From 21grand at 21grand.org Thu Oct 1 15:44:43 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 01 Oct 2009 15:44:43 -0700 Subject: [NewMusic] 21 Grand might be moving and wants your input Message-ID: Hey there, So, as many of you know (of those who care), 21 Grand's lease is up at our current location at the end of February. It would cost a lot of money to bring our current building up to code, and we've currently been doing shows the way we have in the past, hoping not to "get caught" and "get in trouble." So far, we haven't had any problems, but it is stressful constantly having to look over your shoulder, or look down the street and ask yourself, "Is that a cop car? Is it coming this way? Is it coming for us?" Ideally, we'd have a space where we wouldn't have to worry about these things. But finding one hasn't been easy, and rents on buildings in our neighborhood aren't as cheap as they once were. Right now, we are considering two options: 1. staying put for another year, waiting to see what the market will do, whether prices will come down, etc. 2. moving out of our neighborhood to a building that is close to up to code for what we do What I'd like to know from you all is what you like/value about 21 Grand facility-wise. Size? Acoustics? The converted warehouse aesthetic? Location? The alley? What would make it better/more enjoyable? We hope to come to a decision by the end of this month, at the latest. Feel free to email me off list. Thanks, Sl From bergmark1 at glocalnet.net Fri Oct 2 00:07:13 2009 From: bergmark1 at glocalnet.net (Johannes Bergmark) Date: Fri, 2 Oct 2009 09:07:13 +0200 Subject: [NewMusic] Californians! Call me on Skype today (and tomorrow) and become a co-creator in a sound environment at Fylkingen, Stockholm! References: Message-ID: <8233E365-9336-4589-BDD4-12234BC60485@glocalnet.net> FOR YOU OUTSIDE OF STOCKHOLM! contribute to the sound environment through Skype! SATURDAY OCT. 2ND AND SUNDAY OCT. 3RD 6 AM - PACIFIC TIME!! gallery opening 10.30 AM - PACIFIC TIME!! concert starts 4 PM - PACIFIC TIME!! end Yesterday we invited Europe: we had a wonderful participation from poland, norway and finland. Today we invite our friends overseas! You can contribute to the exhibition and concerts wherever you are! During the opening times, people all over the world are encouraged to call by skype to: jbergmark ? when you call, just leave the connection open without headphones but with the speakers on maximum volume in order to produce feedback over the network. You don't have to say anything, but if you want, you can send sounds of your choice or even secretely from another concert you might be attending at the same time! (If you don't have Skype, register a free account at http://www.skype.com/ .) A PLAY-OFF, BATTLE, FRIENDLY MATCH, LET?S GET SPORTY ? electronic sound environment and concerts THURSDAY Oct 1st: Opening at 7:30 pm (local time) FRIDAY Oct 2nd & SATURDAY Oct 3rd: The exhibition is open from 3:00, concert at 7:30 pm (local time) Fylkingen in M?nchenbryggeriet, Torkel Knutssonsgatan 2, over the yard in the vault http://www.fylkingen.se Johannes Bergmark: amplified objects, skype feedback http://bergmark.org Luc Kerl?o (Nantes): invisible sculpture http://luc.kerleo.free.fr Tippi: electronic constructions and manipulations and synthesizers, skype feedback + the electronic sound collective NOISIV: S?amus O?Donnell (IRL/Berlin): radio transmission + old tape recorders http://lifeloop.org Joffrey Guillon (Bretagne): rebuilt instruments, hardware, electronics and effects http://androvirus.noweb.org http://noweb.org/noisiv Jo Frgmnt Grys (DE): self-built noise machines http://frgmnt.de.vu http://tob.de.vu (fm noise) http://frgmnt.org Variable entrance: free entrance to the exhibition. For the concerts suggested fee is 80 SEK, 60 SEK concessions. Noone turned away at the door because of lack of finances. Bring radios for participation in the exhibition! (Thank you S?ren Runolf, Jonatan Liljedahl, Christer Both?n, Martin K?chen) Member's production: Bergmark Johannes Bergmark plays improvised and live electronic music for invented instruments, selected objects and electronics, among other things. He has made many instruments of his own design and construction (as well as some traditional ones) and makes his own contact microphones. Bergmark is also an occasional writer, electro-acoustic music - and text-sound composer, sound poet and piano technician. In his attitude a skeptic and surrealist, not an artist. He has, however toured and collaborated with hundreds of other artists worldwide since 15 years. He also makes sound sculptures, interactive sound installations, performance art and teaches and lectures. Residing in Stockholm, where he is active mostly in Fylkingen, at EMS and in the Surrealist Group in Stockholm. Tippi Surrealist and Skeptic, physically oscillating between the two continents but mentally boundless. Self uneducated, in daily life speaks a language combined of three. Scalpels, glue, contact microphones, pincers and circuit bending equipment