.com  Tue Nov 11 12:48:16 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Tue, 11 Nov 2008 14:48:16 -0600
Subject: [NewMusic] Zappa now with Schott Music
Message-ID: <C53F2F90.19B75%Gino.Robair@penton.com>

FWIW (to those of you who enjoy Zappa's music...before he began his EAI
phase...)

<<?It?s all over, folks. Get smart<take out a real estate license. The least
you can do is tell your students: ODON?T DO IT! STOP THIS MADNESS! DON?T
WRITE ANY MORE MODERN MUSIC!??>> FZ


Schott Music is pleased to announce that it is now the worldwide
representative of Munchkin Music<for the orchestral and ensemble works of
Frank Zappa, iconoclast, innovator, satirist, and above all, American
composer. Known for his originality of composition, independence and
certainly humor, Zappa was a fierce defender of the First Amendment of The
U.S. Constitution and proponent of his own freedom of artistic expression in
the face of public scrutiny, sitting on trial for obscenity both in America
and the UK, and winning every time. Commissions most important to Zappa
include those from Pierre Boulez (Ensemble InterContemporain) and the
Ensemble Modern.
 
Perhaps Zappa is best described in his own words, from ?The Real Frank Zappa
Book:?
?One day I happened across an article about Sam Goody?s record store in Look
magazine which raved about what a wonderful merchandizer he was. The writer
said that Mr. Goody could sell anything<and as an example he mentioned that
he had even managed to sell an album called Ionisation.?
 
The article went on to say something like: OThis album is nothing but
drums<it?s dissonant and terrible; the worst music in the world? Ahh! Yes!
That?s for me!?
 
?I turned the volume all the way up (in order to get the maximum amount of
Ofi?) and carefully placed the all-purpose osmium-tipped needle on the
lead-in spiral to OIonisation.? I have a nice Catholic mother who likes to
watch Roller Derby. When she heard what came out of that little speaker at
the bottom of the Decca, she looked at me like I was out of my fucking
mind.?
?I bought my first Boulez album when I was in the twelfth grade: a Columbia
recording of OLe Marteau Sans Maitre? (The Hammer Without a Master)
conducted by Robert Craft, with OZeitmasse? (Time-mass) by Stockhausen on
the other side.?
 
?I didn?t know anything about twelve-tone music then, but I liked the way it
sounded. Since I didn?t have any kind of formal training, it didn?t make any
difference to me if I was listening to Lightnin? Slim, or a vocal group
called the Jewels [S] or Webern, or Var?se, or Stravinsky. To me it was all
good music.?
 
?What do you do for a living, dad? If one of my kids ever asked me that
question, the answer would have to be: OWhat I do is composition.? I just
happen to use material other than notes for the pieces.?
 
?A composer is a guy who goes around forcing his will on unsuspecting air
molecules, often with the assistance of unsuspecting musicians. [S] In my
compositions, I employ a system of weights, balances, measured tensions and
releases<in some way similar to Varese?s aesthetic. The similarities are
best illustrated by comparison to a Calder mobile: a multicolored
whatchamacallit, dangling in space, that has big blobs of metal connected to
pieces of wire, balanced ingeniously against little metal dingleberries on
the other end.?
 
?The orchestra is the ultimate instrument, and conducting one is an
unbelievable sensation. Nothing else is like it, except maybe singing
doo-wop harmony and hearing the chords come out right.?
 
?I find music of the classical period boring because it reminds me of
Opainting by numbers?. There are certain things composers of that period
were not allowed to do because they were considered to be outside the
boundaries of the industrial regulations which determined whether the piece
was a symphony, a sonata, or a whatever. All of the norms, as practiced
during the olden days, came into being because the guys who paid the bills
wanted the Otunes? they were buying to Osound a certain way??.
 
?It?s all over, folks. Get smart<take out a real estate license. The least
you can do is tell your students: ODON?T DO IT! STOP THIS MADNESS! DON?T
WRITE ANY MORE MODERN MUSIC!??
 
?OInformation is not knowledge, knowledge is not wisdom, wisdom is not
truth, truth is not beauty, beauty is not love, love is not music. Music is
the best.?? ? Joe?s Garage, 19


From matthew at matthewgoodheart.com  Tue Nov 11 16:25:26 2008
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Tue, 11 Nov 2008 16:25:26 -0800
Subject: [NewMusic] good news on the health front
Message-ID: <2954145D-22FC-4757-A1B0-BB9FB2938F94@matthewgoodheart.com>

http://news.yahoo.com/s/nm/20081111/sc_nm/us_heart_music_2


Matthew Goodheart
composer ~ improviser ~ pianist
matthew at matthewgoodheart.com
http://matthewgoodheart.com
http://myspace.com/matthewgoodheart





From mhenry at crypticstudios.com  Tue Nov 11 21:28:57 2008
From: mhenry at crypticstudios.com (Michael Henry)
Date: Tue, 11 Nov 2008 21:28:57 -0800
Subject: [NewMusic] Zappa now with Schott Music
Message-ID: <C73CE12E0E2E6D4AA8C97475050023A60FE9004605@proserpine.paragon.crypticstudios.com>

The orchestra I play in (Redwood Sym) performed the Ensemble Modern Arrangement of G-Spot Tornado a few years back. So this is good news. It was a bit of a hassle getting parts via the Zappa family trust.

I've just about got our conductor convinced to program The Dog Breath Variations/Uncle Meat for a future concert.

Fuzzy dice and bongos!

-MH

--------------------------------------------------------------------------------
FWIW (to those of you who enjoy Zappa's music...before he began his EAI
phase...)

<<?It?s all over, folks. Get smart<take out a real estate license. The least
you can do is tell your students: ODON?T DO IT! STOP THIS MADNESS! DON?T
WRITE ANY MORE MODERN MUSIC!??>> FZ

Schott Music is pleased to announce that it is now the worldwide
representative of Munchkin Music<for the orchestral and ensemble works of
Frank Zappa, iconoclast, innovator, satirist, and above all, American
composer. Known for his originality of composition, independence and
certainly humor, Zappa was a fierce defender of the First Amendment of The
U.S. Constitution and proponent of his own freedom of artistic expression in
the face of public scrutiny, sitting on trial for obscenity both in America
and the UK, and winning every time. Commissions most important to Zappa
include those from Pierre Boulez (Ensemble InterContemporain) and the
Ensemble Modern.

Perhaps Zappa is best described in his own words, from ?The Real Frank Zappa
Book:?
?One day I happened across an article about Sam Goody?s record store in Look
magazine which raved about what a wonderful merchandizer he was. The writer
said that Mr. Goody could sell anything<and as an example he mentioned that
he had even managed to sell an album called Ionisation.?

The article went on to say something like: OThis album is nothing but
drums<it?s dissonant and terrible; the worst music in the world? Ahh! Yes!
That?s for me!?

?I turned the volume all the way up (in order to get the maximum amount of
Ofi?) and carefully placed the all-purpose osmium-tipped needle on the
lead-in spiral to OIonisation.? I have a nice Catholic mother who likes to
watch Roller Derby. When she heard what came out of that little speaker at
the bottom of the Decca, she looked at me like I was out of my fucking
mind.?
?I bought my first Boulez album when I was in the twelfth grade: a Columbia
recording of OLe Marteau Sans Maitre? (The Hammer Without a Master)
conducted by Robert Craft, with OZeitmasse? (Time-mass) by Stockhausen on
the other side.?

?I didn?t know anything about twelve-tone music then, but I liked the way it
sounded. Since I didn?t have any kind of formal training, it didn?t make any
difference to me if I was listening to Lightnin? Slim, or a vocal group
called the Jewels [S] or Webern, or Var?se, or Stravinsky. To me it was all
good music.?

?What do you do for a living, dad? If one of my kids ever asked me that
question, the answer would have to be: OWhat I do is composition.? I just
happen to use material other than notes for the pieces.?

?A composer is a guy who goes around forcing his will on unsuspecting air
molecules, often with the assistance of unsuspecting musicians. [S] In my
compositions, I employ a system of weights, balances, measured tensions and
releases<in some way similar to Varese?s aesthetic. The similarities are
best illustrated by comparison to a Calder mobile: a multicolored
whatchamacallit, dangling in space, that has big blobs of metal connected to
pieces of wire, balanced ingeniously against little metal dingleberries on
the other end.?

?The orchestra is the ultimate instrument, and conducting one is an
unbelievable sensation. Nothing else is like it, except maybe singing
doo-wop harmony and hearing the chords come out right.?

?I find music of the classical period boring because it reminds me of
Opainting by numbers?. There are certain things composers of that period
were not allowed to do because they were considered to be outside the
boundaries of the industrial regulations which determined whether the piece
was a symphony, a sonata, or a whatever. All of the norms, as practiced
during the olden days, came into being because the guys who paid the bills
wanted the Otunes? they were buying to Osound a certain way??.

?It?s all over, folks. Get smart<take out a real estate license. The least
you can do is tell your students: ODON?T DO IT! STOP THIS MADNESS! DON?T
WRITE ANY MORE MODERN MUSIC!??

?OInformation is not knowledge, knowledge is not wisdom, wisdom is not
truth, truth is not beauty, beauty is not love, love is not music. Music is
the best.?? ? Joe?s Garage, 19

From mhenry at crypticstudios.com  Tue Nov 11 21:57:48 2008
From: mhenry at crypticstudios.com (Michael Henry)
Date: Tue, 11 Nov 2008 21:57:48 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
Message-ID: <C73CE12E0E2E6D4AA8C97475050023A60FE9004606@proserpine.paragon.crypticstudios.com>

I would respectfully disagree re: Sibelius vs. Finale, with the caveat that these arguments really boil down to what it is that you are really trying to do? i.e what is the best tool for the job, to get things done quickly?

I will back up my assessment with my experience (paid music copyist for a significant period of my life, beginning with pen and paper) as someone who purchased Finale at version 1.0 (back when a Mac Plus was a fast machine....egad I spent hours, days pulling my hair out while trying to print orchestral scores under tight deadlines). I have used Finale, Sibelius, Encore, Score, Igor, Nightingale, and the Synclavier (speaking of Frank Z.) among many other notation programs over the years, and I still stick with Finale. Why?

For one primary reason. I can produce whatever type of output I want in Finale. Yes, it might take me a while to do so, and it might be tedious work, but I have never been not able to render a complex score with it (I'm talking irrational rhythms, multiphonic fingering notations, spatial notation, custom created symbols, etc.). I've always found a way to do this in Finale.

Sibelius might indeed be faster and easier to input music if you are mostly working in 4/4  (or similar) major-minor tonality, without a great amount of complexity.  This is one of the reasons why it seems to have surpassed Finale lately -- ease of use (most people out there are not using notation programs to produce scores that look like Brian Ferneyhough). But I have always felt that Finale's depth is its greatest strength (although I admit that you need to spend the time to learn it well, in order to take full advantage of it).

I responded to weasel not wanting to get in to another Finale vs. Sibelius rant, so I'll just sum up by saying that it boils down to choosing the right tool (for you, your skills, the amount of time you have on your hands, and your needs) for the job.

To each his own.

P.S. to Matt....wow, are there really that many people out there still using Encore?

-MH

--------------------------------------------------------------------------------
sibelius is probably the best thing out there

my day job is working for a music software company
(remember Encore?)  http://gvox.com

our products suck more than finale, but in general they are easier to use, at least.

-- for your enharmonic problem, for example, you just drag-select over the notes and there is a "enharmonics" menu command.

 if anyone is interested in trying Encore out, i could probably get you on our beta testing list
(a new windows beta version is just about to come out)

From matthew at matthewgoodheart.com  Tue Nov 11 22:12:42 2008
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Tue, 11 Nov 2008 22:12:42 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
In-Reply-To: <C73CE12E0E2E6D4AA8C97475050023A60FE9004606@proserpine.paragon.crypticstudios.com>
References: <C73CE12E0E2E6D4AA8C97475050023A60FE9004606@proserpine.paragon.crypticstudios.com>
Message-ID: <A1F1B364-583C-4970-99A6-5CE6D7D26E0F@matthewgoodheart.com>

I would agree with Michael that Finale's flexibility is great. I can  
also get decent microtonal playback when needed.

The only issue I've had is using excessive graphics (like the score  
I'm working on now), which is easier to save the music stuff as eps  
and import the whole thing into Illustrator.

Might be an easier way to do this, though? I'm certainly not a Finale  
master. . .

mg


On Nov 11, 2008, at 9:57 PM, Michael Henry wrote:

> I would respectfully disagree re: Sibelius vs. Finale, with the  
> caveat that these arguments really boil down to what it is that you  
> are really trying to do? i.e what is the best tool for the job, to  
> get things done quickly?
>
> I will back up my assessment with my experience (paid music copyist  
> for a significant period of my life, beginning with pen and paper)  
> as someone who purchased Finale at version 1.0 (back when a Mac Plus  
> was a fast machine....egad I spent hours, days pulling my hair out  
> while trying to print orchestral scores under tight deadlines). I  
> have used Finale, Sibelius, Encore, Score, Igor, Nightingale, and  
> the Synclavier (speaking of Frank Z.) among many other notation  
> programs over the years, and I still stick with Finale. Why?
>
> For one primary reason. I can produce whatever type of output I want  
> in Finale. Yes, it might take me a while to do so, and it might be  
> tedious work, but I have never been not able to render a complex  
> score with it (I'm talking irrational rhythms, multiphonic fingering  
> notations, spatial notation, custom created symbols, etc.). I've  
> always found a way to do this in Finale.
>
> Sibelius might indeed be faster and easier to input music if you are  
> mostly working in 4/4  (or similar) major-minor tonality, without a  
> great amount of complexity.  This is one of the reasons why it seems  
> to have surpassed Finale lately -- ease of use (most people out  
> there are not using notation programs to produce scores that look  
> like Brian Ferneyhough). But I have always felt that Finale's depth  
> is its greatest strength (although I admit that you need to spend  
> the time to learn it well, in order to take full advantage of it).
>
> I responded to weasel not wanting to get in to another Finale vs.  
> Sibelius rant, so I'll just sum up by saying that it boils down to  
> choosing the right tool (for you, your skills, the amount of time  
> you have on your hands, and your needs) for the job.
>
> To each his own.
>
> P.S. to Matt....wow, are there really that many people out there  
> still using Encore?
>
> -MH
>
> --------------------------------------------------------------------------------
> sibelius is probably the best thing out there
>
> my day job is working for a music software company
> (remember Encore?)  http://gvox.com
>
> our products suck more than finale, but in general they are easier  
> to use, at least.
>
> -- for your enharmonic problem, for example, you just drag-select  
> over the notes and there is a "enharmonics" menu command.
>
> if anyone is interested in trying Encore out, i could probably get  
> you on our beta testing list
> (a new windows beta version is just about to come out)
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Matthew Goodheart
composer ~ improviser ~ pianist
matthew at matthewgoodheart.com
http://matthewgoodheart.com
http://myspace.com/matthewgoodheart





From mhenry at crypticstudios.com  Tue Nov 11 22:33:00 2008
From: mhenry at crypticstudios.com (Michael Henry)
Date: Tue, 11 Nov 2008 22:33:00 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
Message-ID: <C73CE12E0E2E6D4AA8C97475050023A60FE9004609@proserpine.paragon.crypticstudios.com>

Well, without further information (as in defining "excessive" graphics), all I will say is this...

a) you can spend your time in Finale (a notation program), creating the graphics that you need, or

b) you can spend the time in Illustrator (a graphics program) creating the music symbols you need.

Where is the line that divides music symbols from the graphic symbols used to represent it? It depends.

As June Allison would say, "Depends" (undergarments).

-MH

--------------------------------------------------------------------------------
I would agree with Michael that Finale's flexibility is great. I can
also get decent microtonal playback when needed.

The only issue I've had is using excessive graphics (like the score
I'm working on now), which is easier to save the music stuff as eps
and import the whole thing into Illustrator.

Might be an easier way to do this, though? I'm certainly not a Finale
master. . .

mg

From ingalls at mills.edu  Wed Nov 12 00:22:15 2008
From: ingalls at mills.edu (Matt Ingalls)
Date: Wed, 12 Nov 2008 00:22:15 -0800
Subject: [NewMusic] question about enharmonic equivalents in FINALE
In-Reply-To: <C73CE12E0E2E6D4AA8C97475050023A60FE9004606@proserpine.paragon.crypticstudios.com>
References: <C73CE12E0E2E6D4AA8C97475050023A60FE9004606@proserpine.paragon.crypticstudios.com>
Message-ID: <F81D56F650769E4587383FDD7DE82629067FA81F@EXCHANGE02.mills.edu>



> P.S. to Matt....wow, are there really that many people out there still using Encore?

more than listen to my music


From jmojingle at yahoo.com  Wed Nov 12 10:11:04 2008
From: jmojingle at yahoo.com (John Ingle)
Date: Wed, 12 Nov 2008 10:11:04 -0800 (PST)
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>
Message-ID: <534787.45268.qm@web50506.mail.re2.yahoo.com>

When I saw the reference here, I was sure that it had to be Tom Marioni's piece. Is the title something like "drinking beer with my friends is more important than art"... or is this just my general belief/faulty memory??(art is? running a close second or third...)
?
and Marioni has/has the sense and good taste to choose a local beer brewed in the style that is specific to our region (alas there used to be many "steam" beers...)
?
cheers all,
?
jingle

--- On Mon, 11/10/08, Damon Smith <damon at balancepointacoustics.com> wrote:

From: Damon Smith <damon at balancepointacoustics.com>
Subject: Re: [NewMusic] The Art of participation at SFMOMA
To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
Date: Monday, November 10, 2008, 10:53 PM

I think it is Anchor Steam, that is what it was in the original  
piece. It is Tom Marioni's piece I highly recommend his book "Beer,  
Art and Philosophy". He has some great drawings done with drum  
brushes and violin rosin.