follow her on her trips as her main fields of activity so far includes collages, performance, objects, sound environments and music. Conceptual inspirations from science, as well as pure usage of chance meetings in her work, creates a way of escaping easy descriptions of having a certain style. Driven by the spirit of inquiry, styleless and scattered is taking chances to collaborate with anybody ready to take risks of experimentation within art and beyond it. We are thinking of making a skype feedback and connecting with various people who could contribute to the project by online performance and producing feedback. Luc Kerl?o from signal to space I act as a sculptor. For me sculpture is about the relation between volumes and spaces. I mainly work with sound for two reasons. First, compared to visual, sound is a discrete manifestation. Thus I consider one of my preoccupations which is to make people feel a thought without having to cover and hide a part of reality with objects which blocks up or invade the viewing field. Furthermore by listening reality I develop thoughts and reflexion structures which complete our cultural perception of what surrounds us, this perception which on a cultural aspect is mainly based on the visual. Notably the sounding requires us to consider not only what is in front of us but also, and equally, what surrounds us. But then the stake for me is the same than for artists acting in visual. Since it is about representing what surrounds and constitutes us. History and actuality of visual arts (painting, sculpture, installation, drawings, performances) constitute the territory to which I refer and in which I move around. Because they are bridges between thinking and action in reality. raw technology Most of the sounds I work with are produced by synthesizers. I design and build myself a part of technological elements that are used in technical systems of my pieces. Thus I can explore sounding forms, in particular volumes, that hi-fi or PA systems couldn't produce. I design my own electronic circuits: generators, amplifiers, filters, timers, etc. Though I'm not an engineer but just a DIYer, I can design circuits and systems which, though they are quite simple, are neither build nor sold because of being outside people usually figure out about sound. I plan to produce ambiences with my computer transforming sounds of my soundbank. I'm working on an idea of something like a sounding wallpaper, sounds that surrounds visitors. I also plan to put 1 or 2 little mono speakers plugged on mp3 players to make mini sculptures. I'll bring players and little speakers for that. Those systems are evolutive so I can react to other's ideas. S?amus O?Donnell is an Irish sound artist who is based in Berlin since 1994. He is working on an erray of different projects focused on audio or sonic art, its production and the possible media outlets available or those yet to come. 1999: co-founded noisiV, an ambient noise formation with Joffrey Guillon and FRGMNT and joined the performance art association Gallery SoToDo. 2001: with other musicians developed the reel to reel tape ensemble 6TonBand, for performances and installations. 2002: co- founded TOB (Transmitting Object Behaviors) an FM radio noise experiment, and with other radio enthusiasts founded the association radiokampagne.de to lobby for a free (non-commercial, self-run) radio in Berlin. In the same year started Salon Bruit salonbruit.org , a meeting place for listeners and composers of experimental electronic music and arranged noises. 2005: joined the radioTesla team to present a weekly radio listening lounge at Tesla, Berlin and from 2008 on at the club Ausland. Ongoing participation in different short term local radio projects. Solo performances under the name Lifeloop. Return to Sender Four radio receivers and two to four mini-FM transmitters, each transmitting on a different frequency what it is being fed or what it picks up from the near field chaos surrounding it. The transmission between the devices is affected by what frequency the receivers are tuned to, the immediate electro-magnetic field, human presence and furniture. The signal is not a sound loop travelling in the area of intervention, but a spontaneous event, resulting from collective action in perpetual movement. Jo FRGMNT Grys Born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc at the Justus-Liebig-University of Giessen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with videosnow, electronics, computers, body & brain. Performs with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) since 2002 and 2VM (VJ team) since 2002. Grys makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2?s DEAF, Piksel, Pixelache, Art Trail, Dorkbot.. for the gig i plan on using two noise synths a delay & a ringmodulator through a submixer. for the installation i m undecided yet, but it could like seamus piece involve radios (!) at least two & a light sensitive electronic or a theremin-enabled arduino. so it will be reactive analog or digital diy