On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:

> pabst!?!?
>
> ...bourgeois slime.
>
> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com>
wrote:
>> I hope its Pabst.
>>
>> bt
>>
>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>
>>> it gets better: one of the installations in said exhibit offers
free
>>> beer every thursday night... with cost of admission and valid id,
of
>>> course, but eh, extra incentive to go to museums on thursdays.
>>> herelink:
>>>
>>> http://www.sfmoma.org/events/1246
>>>
>>>
>>>
>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>> <damon at balancepointacoustics.com> wrote:
>>>> SFMOMA finally woke up from a mis-managed commercial stupor.
Of
>>>> interest to this list would be the art of participation show.
They
>>>> use Cage as a starting point and have a performance of
4'33"  
>>>> everyday
>>>> at noon.
>>>> The concept has a huge potential to go wrong but it is pretty 

>>>> great.
>>>> There are tons of great artists, Kappow, Beuys, Acconci,
Gonzales-
>>>> Torres, Paik and others.
>>>> They have a show of Contemporary art from collection and a
great  
>>>> show
>>>> of Martin Puryear sculpture.
>>>> Warhol's Jews at the CJM is worth seeing and I have warmed
up to  
>>>> some
>>>> of the pieces in Zorn's sound installation like Chris
Brown and  
>>>> Erik
>>>> Friedlander.
>>>>
>>>> Damon Smith
>>>>
>>
>>
>> barry threw
>> Media Art and Technology
>>
>> San Francisco, CA
>> Work: 857-544-3967
>> Email: bthrew (at) gmail (dot) com
>> Web: 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

Damon Smith

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




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



      

From jmojingle at yahoo.com  Wed Nov 12 10:14:27 2008
From: jmojingle at yahoo.com (John Ingle)
Date: Wed, 12 Nov 2008 10:14:27 -0800 (PST)
Subject: [NewMusic] keith rowe @ mills last night
In-Reply-To: <26bdbf6349b89146ce1885b502e32c11.squirrel@webmail.detritus.net>
Message-ID: <51427.93329.qm@web50504.mail.re2.yahoo.com>

THANKS JON. Your support and frequent attendence?are greatly appreciated.
cheers again,
jingle
?
(online for a nanosecond...)

--- On Sun, 11/9/08, wobbly at detritus.net <wobbly at detritus.net> wrote:

From: wobbly at detritus.net <wobbly at detritus.net>
Subject: Re: [NewMusic] keith rowe @ mills last night
To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
Date: Sunday, November 9, 2008, 4:35 PM

see you at sf sound tonight then!

-jl




> ...why don't we ever talk about OUR gigs like this?
>
> duck and weave,
>
> t.
>
>
>
> On Sun, Nov 9, 2008 at 3:58 PM,  <wobbly at detritus.net> wrote:
>> AMM's 'The Crypt' from 1968 I'd put on a list of top
ten noise records
>> of
>> all time due to the first half, but the second half slowly drifts into
>> some very delicate textures, very unique & balanced album.  lineup
>> changes
>> mean the 70's records are all over the place but they really
locked into
>> something with the 80's records, I can see 'Inexhaustible
Document' and
>> 'Newfoundland' being touchstones for lowercase, they
aren't restful, but
>> they're more deep than loud or raucous.  Those three records are
huge
>> contributions, and they're just the tip...
>>
>> the 96 beanbenders show was incredible for me, I nearly forgot who I
was
>> there for a while, and Tilbury's responses when the subwoofers
upstairs
>> kicked in playing house music was sort of the perfect ending.  the
2001
>> AMM show in Eli Crews's living room was great too, it was so close
they
>> felt like the audience too.
>>
>> I would have loved to have seen last night for myself -- a friend who
>> played in the group was conflicted.  there have been so many improv
>> shows
>> where 'always play less' would seem like unbeatable advice,
but my
>> friend
>> said perhaps that aesthetic is also in danger of becoming
>> overprescribed.
>>
>> -jl
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>>> i'm definitely not an expert of AMMs music - i know they
are
>>>> supposed to be the forefathers of lowercase/eai or whatever
you call
>>>> it improv, right?
>>>
>>> a lot of their early music was proto-borbetomagus styled audio
>>> holocaust
>>> . . . i'm not sure when they made the transition into quieter
stuff.
>>> not
>>> up on their history too much either. i did like the solo cd rowe
had on
>>> the terrible grob label - that was some violent shit.
>>>
>>> ww
>>> ____________________________________________________________
>>> Find the apartment of your dreams by clicking here now!
>>>
http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3miigh0hU5IJruorw65lInFABEDsAkuungizn8OsWABTBPV0/
>>> _______________________________________________
>>> 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
>


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



      

From electric.tokyo at gmail.com  Wed Nov 12 10:16:30 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Wed, 12 Nov 2008 10:16:30 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <534787.45268.qm@web50506.mail.re2.yahoo.com>
References: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>
	<534787.45268.qm@web50506.mail.re2.yahoo.com>
Message-ID: <d3165c060811121016v46592554o111c7faa785a1720@mail.gmail.com>

so, to take the discussion one step further, would anyone be down for
a field trip to the Moma on some foggy Thursday to participate in some
sort of discussion-based high art hooplah in a structured, artificial
environment that could easily be authentically recreated in any public
house, living room or speakeasy this side of Dubai? just throwing it
out there...

On Wed, Nov 12, 2008 at 10:11 AM, John Ingle <jmojingle at yahoo.com> wrote:
> When I saw the reference here, I was sure that it had to be Tom Marioni's piece. Is the title something like "drinking beer with my friends is more important than art"... or is this just my general belief/faulty memory ?(art is  running a close second or third...)
>
> and Marioni has/has the sense and good taste to choose a local beer brewed in the style that is specific to our region (alas there used to be many "steam" beers...)
>
> cheers all,
>
> jingle
>
> --- On Mon, 11/10/08, Damon Smith <damon at balancepointacoustics.com> wrote:
>
> From: Damon Smith <damon at balancepointacoustics.com>
> Subject: Re: [NewMusic] The Art of participation at SFMOMA
> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
> Date: Monday, November 10, 2008, 10:53 PM
>
> I think it is Anchor Steam, that is what it was in the original
> piece. It is Tom Marioni's piece I highly recommend his book "Beer,
> Art and Philosophy". He has some great drawings done with drum
> brushes and violin rosin.
>
> On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:
>
>> pabst!?!?
>>
>> ...bourgeois slime.
>>
>> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com>
> wrote:
>>> I hope its Pabst.
>>>
>>> bt
>>>
>>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>>
>>>> it gets better: one of the installations in said exhibit offers
> free
>>>> beer every thursday night... with cost of admission and valid id,
> of
>>>> course, but eh, extra incentive to go to museums on thursdays.
>>>> herelink:
>>>>
>>>> http://www.sfmoma.org/events/1246
>>>>
>>>>
>>>>
>>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>>> <damon at balancepointacoustics.com> wrote:
>>>>> SFMOMA finally woke up from a mis-managed commercial stupor.
> Of
>>>>> interest to this list would be the art of participation show.
> They
>>>>> use Cage as a starting point and have a performance of
> 4'33"
>>>>> everyday
>>>>> at noon.
>>>>> The concept has a huge potential to go wrong but it is pretty
>
>>>>> great.
>>>>> There are tons of great artists, Kappow, Beuys, Acconci,
> Gonzales-
>>>>> Torres, Paik and others.
>>>>> They have a show of Contemporary art from collection and a
> great
>>>>> show
>>>>> of Martin Puryear sculpture.
>>>>> Warhol's Jews at the CJM is worth seeing and I have warmed
> up to
>>>>> some
>>>>> of the pieces in Zorn's sound installation like Chris
> Brown and
>>>>> Erik
>>>>> Friedlander.
>>>>>
>>>>> Damon Smith
>>>>>
>>>
>>>
>>> barry threw
>>> Media Art and Technology
>>>
>>> San Francisco, CA
>>> Work: 857-544-3967
>>> Email: bthrew (at) gmail (dot) com
>>> Web: 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
>
> Damon Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> New solo project:
> http://www.myspace.com/damonsmithsolo
>
>
>
>
> _______________________________________________
> 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 letucepry at yahoo.com  Wed Nov 12 11:53:11 2008
From: letucepry at yahoo.com (Ron Lettuce)
Date: Wed, 12 Nov 2008 11:53:11 -0800 (PST)
Subject: [NewMusic] The Art of participation at SFMOMA
References: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>
	<534787.45268.qm@web50506.mail.re2.yahoo.com>
	<d3165c060811121016v46592554o111c7faa785a1720@mail.gmail.com>
Message-ID: <950595.96104.qm@web54303.mail.re2.yahoo.com>

Well, it is right before LSG...




________________________________
From: Travis Johns <electric.tokyo at gmail.com>
To: jmojingle at yahoo.com; Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Wednesday, November 12, 2008 10:16:30 AM
Subject: Re: [NewMusic] The Art of participation at SFMOMA

so, to take the discussion one step further, would anyone be down for
a field trip to the Moma on some foggy Thursday to participate in some
sort of discussion-based high art hooplah in a structured, artificial
environment that could easily be authentically recreated in any public
house, living room or speakeasy this side of Dubai? just throwing it
out there...

On Wed, Nov 12, 2008 at 10:11 AM, John Ingle <jmojingle at yahoo.com> wrote:
> When I saw the reference here, I was sure that it had to be Tom Marioni's piece. Is the title something like "drinking beer with my friends is more important than art"... or is this just my general belief/faulty memory ?(art is? running a close second or third...)
>
> and Marioni has/has the sense and good taste to choose a local beer brewed in the style that is specific to our region (alas there used to be many "steam" beers...)
>
> cheers all,
>
> jingle
>
> --- On Mon, 11/10/08, Damon Smith <damon at balancepointacoustics.com> wrote:
>
> From: Damon Smith <damon at balancepointacoustics.com>
> Subject: Re: [NewMusic] The Art of participation at SFMOMA
> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
> Date: Monday, November 10, 2008, 10:53 PM
>
> I think it is Anchor Steam, that is what it was in the original
> piece. It is Tom Marioni's piece I highly recommend his book "Beer,
> Art and Philosophy". He has some great drawings done with drum
> brushes and violin rosin.
>
> On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:
>
>> pabst!?!?
>>
>> ...bourgeois slime.
>>
>> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com>
> wrote:
>>> I hope its Pabst.
>>>
>>> bt
>>>
>>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>>
>>>> it gets better: one of the installations in said exhibit offers
> free
>>>> beer every thursday night... with cost of admission and valid id,
> of
>>>> course, but eh, extra incentive to go to museums on thursdays.
>>>> herelink:
>>>>
>>>> http://www.sfmoma.org/events/1246
>>>>
>>>>
>>>>
>>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>>> <damon at balancepointacoustics.com> wrote:
>>>>> SFMOMA finally woke up from a mis-managed commercial stupor.
> Of
>>>>> interest to this list would be the art of participation show.
> They
>>>>> use Cage as a starting point and have a performance of
> 4'33"
>>>>> everyday
>>>>> at noon.
>>>>> The concept has a huge potential to go wrong but it is pretty
>
>>>>> great.
>>>>> There are tons of great artists, Kappow, Beuys, Acconci,
> Gonzales-
>>>>> Torres, Paik and others.
>>>>> They have a show of Contemporary art from collection and a
> great
>>>>> show
>>>>> of Martin Puryear sculpture.
>>>>> Warhol's Jews at the CJM is worth seeing and I have warmed
> up to
>>>>> some
>>>>> of the pieces in Zorn's sound installation like Chris
> Brown and
>>>>> Erik
>>>>> Friedlander.
>>>>>
>>>>> Damon Smith
>>>>>
>>>
>>>
>>> barry threw
>>> Media Art and Technology
>>>
>>> San Francisco, CA
>>> Work: 857-544-3967
>>> Email: bthrew (at) gmail (dot) com
>>> Web: 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
>
> Damon Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> New solo project:
> http://www.myspace.com/damonsmithsolo
>
>
>
>
> _______________________________________________
> 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 electric.tokyo at gmail.com  Wed Nov 12 14:30:42 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Wed, 12 Nov 2008 14:30:42 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <950595.96104.qm@web54303.mail.re2.yahoo.com>
References: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>
	<534787.45268.qm@web50506.mail.re2.yahoo.com>
	<d3165c060811121016v46592554o111c7faa785a1720@mail.gmail.com>
	<950595.96104.qm@web54303.mail.re2.yahoo.com>
Message-ID: <d3165c060811121430w55eb6ac9l97fed30b4a9ad2f1@mail.gmail.com>

and they ARE awfully darn close to each other...

On Wed, Nov 12, 2008 at 11:53 AM, Ron Lettuce <letucepry at yahoo.com> wrote:
> Well, it is right before LSG...
>
>
>
>
> ________________________________
> From: Travis Johns <electric.tokyo at gmail.com>
> To: jmojingle at yahoo.com; Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Wednesday, November 12, 2008 10:16:30 AM
> Subject: Re: [NewMusic] The Art of participation at SFMOMA
>
> so, to take the discussion one step further, would anyone be down for
> a field trip to the Moma on some foggy Thursday to participate in some
> sort of discussion-based high art hooplah in a structured, artificial
> environment that could easily be authentically recreated in any public
> house, living room or speakeasy this side of Dubai? just throwing it
> out there...
>
> On Wed, Nov 12, 2008 at 10:11 AM, John Ingle <jmojingle at yahoo.com> wrote:
>> When I saw the reference here, I was sure that it had to be Tom Marioni's piece. Is the title something like "drinking beer with my friends is more important than art"... or is this just my general belief/faulty memory ?(art is  running a close second or third...)
>>
>> and Marioni has/has the sense and good taste to choose a local beer brewed in the style that is specific to our region (alas there used to be many "steam" beers...)
>>
>> cheers all,
>>
>> jingle
>>
>> --- On Mon, 11/10/08, Damon Smith <damon at balancepointacoustics.com> wrote:
>>
>> From: Damon Smith <damon at balancepointacoustics.com>
>> Subject: Re: [NewMusic] The Art of participation at SFMOMA
>> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
>> Date: Monday, November 10, 2008, 10:53 PM
>>
>> I think it is Anchor Steam, that is what it was in the original
>> piece. It is Tom Marioni's piece I highly recommend his book "Beer,
>> Art and Philosophy". He has some great drawings done with drum
>> brushes and violin rosin.
>>
>> On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:
>>
>>> pabst!?!?
>>>
>>> ...bourgeois slime.
>>>
>>> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com>
>> wrote:
>>>> I hope its Pabst.
>>>>
>>>> bt
>>>>
>>>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>>>
>>>>> it gets better: one of the installations in said exhibit offers
>> free
>>>>> beer every thursday night... with cost of admission and valid id,
>> of
>>>>> course, but eh, extra incentive to go to museums on thursdays.
>>>>> herelink:
>>>>>
>>>>> http://www.sfmoma.org/events/1246
>>>>>
>>>>>
>>>>>
>>>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>>>> <damon at balancepointacoustics.com> wrote:
>>>>>> SFMOMA finally woke up from a mis-managed commercial stupor.
>> Of
>>>>>> interest to this list would be the art of participation show.
>> They
>>>>>> use Cage as a starting point and have a performance of
>> 4'33"
>>>>>> everyday
>>>>>> at noon.
>>>>>> The concept has a huge potential to go wrong but it is pretty
>>
>>>>>> great.
>>>>>> There are tons of great artists, Kappow, Beuys, Acconci,
>> Gonzales-
>>>>>> Torres, Paik and others.
>>>>>> They have a show of Contemporary art from collection and a
>> great
>>>>>> show
>>>>>> of Martin Puryear sculpture.
>>>>>> Warhol's Jews at the CJM is worth seeing and I have warmed
>> up to
>>>>>> some
>>>>>> of the pieces in Zorn's sound installation like Chris
>> Brown and
>>>>>> Erik
>>>>>> Friedlander.
>>>>>>
>>>>>> Damon Smith
>>>>>>
>>>>
>>>>
>>>> barry threw
>>>> Media Art and Technology
>>>>
>>>> San Francisco, CA
>>>> Work: 857-544-3967
>>>> Email: bthrew (at) gmail (dot) com
>>>> Web: 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
>>
>> Damon Smith
>>
>> http://www.balancepointacoustics.com
>> http://myspace.com/smithdamon
>> New solo project:
>> http://www.myspace.com/damonsmithsolo
>>
>>
>>
>>
>> _______________________________________________
>> 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
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From letucepry at yahoo.com  Wed Nov 12 14:57:34 2008
From: letucepry at yahoo.com (Ron Lettuce)
Date: Wed, 12 Nov 2008 14:57:34 -0800 (PST)
Subject: [NewMusic] The Art of participation at SFMOMA
References: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>
	<534787.45268.qm@web50506.mail.re2.yahoo.com>
	<d3165c060811121016v46592554o111c7faa785a1720@mail.gmail.com>
	<950595.96104.qm@web54303.mail.re2.yahoo.com>
	<d3165c060811121430w55eb6ac9l97fed30b4a9ad2f1@mail.gmail.com>
Message-ID: <960860.22453.qm@web54302.mail.re2.yahoo.com>

one might even say...stumbling distance....




________________________________
From: Travis Johns <electric.tokyo at gmail.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Wednesday, November 12, 2008 2:30:42 PM
Subject: Re: [NewMusic] The Art of participation at SFMOMA

and they ARE awfully darn close to each other...

On Wed, Nov 12, 2008 at 11:53 AM, Ron Lettuce <letucepry at yahoo.com> wrote:
> Well, it is right before LSG...
>
>
>
>
> ________________________________
> From: Travis Johns <electric.tokyo at gmail.com>
> To: jmojingle at yahoo.com; Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Wednesday, November 12, 2008 10:16:30 AM
> Subject: Re: [NewMusic] The Art of participation at SFMOMA
>
> so, to take the discussion one step further, would anyone be down for
> a field trip to the Moma on some foggy Thursday to participate in some
> sort of discussion-based high art hooplah in a structured, artificial
> environment that could easily be authentically recreated in any public
> house, living room or speakeasy this side of Dubai? just throwing it
> out there...
>
> On Wed, Nov 12, 2008 at 10:11 AM, John Ingle <jmojingle at yahoo.com> wrote:
>> When I saw the reference here, I was sure that it had to be Tom Marioni's piece. Is the title something like "drinking beer with my friends is more important than art"... or is this just my general belief/faulty memory ?(art is? running a close second or third...)
>>
>> and Marioni has/has the sense and good taste to choose a local beer brewed in the style that is specific to our region (alas there used to be many "steam" beers...)
>>
>> cheers all,
>>
>> jingle
>>
>> --- On Mon, 11/10/08, Damon Smith <damon at balancepointacoustics.com> wrote:
>>
>> From: Damon Smith <damon at balancepointacoustics.com>
>> Subject: Re: [NewMusic] The Art of participation at SFMOMA
>> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
>> Date: Monday, November 10, 2008, 10:53 PM
>>
>> I think it is Anchor Steam, that is what it was in the original
>> piece. It is Tom Marioni's piece I highly recommend his book "Beer,
>> Art and Philosophy". He has some great drawings done with drum
>> brushes and violin rosin.
>>
>> On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:
>>
>>> pabst!?!?
>>>
>>> ...bourgeois slime.
>>>
>>> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com>
>> wrote:
>>>> I hope its Pabst.
>>>>
>>>> bt
>>>>
>>>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>>>
>>>>> it gets better: one of the installations in said exhibit offers
>> free
>>>>> beer every thursday night... with cost of admission and valid id,
>> of
>>>>> course, but eh, extra incentive to go to museums on thursdays.
>>>>> herelink:
>>>>>
>>>>> http://www.sfmoma.org/events/1246
>>>>>
>>>>>
>>>>>
>>>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>>>> <damon at balancepointacoustics.com> wrote:
>>>>>> SFMOMA finally woke up from a mis-managed commercial stupor.
>> Of
>>>>>> interest to this list would be the art of participation show.
>> They
>>>>>> use Cage as a starting point and have a performance of
>> 4'33"
>>>>>> everyday
>>>>>> at noon.
>>>>>> The concept has a huge potential to go wrong but it is pretty
>>
>>>>>> great.
>>>>>> There are tons of great artists, Kappow, Beuys, Acconci,
>> Gonzales-
>>>>>> Torres, Paik and others.
>>>>>> They have a show of Contemporary art from collection and a
>> great
>>>>>> show
>>>>>> of Martin Puryear sculpture.
>>>>>> Warhol's Jews at the CJM is worth seeing and I have warmed
>> up to
>>>>>> some
>>>>>> of the pieces in Zorn's sound installation like Chris
>> Brown and
>>>>>> Erik
>>>>>> Friedlander.
>>>>>>
>>>>>> Damon Smith
>>>>>>
>>>>
>>>>
>>>> barry threw
>>>> Media Art and Technology
>>>>
>>>> San Francisco, CA
>>>> Work: 857-544-3967
>>>> Email: bthrew (at) gmail (dot) com
>>>> Web: 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
>>
>> Damon Smith
>>
>> http://www.balancepointacoustics.com
>> http://myspace.com/smithdamon
>> New solo project:
>> http://www.myspace.com/damonsmithsolo
>>
>>
>>
>>
>> _______________________________________________
>> 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
> _______________________________________________
> 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 katttsammon at hotmail.com  Wed Nov 12 15:02:58 2008
From: katttsammon at hotmail.com (Kattt Sammon)
Date: Wed, 12 Nov 2008 15:02:58 -0800
Subject: [NewMusic] merce cunningham dance company residency
In-Reply-To: <2954145D-22FC-4757-A1B0-BB9FB2938F94@matthewgoodheart.com>
References: <2954145D-22FC-4757-A1B0-BB9FB2938F94@matthewgoodheart.com>
Message-ID: <BAY118-W1291C4F225922AF87250C4A2140@phx.gbl>


has anyone been attending any of the merce cunningham dance company happenings @ ucb? his company is in a 2 week residency @ ucb and there are a couple of free events in conjunction with his cal performance shows.

last wednesday i heard merce talk on the same stage where he did his first concert @ ucb in 1962.  it's inspiring to hear him talk...and how his mind is so incredibly sharp and he can talk about the most complicated structures in such a simple way (and that's very accessible). i did reflect on how fragile his body is these days (with the combination of arthritis and years of ballet putting him in a wheelchair) and hope this isn't his last visit...

then sunday i attended the cal performance mcdc crane way event @ ford point in richmond (beautiful industrial space on the bay). this was a site specific piece where all of the stages (elevated no more than 4 inches) were joined by these elegant walk ways that allowed dancers to join in with other pieces and the musicians were dispersed at stations throughout the space. first time i had been *so close* (like 5 feet away) to the dancers and could see all of the small movements (especially all the shaking!!!!)... and believe it or not in this big space with big windows etc --- the sound worked...i thought the room would be too live...though it had a warm sound <surprisingly>. and since show was designed for the audience to walk around...i was able to experience the sound in different ways with each stage. also to be noted is how the sound was mixed... .their sound engineer (stephan moore) walked around the space with a tablet computer and eq'ng the show (he had a range of 700 feet to do this remotely). it was a beautiful site specific performance and great marriage of  performance & space. 

just a heads up that tonight there is a free show @ 5P @ msri (math science research institute - http://msri.org/) -- David Behrman, Stephan Moore, Takehisa Kosugi, and Christian Wolff are playing a *free* concert followed by a panel discussion with mathematician/magician, randomness expert Persi Diaconis, professor of statistics and mathematics at Stanford University, and moderated by Bob Osserman.  should be interesting!!!! and another heads up that there is another free event on friday --- http://events.berkeley.edu/?event_ID=13456&date=2008-11-14 - that should be interesting though i can't attend.lastly i'm saddened that i can't attend the performance on saturday night where aurora sings her realization of john cage's aria. that should be beautiful especially in combination with the dance on stage. i hope they perform it again!would be interesting to hear if others are also getting to these events... and it's nice there is so many free events! since i can only afford to attend so many zellarbach shows (and above all it's nice seeing folks *away* from the conventional stage)

kattt
_________________________________________________________________
See how Windows? connects the people, information, and fun that are part of your life
http://clk.atdmt.com/MRT/go/119463819/direct/01/

From slusser at pixar.com  Wed Nov 12 15:02:59 2008
From: slusser at pixar.com (David Slusser)
Date: Wed, 12 Nov 2008 15:02:59 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <960860.22453.qm@web54302.mail.re2.yahoo.com>
References: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>
	<534787.45268.qm@web50506.mail.re2.yahoo.com>
	<d3165c060811121016v46592554o111c7faa785a1720@mail.gmail.com>
	<950595.96104.qm@web54303.mail.re2.yahoo.com>
	<d3165c060811121430w55eb6ac9l97fed30b4a9ad2f1@mail.gmail.com>
	<960860.22453.qm@web54302.mail.re2.yahoo.com>
Message-ID: <487C628C-93B2-4505-B523-6FF4A09F315C@pixar.com>

  in terms of access, one might even say...humbling distance

On Nov 12, 2008, at 2:57 PM, Ron Lettuce wrote:

> one might even say...stumbling distance....
>
> ________________________________
> From: Travis Johns <electric.tokyo at gmail.com>
>
> and they ARE awfully darn close to each other...
>
> On Wed, Nov 12, 2008 at 11:53 AM, Ron Lettuce <letucepry at yahoo.com>  
> wrote:
>> Well, it is right before LSG...
>>
>> ________________________________
>> From: Travis Johns <electric.tokyo at gmail.com>
>>
>> so, to take the discussion one step further, would anyone be down for
>> a field trip to the Moma on some foggy Thursday to participate

From electric.tokyo at gmail.com  Wed Nov 12 15:05:07 2008
From: electric.tokyo at gmail.com (Travis Johns)
Date: Wed, 12 Nov 2008 15:05:07 -0800
Subject: [NewMusic] The Art of participation at SFMOMA
In-Reply-To: <960860.22453.qm@web54302.mail.re2.yahoo.com>
References: <F102C3C1-9411-4972-861E-F32A2B26998A@balancepointacoustics.com>
	<534787.45268.qm@web50506.mail.re2.yahoo.com>
	<d3165c060811121016v46592554o111c7faa785a1720@mail.gmail.com>
	<950595.96104.qm@web54303.mail.re2.yahoo.com>
	<d3165c060811121430w55eb6ac9l97fed30b4a9ad2f1@mail.gmail.com>
	<960860.22453.qm@web54302.mail.re2.yahoo.com>
Message-ID: <d3165c060811121505o56ee22e4n87a98d9a5b25b775@mail.gmail.com>

and there IS that good taqueria in between 'em...



On Wed, Nov 12, 2008 at 2:57 PM, Ron Lettuce <letucepry at yahoo.com> wrote:
> one might even say...stumbling distance....
>
>
>
>
> ________________________________
> From: Travis Johns <electric.tokyo at gmail.com>
> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Wednesday, November 12, 2008 2:30:42 PM
> Subject: Re: [NewMusic] The Art of participation at SFMOMA
>
> and they ARE awfully darn close to each other...
>
> On Wed, Nov 12, 2008 at 11:53 AM, Ron Lettuce <letucepry at yahoo.com> wrote:
>> Well, it is right before LSG...
>>
>>
>>
>>
>> ________________________________
>> From: Travis Johns <electric.tokyo at gmail.com>
>> To: jmojingle at yahoo.com; Bay Area New Music Discussion Group <newmusic at music.mills.edu>
>> Sent: Wednesday, November 12, 2008 10:16:30 AM
>> Subject: Re: [NewMusic] The Art of participation at SFMOMA
>>
>> so, to take the discussion one step further, would anyone be down for
>> a field trip to the Moma on some foggy Thursday to participate in some
>> sort of discussion-based high art hooplah in a structured, artificial
>> environment that could easily be authentically recreated in any public
>> house, living room or speakeasy this side of Dubai? just throwing it
>> out there...
>>
>> On Wed, Nov 12, 2008 at 10:11 AM, John Ingle <jmojingle at yahoo.com> wrote:
>>> When I saw the reference here, I was sure that it had to be Tom Marioni's piece. Is the title something like "drinking beer with my friends is more important than art"... or is this just my general belief/faulty memory ?(art is  running a close second or third...)
>>>
>>> and Marioni has/has the sense and good taste to choose a local beer brewed in the style that is specific to our region (alas there used to be many "steam" beers...)
>>>
>>> cheers all,
>>>
>>> jingle
>>>
>>> --- On Mon, 11/10/08, Damon Smith <damon at balancepointacoustics.com> wrote:
>>>
>>> From: Damon Smith <damon at balancepointacoustics.com>
>>> Subject: Re: [NewMusic] The Art of participation at SFMOMA
>>> To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
>>> Date: Monday, November 10, 2008, 10:53 PM
>>>
>>> I think it is Anchor Steam, that is what it was in the original
>>> piece. It is Tom Marioni's piece I highly recommend his book "Beer,
>>> Art and Philosophy". He has some great drawings done with drum
>>> brushes and violin rosin.
>>>
>>> On Nov 10, 2008, at 10:49 PM, Travis Johns wrote:
>>>
>>>> pabst!?!?
>>>>
>>>> ...bourgeois slime.
>>>>
>>>> On Mon, Nov 10, 2008 at 9:40 PM, barry threw <bthrew at gmail.com>
>>> wrote:
>>>>> I hope its Pabst.
>>>>>
>>>>> bt
>>>>>
>>>>> On Nov 10, 2008, at 2:34 PM, Travis Johns wrote:
>>>>>
>>>>>> it gets better: one of the installations in said exhibit offers
>>> free
>>>>>> beer every thursday night... with cost of admission and valid id,
>>> of
>>>>>> course, but eh, extra incentive to go to museums on thursdays.
>>>>>> herelink:
>>>>>>
>>>>>> http://www.sfmoma.org/events/1246
>>>>>>
>>>>>>
>>>>>>
>>>>>> On Sun, Nov 9, 2008 at 2:34 PM, Damon Smith
>>>>>> <damon at balancepointacoustics.com> wrote:
>>>>>>> SFMOMA finally woke up from a mis-managed commercial stupor.
>>> Of
>>>>>>> interest to this list would be the art of participation show.
>>> They
>>>>>>> use Cage as a starting point and have a performance of
>>> 4'33"
>>>>>>> everyday
>>>>>>> at noon.
>>>>>>> The concept has a huge potential to go wrong but it is pretty
>>>
>>>>>>> great.
>>>>>>> There are tons of great artists, Kappow, Beuys, Acconci,
>>> Gonzales-
>>>>>>> Torres, Paik and others.
>>>>>>> They have a show of Contemporary art from collection and a
>>> great
>>>>>>> show
>>>>>>> of Martin Puryear sculpture.
>>>>>>> Warhol's Jews at the CJM is worth seeing and I have warmed
>>> up to
>>>>>>> some
>>>>>>> of the pieces in Zorn's sound installation like Chris
>>> Brown and
>>>>>>> Erik
>>>>>>> Friedlander.
>>>>>>>
>>>>>>> Damon Smith
>>>>>>>
>>>>>
>>>>>
>>>>> barry threw
>>>>> Media Art and Technology
>>>>>
>>>>> San Francisco, CA
>>>>> Work: 857-544-3967
>>>>> Email: bthrew (at) gmail (dot) com
>>>>> Web: 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
>>>
>>> Damon Smith
>>>
>>> http://www.balancepointacoustics.com
>>> http://myspace.com/smithdamon
>>> New solo project:
>>> http://www.myspace.com/damonsmithsolo
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> 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
>> _______________________________________________
>> 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 damon at balancepointacoustics.com  Wed Nov 12 16:15:11 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 12 Nov 2008 16:15:11 -0800
Subject: [NewMusic] merce cunningham dance company residency
In-Reply-To: <BAY118-W1291C4F225922AF87250C4A2140@phx.gbl>
References: <2954145D-22FC-4757-A1B0-BB9FB2938F94@matthewgoodheart.com>
	<BAY118-W1291C4F225922AF87250C4A2140@phx.gbl>
Message-ID: <F19F2BC6-D83A-41AE-B07B-708DD6453C78@balancepointacoustics.com>

Also, Aurora is singing Cage's Aria with them on Saturday.

On Nov 12, 2008, at 3:02 PM, Kattt Sammon wrote:

>
> has anyone been attending any of the merce cunningham dance company  
> happenings @ ucb? his company is in a 2 week residency @ ucb and  
> there are a couple of free events in conjunction with his cal  
> performance shows.
>
> last wednesday i heard merce talk on the same stage where he did  
> his first concert @ ucb in 1962.  it's inspiring to hear him  
> talk...and how his mind is so incredibly sharp and he can talk  
> about the most complicated structures in such a simple way (and  
> that's very accessible). i did reflect on how fragile his body is  
> these days (with the combination of arthritis and years of ballet  
> putting him in a wheelchair) and hope this isn't his last visit...
>
> then sunday i attended the cal performance mcdc crane way event @  
> ford point in richmond (beautiful industrial space on the bay).  
> this was a site specific piece where all of the stages (elevated no  
> more than 4 inches) were joined by these elegant walk ways that  
> allowed dancers to join in with other pieces and the musicians were  
> dispersed at stations throughout the space. first time i had been  
> *so close* (like 5 feet away) to the dancers and could see all of  
> the small movements (especially all the shaking!!!!)... and believe  
> it or not in this big space with big windows etc --- the sound  
> worked...i thought the room would be too live...though it had a  
> warm sound <surprisingly>. and since show was designed for the  
> audience to walk around...i was able to experience the sound in  
> different ways with each stage. also to be noted is how the sound  
> was mixed... .their sound engineer (stephan moore) walked around  
> the space with a tablet computer and eq'ng the show (he had a range  
> of 700 feet to do this remotely). it was a beautiful site specific  
> performance and great marriage of  performance & space.
>
> just a heads up that tonight there is a free show @ 5P @ msri (math  
> science research institute - http://msri.org/) -- David Behrman,  
> Stephan Moore, Takehisa Kosugi, and Christian Wolff are playing a  
> *free* concert followed by a panel discussion with mathematician/ 
> magician, randomness expert Persi Diaconis, professor of statistics  
> and mathematics at Stanford University, and moderated by Bob  
> Osserman.  should be interesting!!!! and another heads up that  
> there is another free event on friday --- http:// 
> events.berkeley.edu/?event_ID456&date 08-11-14 - that should be  
> interesting though i can't attend.lastly i'm saddened that i can't  
> attend the performance on saturday night where aurora sings her  
> realization of john cage's aria. that should be beautiful  
> especially in combination with the dance on stage. i hope they  
> perform it again!would be interesting to hear if others are also  
> getting to these events... and it's nice there is so many free  
> events! since i can only afford to attend so many zellarbach shows  
> (and above all it's nice seeing folks *away* from the conventional  
> stage)
>
> kattt
> _________________________________________________________________
> See how Windows? connects the people, information, and fun that are  
> part of your life
> http://clk.atdmt.com/MRT/go/119463819/direct/01/
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

Damon Smith

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





From slusser at pixar.com  Wed Nov 12 16:40:42 2008
From: slusser at pixar.com (David Slusser)
Date: Wed, 12 Nov 2008 16:40:42 -0800
Subject: [NewMusic] Fwd: Mitch Mitchell dies at 61
References: <6E002D21-CA51-4C9F-A869-83317C71E95D@pixar.com>
Message-ID: <C0A4A414-9B6C-4967-B42F-2F948F98EF69@pixar.com>

Begin forwarded message:
>
>> http://news.bbc.co.uk/2/hi/entertainment/7726024.stm
>
> Mitch Mitchell, the British drummer in the seminal 1960s band the  
> Jimi Hendrix Experience, has been found dead in his US hotel room,  
> authorities say.

Really wonderful player - no one quite like him in the field at the  
time.
He was jazzier than Ginger Baker.  I always wondered why American
jazz drummers sounded so lame when they tried to play rock. He
played what "fusion" should have been before the onslaught of the
over-driven American version.  Tony Oxley did some fine work with
McLaughlin on Extrapolation, as well, but Mitch stirred up magic like
an alchemist.  Maybe it didn't hurt that he was accompanying another
magician.


From liberatednsf at yahoo.com  Wed Nov 12 18:27:15 2008
From: liberatednsf at yahoo.com (andrew wilshusen)
Date: Wed, 12 Nov 2008 18:27:15 -0800 (PST)
Subject: [NewMusic] Fwd: Mitch Mitchell dies at 61
References: <6E002D21-CA51-4C9F-A869-83317C71E95D@pixar.com>
	<C0A4A414-9B6C-4967-B42F-2F948F98EF69@pixar.com>
Message-ID: <73009.45000.qm@web30503.mail.mud.yahoo.com>

Wow, speaking of shows I neglected to go to.? Played here last night.? There was a time I could only <i>name</i> three drummers: Max Roach, Mitch Mitchell and Tony Williams.? okay and Philly Jo Jones.? Not saying I was a clever 15 year old, but I've never looked back and considered obsessing over?these huge influences?while forsaking others I'd discover soon after a bad thing.
?
Well, gave me another excuse (besides having just worked ten hours straight) to buy a bottle of Blanton's.
?
Andrew


http://oudevoida.blogspot.com 



----- Original Message ----
From: David Slusser <slusser at pixar.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Wednesday, November 12, 2008 4:40:42 PM
Subject: [NewMusic] Fwd: Mitch Mitchell dies at 61

Begin forwarded message:
>
>> http://news.bbc.co.uk/2/hi/entertainment/7726024.stm
>
> Mitch Mitchell, the British drummer in the seminal 1960s band the? 
> Jimi Hendrix Experience, has been found dead in his US hotel room,? 
> authorities say.

Really wonderful player - no one quite like him in the field at the? 
time.
He was jazzier than Ginger Baker.? I always wondered why American
jazz drummers sounded so lame when they tried to play rock. He
played what "fusion" should have been before the onslaught of the
over-driven American version.? Tony Oxley did some fine work with
McLaughlin on Extrapolation, as well, but Mitch stirred up magic like
an alchemist.? Maybe it didn't hurt that he was accompanying another
magician.

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



      

From 21grand at 21grand.org  Thu Nov 13 13:31:15 2008
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Thu, 13 Nov 2008 13:31:15 -0800
Subject: [NewMusic] Reposted from events list: call for sellers at 21 Grand
	12/5
Message-ID: <C541DCA3.2835C%21grand@21grand.org>

21 Grand is planning a sale on Friday, December 5 (during the First Friday
Art Walk - when there actually is foot traffic), and is looking for
participants.

If you have instruments, equipment, CDs, records or DVDs, books, old copies
of culturally enriching magazines, you no longer need, this is a great
opportunity to get rid of it, hang out, and make a few dollars. The previous
sales were well attended and a success for all involved.

We're asking sellers for a $10. donation to 21 Grand to help them out
during their ongoing permit problems, and to thank them for all they
do for the community.

If you're interested, please email me (and cc 21grand at 21grand.org).
Include a general idea of what you'll be selling. I'll be doing
flyers and listings here and craigslist to bring a good crowd in.

The sale will run 7 to 10pm. Tables and furniture available on a first come
first serve basis.
 

21 Grand is located at:
416 25th St.
(at Broadway)
Oakland, CA

Thanks,

Alan Anzalone
aanz at mindspring.com



From fenlonorama at gmail.com  Thu Nov 13 13:43:51 2008
From: fenlonorama at gmail.com (Andrew Fenlon)
Date: Thu, 13 Nov 2008 13:43:51 -0800
Subject: [NewMusic] Fwd: Mitch Mitchell dies at 61
In-Reply-To: <73009.45000.qm@web30503.mail.mud.yahoo.com>
References: <6E002D21-CA51-4C9F-A869-83317C71E95D@pixar.com>
	<C0A4A414-9B6C-4967-B42F-2F948F98EF69@pixar.com>
	<73009.45000.qm@web30503.mail.mud.yahoo.com>
Message-ID: <efef87870811131343n1ac9432cg22314ce0123999f4@mail.gmail.com>

I've always felt that Mitch Mitchell was one of the first musicians to
really connect jazz music and rock. He was a jazz drummer a la Elvin Jones
or something playing in a rock band, and he paved the way for the
development and popularity of jazz influenced rock, psych, prog and also
jazz fusion, maybe more than any other musician (though there were def
others i.e. bill ward, ginger baker, who were around at the same time). Just
my take on it.
Love the drums on manic depression.

On 11/12/08, andrew wilshusen <liberatednsf at yahoo.com> wrote:
>
> Wow, speaking of shows I neglected to go to.  Played here last
> night.  There was a time I could only <i>name</i> three drummers: Max Roach,
> Mitch Mitchell and Tony Williams.  okay and Philly Jo Jones.  Not saying I
> was a clever 15 year old, but I've never looked back and considered
> obsessing over these huge influences while forsaking others I'd discover
> soon after a bad thing.
>
> Well, gave me another excuse (besides having just worked ten hours
> straight) to buy a bottle of Blanton's.
>
> Andrew
>
>
> http://oudevoida.blogspot.com
>
>
>
>
> ----- Original Message ----
> From: David Slusser <slusser at pixar.com>
> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Wednesday, November 12, 2008 4:40:42 PM
> Subject: [NewMusic] Fwd: Mitch Mitchell dies at 61
>
> Begin forwarded message:
> >
> >> http://news.bbc.co.uk/2/hi/entertainment/7726024.stm
> >
> > Mitch Mitchell, the British drummer in the seminal 1960s band the
> > Jimi Hendrix Experience, has been found dead in his US hotel room,
> > authorities say.
>
> Really wonderful player - no one quite like him in the field at the
> time.
> He was jazzier than Ginger Baker.  I always wondered why American
> jazz drummers sounded so lame when they tried to play rock. He
> played what "fusion" should have been before the onslaught of the
> over-driven American version.  Tony Oxley did some fine work with
> McLaughlin on Extrapolation, as well, but Mitch stirred up magic like
> an alchemist.  Maybe it didn't hurt that he was accompanying another
> magician.
>
> _______________________________________________
> 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 michaelz at zoka.com  Sun Nov 16 10:24:46 2008
From: michaelz at zoka.com (Michael Zelner)
Date: Sun, 16 Nov 2008 10:24:46 -0800
Subject: [NewMusic] Beatles free improv
Message-ID: <p06240808c5461587bfb9@[192.168.0.5]>

>McCartney hopes to release funky Beatles track
>
>Sun Nov 16, 10:01 am ET
>
>LONDON (AP) - Paul McCartney says it's time an experimental Beatles 
>track saw the light of day.
>
>McCartney says he wants to release "Carnival of Light," a 14-minute 
>experimental track the Fab Four recorded in 1967 but never released.
>
>The band played the recording for an audience just once, at an 
>electronic music festival in London. It reportedly includes 
>distorted guitar, organ sounds, gargling and shouts of "Barcelona!" 
>and "Are you all right?" from McCartney and John Lennon.
>
>McCartney said during a recording session at Abbey Road studios he 
>asked the other members of the band to "just wander round all of the 
>stuff and bang it, shout, play it. It doesn't need to make any 
>sense."
>
>"I like it because it's The Beatles free, going off piste," he told 
>the BBC in a radio interview to be broadcast Thursday. Extracts of 
>the interview were published Sunday in The Observer newspaper.
>
>McCartney said he still had a master tape of the piece and "the time 
>has come for it to get its moment."
>
>McCartney, usually regarded as the most melodically minded Beatle, 
>told the BBC he had a long-standing interest in avant-garde music. 
>He said "Carnival of Light" was inspired by experimental composers 
>John Cage and Karlheinz Stockhausen.
>
>He said he had wanted to include the track on the Beatles' 
>"Anthology" compilation, but was vetoed by his bandmates.
>
>McCartney would need permission from Ringo Starr and the widows of 
>Lennon and George Harrison to release the track.


<http://news.yahoo.com/s/ap/20081116/ap_on_en_mu/eu_britain_beatles>




From mattdavignon at gmail.com  Mon Nov 17 01:46:11 2008
From: mattdavignon at gmail.com (Matt Davignon)
Date: Mon, 17 Nov 2008 01:46:11 -0800
Subject: [NewMusic] Updated drum machine mp3's
Message-ID: <c70e517b0811170146m134beac5x5866361d2bfead61@mail.gmail.com>

Happy 2am everyone,

I have 10 new drum machine mp3's up on my webpage, edited from the
last 18 months' worth of concerts.

They're pretty easily found on my website - www.ribosomemusic.com.
There's a total of 14 mp3's there, but the first 10 are the new ones.

Enjoy! (optional)

Matt Davignon

From highhorse at mhorse.com  Mon Nov 17 07:55:14 2008
From: highhorse at mhorse.com (Daryl Shawn)
Date: Mon, 17 Nov 2008 09:55:14 -0600
Subject: [NewMusic] Updated drum machine mp3's
In-Reply-To: <c70e517b0811170146m134beac5x5866361d2bfead61@mail.gmail.com>
References: <c70e517b0811170146m134beac5x5866361d2bfead61@mail.gmail.com>
Message-ID: <492193E2.4090600@mhorse.com>

my cup runneth overth! thanks, Matt. Grabbed 'em all.

How was the last drone shift?

Daryl Shawn
www.swanwelder.com
 
> I have 10 new drum machine mp3's up on my webpage, edited from the
> last 18 months' worth of concerts.
>
> They're pretty easily found on my website - www.ribosomemusic.com.


From otis_mccoppin at yahoo.com  Mon Nov 17 13:55:53 2008
From: otis_mccoppin at yahoo.com (Otis McCoppin)
Date: Mon, 17 Nov 2008 13:55:53 -0800 (PST)
Subject: [NewMusic] Fwd: Mitch Mitchell dies at 61
In-Reply-To: <C0A4A414-9B6C-4967-B42F-2F948F98EF69@pixar.com>
Message-ID: <762021.78015.qm@web38305.mail.mud.yahoo.com>

Yeah, Noel Redding was the man too!

--- On Wed, 11/12/08, David Slusser <slusser at pixar.com> wrote:
From: David Slusser <slusser at pixar.com>

Maybe it didn't hurt that he was accompanying another
magician.



      

From liz_abet at yahoo.com  Tue Nov 18 11:12:06 2008
From: liz_abet at yahoo.com (liz allbee)
Date: Tue, 18 Nov 2008 11:12:06 -0800 (PST)
Subject: [NewMusic] in search of PIANO HAMMERS!
Message-ID: <558876.615.qm@web33103.mail.mud.yahoo.com>

anyone have 88 piano hammers laying (lying?) around lazily waiting for the day when they will once again be loved and appreciated for their hammer-ness?
Now's the time! 

I will come and extract said hammers from the gaping maw of the piano guts. Hatchet and safety glasses. Your hammers will rest nicely with me. Pleaaaase!

Email offlist.

Thanks!


      

From mattdavignon at gmail.com  Wed Nov 19 18:27:15 2008
From: mattdavignon at gmail.com (Matt Davignon)
Date: Wed, 19 Nov 2008 18:27:15 -0800
Subject: [NewMusic] Dec 4th: Ad-hoc experimental freeform improv like dude
	whatever jam
Message-ID: <c70e517b0811191827tf3582efqb1e9c99238de77d@mail.gmail.com>

Hey folks,

This is not a gig spam, more an invitation to play music with some strangers:

Luggage Store on Thursday, December 4th, 8:10 -9:00pm.

Ad-hoc experimental freeform improv like dude whatever jam is a set
where anyone who wants to improvise experimental music (except for
jerks) is welcome to show up with their gear, plug in, and improvise
with whoever else shows up. It's an opportunity for new musicians to
make connections, or for 'established' musicians to experiment with a
new instrument or setup. Like dude, whatever. All instruments &
non-instruments are welcome. Not restricted to dudes. Please RSVP with
Matt Davignon (mattdavignon at gmail.com), even if it's on the same day.

Details:
Load in time: If participating, please plan to arrive between 7 & 8pm,
and be set up/sound checked by 8. A trio (trumpet/guitar/computer)
will be playing at 9.

Address: the gallery is at 1007 Market Street, near 6th street. Next
to Taqueria Cancun. It's upstairs. Parking opens up on 6th street at
exactly 7pm.

Footprint: Taking up a small amount of stage space is encouraged.
Please don't bring every instrument in your home studio - it would
mean that everyone else has to suck in their breath and get all
skinny. (And the neighborhood isn't great for unloading gear anyway.)

Gallery equipment: Please bring your own power cables, power strips,
tables, etc. We have a PA system that takes XLR or 1/4" inputs. PA
does not have reference monitors. If you want to use the PA, please
bring long cables to reach it.

Matt

From dmichalak at sbcglobal.net  Thu Nov 20 08:32:37 2008
From: dmichalak at sbcglobal.net (dmichalak)
Date: Thu, 20 Nov 2008 08:32:37 -0800
Subject: [NewMusic] Old House For Performance
References: <6E002D21-CA51-4C9F-A869-83317C71E95D@pixar.com><C0A4A414-9B6C-4967-B42F-2F948F98EF69@pixar.com><73009.45000.qm@web30503.mail.mud.yahoo.com>
	<efef87870811131343n1ac9432cg22314ce0123999f4@mail.gmail.com>
Message-ID: <8E0D933C10404992BEAD014D1EB746E1@eyefull01>

Could anyone suggest and interesting old house that could be used for a 
performance. A fireplace would be good as would the use of several rooms for 
performing and audience walk through.
Thanks,
David

You can contact me off list: dmichalak at sbcglobal.net 


From michaelz at zoka.com  Thu Nov 20 09:26:57 2008
From: michaelz at zoka.com (Michael Zelner)
Date: Thu, 20 Nov 2008 09:26:57 -0800
Subject: [NewMusic] Old House For Performance
In-Reply-To: <8E0D933C10404992BEAD014D1EB746E1@eyefull01>
References: <6E002D21-CA51-4C9F-A869-83317C71E95D@pixar.com><C0A4A414-9B6C-4967-B4
	2F-2F948F98EF69@pixar.com><73009.45000.qm@web30503.mail.mud.yahoo.com>
	<efef87870811131343n1ac9432cg22314ce0123999f4@mail.gmail.com>
	<8E0D933C10404992BEAD014D1EB746E1@eyefull01>
Message-ID: <p06240830c54b4d25c5aa@[192.168.0.5]>

On 11/20/08, dmichalak wrote:

>Could anyone suggest and interesting old house that could be used for a
>performance. A fireplace would be good as would the use of several rooms for
>performing and audience walk through.

Here's one:

<http://tinyurl.com/5c332z>

MZ

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

From ingalls at mills.edu  Fri Nov 21 00:14:28 2008
From: ingalls at mills.edu (Matt Ingalls)
Date: Fri, 21 Nov 2008 00:14:28 -0800
Subject: [NewMusic] Old House For Performance
In-Reply-To: <p06240830c54b4d25c5aa@[192.168.0.5]>
References: <6E002D21-CA51-4C9F-A869-83317C71E95D@pixar.com><C0A4A414-9B6C-4967-B4
	2F-2F948F98EF69@pixar.com><73009.45000.qm@web30503.mail.mud.yahoo.com>
	<efef87870811131343n1ac9432cg22314ce0123999f4@mail.gmail.com>
	<8E0D933C10404992BEAD014D1EB746E1@eyefull01>,
	<p06240830c54b4d25c5aa@[192.168.0.5]>
Message-ID: <F81D56F650769E4587383FDD7DE82629067FA821@EXCHANGE02.mills.edu>

this place is in san rafael and they have fairly cheap rentals for concerts:

http://www.falkirkculturalcenter.org/tourslide.html?slideshowid=4

several rooms on bottom floor (i think upstairs is off limits)
 can't remember if they have a fireplace or not..

it's kind of feels like that epic arts house in berkeley but 2 or 3 times the size
-m

________________________________________
From: newmusic-bounces at music.mills.edu [newmusic-bounces at music.mills.edu] On Behalf Of Michael Zelner [michaelz at zoka.com]
Sent: Thursday, November 20, 2008 9:26 AM
To: Bay Area New Music Discussion Group
Subject: Re: [NewMusic] Old House For Performance

On 11/20/08, dmichalak wrote:

>Could anyone suggest and interesting old house that could be used for a
>performance. A fireplace would be good as would the use of several rooms for
>performing and audience walk through.

Here's one:

<http://tinyurl.com/5c332z>

MZ

--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic

From mattdavignon at gmail.com  Sun Nov 23 10:14:49 2008
From: mattdavignon at gmail.com (Matt Davignon)
Date: Sun, 23 Nov 2008 10:14:49 -0800
Subject: [NewMusic] Ensoniq EPS Sampler
Message-ID: <c70e517b0811231014y2756b154o7963d1301108ddc8@mail.gmail.com>

Does anyone happen to have a good amount of experience with one of
these? I'm getting some strange behavior, and would like to know if
it's a setting I accidentally turned on.

Matt

From damon at balancepointacoustics.com  Mon Nov 24 12:17:46 2008
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 24 Nov 2008 12:17:46 -0800
Subject: [NewMusic] Video from 1510 Saturday
Message-ID: <2E4F388F-1261-4A19-9BCC-68D076D9B4BD@balancepointacoustics.com>

http://www.vimeo.com/2330230

Simon Rose (UK) alto saxophone
Scott R. Looney piano
Damon Smith double bass

Damon Smith

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





From matthew at matthewgoodheart.com  Tue Nov 25 01:07:06 2008
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Tue, 25 Nov 2008 01:07:06 -0800
Subject: [NewMusic] Rae Imamura
Message-ID: <873EE004-CFF6-4917-8D6E-29A7C012B1CE@matthewgoodheart.com>

Although she has been off the radar for many of the folks who post  
here, Rae has been involved with the new music scene since the 70's,  
so I felt she deserved a mention, and perhaps some folks knew her.  
This was sent to me this evening. I knew her as both a musician  
interested in contemporary work, and a music educator who deeply cared  
about teaching kids from difficult socio-economic backgrounds,  
instilling in them a sense of traditional discipline with an open ear  
toward new music and sound.  -mg

+++++++++++++++++++++++++

Rae Imamura passed away on Saturday, November 22, 2008 at her Berkeley  
home.  Daughter of Rev. Kanmo and Jane Imamura, Rae is survived by her  
mother, her siblings, Hiro, Ryo and Mari, and her dog Brandy.  Rae  
graduated from U.C. Berkeley, and went on to  receive her M.F.A. in  
piano at Mills College, where she found her voice in contemporary  
music.  In 1975, she co-founded a new music ensemble whose repertoire  
included such composers as John Cage, Robert Ashley, Lou Harrison,  
Terry Riley, John Adams and Paul Dresher.  She later joined the Arch  
Ensemble for Experimental Music, and partnered in a two piano team  
with Michael Orland.  Touring the East Coast, Europe and Asia numerous  
times. she premiered/commissioned works of many composers including  
Lou Harrison, Paul Drescher, George Lewis, and Mamoru Fujieda.  Her  
favorite projects over the last years involved her collaboration with  
pianist Aki Takahashi - including in late 2006 new works by Andrew  
Imbrie and Hi-Kyung Kim. A CD of their performance has just been  
released.

Rae taught at the East Bay Center for Performing Arts in Richmond  
California and was the Center's assistant director at its founding in  
the early 70's.  She would often tell people that she found her most  
rewarding moments working with the young students at the Center.  She  
also worked with the Oakland-East Bay Symphony's MUSE program, the  
Berkeley Symphony, the Oakland Ballet Orchestra, the Santa Cruz  
Symphony and the Santa Rosa Symphony.  She was the accompanist for the  
choir at St. Theresa's for many years and continued on with the  
Rockridge Chorale.

Funeral services will be held at the Berkeley Buddhist Church at 2121  
Channing Way on Saturday, November 29th at 4:00 p.m.  Correspondence  
to her family can be sent to 1625 Francisco Street, Berkeley,  
Califonia 94703 or emailed to m_matsuoka at hotmail.com.

+++++++++++++++++++++++++

Matthew Goodheart
composer ~ improviser ~ pianist
matthew at matthewgoodheart.com
http://matthewgoodheart.com
http://myspace.com/matthewgoodheart





From Gino.Robair at penton.com  Fri Nov 28 14:42:28 2008
From: Gino.Robair at penton.com (Robair, Gino)
Date: Fri, 28 Nov 2008 16:42:28 -0600
Subject: [NewMusic] John Butcher: Resonant Spaces CD
Message-ID: <C65FA6D01E469549B210B278C2EC8BD31EBA07D7BA@MAILSRV2.pme.penton.com>

Hey listers,
I have a handful of John's latest CD, which he recorded live in various exotic, resonant spaces in the UK (caves, cisterns, etc). Includes tracks of feedback sax, and a 20-page booklet of photos. They're $15 ppd each in the US --  If you're interested, email me off-list.
cheers,
g