electronic. Joffrey Guillon comes from a background of painting and video installations. He began to make music in 1999 with Seamus O'Donnell, with whom he created Noisiv, a research project in crossmedia production spanning from sound to sculpture. In 2000 they were joined by Jo frgmnt Grys. After leaving Berlin in 2002 Joffrey Guillon began experimenting in different musical perceptions, and so the solo project, Androvirus was born. At first, continuing the sound exploration as made with Noisiv, using sound structure fully open to personal interpretation. The real break became clear when he began to use hardware, voice and instruments associated with more live experiment and a more constructed way to build a track. Today he uses a lot of studio recording in a way to create an ambient music, that is still industrial and noizy. At the NoiseNoD Festival in Prag, 2007, he created the project NoizPozor as an open concept for noise artists to experiment with the different ways of approaching sound. He remains an active member of Noisiv. ------------------------- http://bergmark.org http://surrealistgruppen.org http://fylkingen.se This is a mailout from Johannes Bergmark. If you don't want mailings like this, please reply and say so, and I'll remove you from the list. From gino at rastascan.com Mon Oct 5 21:23:24 2009 From: gino at rastascan.com (Gino Robair) Date: Mon, 05 Oct 2009 21:23:24 -0700 Subject: [NewMusic] League of Automatic Music Composers Archive '78-'81 release Message-ID: Saved from the Shoebox of Doom by Jon Leidecker, it's now available on a ltd edition flash drive: Info and photo here: http://matrixsynth.blogspot.com/2009/10/league-of-automatic-music-composers. html And here: http://personal.ilimit.es/perkele/evol/purchase.html And who is in this League, you may ask? From two of the chaps, themselves: John Bischoff, Jim Horton, Tim Perkis David Behrman, Paul DeMarinis, Rich Gold ? The League of Automatic Music Composers was a band/collective of electronic music experimentalists active in the San Francisco Bay Area between 1977 and 1983. Widely regarded as the first musicians to incorporate the newly available microcomputers of the day into live musical performance, the League created networks of interacting computers and other electronic circuits with an eye to eliciting surprising and new ?musical artificial intelligences.? We approached the computer network as one large, interactive musical instrument made up of independently programmed automatic music machines, producing a music that was noisy, difficult, often unpredictable, and occasionally beautiful. The work of the League partook of the distinctive cultural atmosphere of the San Francisco Bay Area in the seventies and eighties, a rich blend of communal ideologies, radical culture, technical innovation, intellectual ferment, and a hands-on attitude that has been a hallmark of California life since the pioneer days. In the air then there was a sense of new possibilities, and the feeling of the need to build a culture from the ground up. For music, specifically, this meant redefining everything about how it?s done, from the instruments and tuning systems to the musical forms, venues, and social relations among players and audiences. ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?Tim Perkis and John Bischoff From mattdavignon at gmail.com Tue Oct 6 08:01:00 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Tue, 6 Oct 2009 10:01:00 -0500 Subject: [NewMusic] 21 Grand might be moving and wants your input In-Reply-To: References: Message-ID: I think the location is one of the things that makes it easy to come to shows at 21 Grand. Proximity to a Bart station is something I'd highly suggest. (Even if it isn't *my* bart station.) I think many of the other considerations could be worked around, but I wind up never going to venues that are hard to get to without a car. Matt On Thu, Oct 1, 2009 at 5:44 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: > Hey there, > > So, as many of you know (of those who care), 21 Grand's lease is up at our > current location at the end of February. It would cost a lot of money to > bring our current building up to code, and we've currently been doing shows > the way we have in the past, hoping not to "get caught" and "get in > trouble." ?So far, we haven't had any problems, but it is stressful > constantly having to look over your shoulder, or look down the street and > ask yourself, "Is that a cop car? Is it coming this way? Is it coming for > us?" > > Ideally, we'd have a space where we wouldn't have to worry about these > things. ?But finding one hasn't been easy, and rents on buildings in our > neighborhood aren't as cheap as they once were. > > Right now, we are considering two options: > 1. staying put for another year, waiting to see what the market will do, > whether prices will come down, etc. > 2. moving out of our neighborhood to a building that is close to up to code > for what we do > > What I'd like to know from you all is what you like/value about 21 Grand > facility-wise. ?Size? Acoustics? The converted warehouse aesthetic? > Location? The alley? What would make it better/more enjoyable? > > We hope to come to a decision by the end of this month, at the latest. > > Feel free to email me off list. > > Thanks, > > Sl > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From lx.rudis at gmail.com Tue Oct 6 10:06:26 2009 From: lx.rudis at gmail.com (lx rudis) Date: Tue, 6 Oct 2009 10:06:26 -0700 Subject: [NewMusic] League of Automatic Music Composers Archive '78-'81 release In-Reply-To: References: Message-ID: <7272233a0910061006t6c4a4baes230912da966b7a49@mail.gmail.com> nice post, gino, thanks! - ...also related was 'the hub'. here's a link to a PDF with some interesting info on both ensembles. http://docs.google.com/gview?a=v&q=cache%3AR6Wiw-VSv5gJ%3Awww.nicolascollins.com%2Ftexts%2Fflyintheointment.pdf+%27the+hub%27+music+bay+area&hl=en&gl=us&sig=AFQjCNGthU_n5uA8kI8EDLY0zERUS8ORCg&pli=1 x On Mon, Oct 5, 2009 at 9:23 PM, Gino Robair wrote: > Saved from the Shoebox of Doom by Jon Leidecker, it's now available on a > ltd > edition flash drive: Info and photo here: > > http://matrixsynth.blogspot.com/2009/10/league-of-automatic-music-composers. > html > > And here: > http://personal.ilimit.es/perkele/evol/purchase.html > > And who is in this League, you may ask? From two of the chaps, themselves: > > John Bischoff, Jim Horton, Tim Perkis > David Behrman, Paul DeMarinis, Rich Gold > > The League of Automatic Music Composers was a band/collective of electronic > music experimentalists active in the San Francisco Bay Area between 1977 > and > 1983. Widely regarded as the first musicians to incorporate the newly > available microcomputers of the day into live musical performance, the > League created networks of interacting computers and other electronic > circuits with an eye to eliciting surprising and new ?musical artificial > intelligences.? We approached the computer network as one large, > interactive > musical instrument made up of independently programmed automatic music > machines, producing a music that was noisy, difficult, often unpredictable, > and occasionally beautiful. > > The work of the League partook of the distinctive cultural atmosphere of > the > San Francisco Bay Area in the seventies and eighties, a rich blend of > communal ideologies, radical culture, technical innovation, intellectual > ferment, and a hands-on attitude that has been a hallmark of California > life > since the pioneer days. In the air then there was a sense of new > possibilities, and the feeling of the need to build a culture from the > ground up. For music, specifically, this meant redefining everything about > how it?s done, from the instruments and tuning systems to the musical > forms, > venues, and social relations among players and audiences. > > > ?Tim Perkis and John Bischoff > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From damon at balancepointacoustics.com Tue Oct 6 10:27:40 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Tue, 6 Oct 2009 10:27:40 -0700 Subject: [NewMusic] 21 Grand might be moving and wants your input In-Reply-To: References: Message-ID: <5FB34DFE-1756-4019-9EDB-C96FD362F518@balancepointacoustics.com> I agree with proximity to BART, that is key, AC transit is pretty much usless anymore, so that makes things a little more difficult. I like the acoustics for unamplified or quieter music, amplifying the bass is fine, anything too loud is hard. I also really like the "lobby" area. When programing any kind of adventurous music it is great not to feel trapped as a listener. Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From gino at rastascan.com Tue Oct 6 12:00:47 2009 From: gino at rastascan.com (Gino Robair) Date: Tue, 06 Oct 2009 12:00:47 -0700 Subject: [NewMusic] Kerchoonz K-box Portable Speaker Message-ID: David Battino reviews an item that some of the electronics people on this list might enjoy hearing about: http://broadcast.oreilly.com/2009/10/review-kerchoonz-k-box-portabl.html Not to be confused with the KMI K-Bow. From michaelz at zoka.com Tue Oct 6 12:02:10 2009 From: michaelz at zoka.com (Michael Zelner) Date: Tue, 6 Oct 2009 12:02:10 -0700 Subject: [NewMusic] Eigenharp Message-ID: "After eight years in the making, the most revolutionary new musical instrument of the last 60 years has arrived. Designed specifically for live performance, it is simply the most expressive electronic musical instrument ever made." Hmm. . . judge for yourself: MZ From matthew at matthewgoodheart.com Tue Oct 6 12:18:51 2009 From: matthew at matthewgoodheart.com (Matthew Goodheart) Date: Tue, 6 Oct 2009 12:18:51 -0700 Subject: [NewMusic] Eigenharp In-Reply-To: References: Message-ID: <38B2D6DD-1F1C-4E07-8F67-D524ACD8F027@matthewgoodheart.com> Wow, I guess Don Buchla and Adriane Freed are now out of a job. . . Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart From gino at rastascan.com Tue Oct 6 14:26:29 2009 From: gino at rastascan.com (Gino Robair) Date: Tue, 06 Oct 2009 14:26:29 -0700 Subject: [NewMusic] Yasunao Tone contact info? Message-ID: Crazy question for the group: Does anyone have contact info for Yasunao Tone that they can share with me? A video producer wants to contact him. Let me know off-list. Cheers, g From damon at balancepointacoustics.com Tue Oct 6 14:30:19 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Tue, 6 Oct 2009 14:30:19 -0700 Subject: [NewMusic] Yasunao Tone contact info? In-Reply-To: References: Message-ID: <21C5FFA3-8DD7-4323-B204-F2AAAB314970@balancepointacoustics.com> He is great. If no one here does Butcher should have it. Damon Smith http://www.balancepointacoustics.com Sent from my iPod On Oct 6, 2009, at 2:26 PM, Gino Robair wrote: > Crazy question for the group: > Does anyone have contact info for Yasunao Tone that they can share > with me? > A video producer wants to contact him. > Let me know off-list. > Cheers, > g > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From 8vuit8 at gmail.com Tue Oct 6 14:48:08 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Tue, 6 Oct 2009 14:48:08 -0700 Subject: [NewMusic] Eigenharp In-Reply-To: References: Message-ID: <98e30a870910061448q67b03a91tcdad230cd001af39@mail.gmail.com> sad news On Tue, Oct 6, 2009 at 12:02 PM, Michael Zelner wrote: > "After eight years in the making, the most revolutionary new musical > instrument of the last 60 years has arrived. Designed specifically > for live performance, it is simply the most expressive electronic > musical instrument ever made." > > Hmm. . . judge for yourself: > > > > > > > MZ > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Bob Marsh 475 43rd Street Richmond, CA 94805 510-236-2595 home 510-932-9268 cell www.bobmarsh.net www.myspace.com/bobisadoctor www.myspace.com/emergencystringxtet www.myspace.com/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/neufnineneuf www.myspace.com/thespiritmovesus From 8vuit8 at gmail.com Tue Oct 6 14:50:45 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Tue, 6 Oct 2009 14:50:45 -0700 Subject: [NewMusic] Kerchoonz K-box Portable Speaker In-Reply-To: References: Message-ID: <98e30a870910061450s1cb73415w6c27a54e37f0ced1@mail.gmail.com> glad news On Tue, Oct 6, 2009 at 12:00 PM, Gino Robair wrote: > David Battino reviews an item that some of the electronics people on this > list might enjoy hearing about: > http://broadcast.oreilly.com/2009/10/review-kerchoonz-k-box-portabl.html > > Not to be confused with the KMI K-Bow. > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Bob Marsh 475 43rd Street Richmond, CA 94805 510-236-2595 home 510-932-9268 cell www.bobmarsh.net www.myspace.com/bobisadoctor www.myspace.com/emergencystringxtet www.myspace.com/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/neufnineneuf www.myspace.com/thespiritmovesus From 21grand at 21grand.org Tue Oct 6 14:59:23 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Tue, 06 Oct 2009 14:59:23 -0700 Subject: [NewMusic] 21 Grand might be moving and wants your input In-Reply-To: <5FB34DFE-1756-4019-9EDB-C96FD362F518@balancepointacoustics.com> Message-ID: The place we're looking at is a little further from BART than where we are now, but still walkable. We would definitely continue to have a lobby area. We also would be seriously looking into doing acoustic treatment, which we'd be looking for help with. We're meeting with the real estate agent tomorrow, and will keep folks posted on developments. Thanks for everyone's input sl on 10/6/09 10:27 AM, Damon Smith at damon at balancepointacoustics.com wrote: > I agree with proximity to BART, that is key, AC transit is pretty > much usless anymore, so that makes things a little more difficult. I > like the acoustics for unamplified or quieter music, amplifying the > bass is fine, anything too loud is hard. I also really like the > "lobby" area. When programing any kind of adventurous music it is > great not to feel trapped as a listener. > > 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 pgsaxo at pacbell.net Tue Oct 6 15:45:18 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Tue, 6 Oct 2009 15:45:18 -0700 (PDT) Subject: [NewMusic] 21 Grand might be moving and wants your input Message-ID: <890815.40862.qm@web81402.mail.mud.yahoo.com> my friend svea runs the swarm gallery down by yoshi's. she has regular events there and the ones I've gone to have been well attended. sent from phillip's iPhone On Oct 6, 2009, at 2:59 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: The place we're looking at is a little further from BART than where we are now, but still walkable. We would definitely continue to have a lobby area. We also would be seriously looking into doing acoustic treatment, which we'd be looking for help with. We're meeting with the real estate agent tomorrow, and will keep folks posted on developments. Thanks for everyone's input sl on 10/6/09 10:27 AM, Damon Smith at damon at balancepointacoustics.com wrote: I agree with proximity to BART, that is key, AC transit is pretty much usless anymore, so that makes things a little more difficult. I like the acoustics for unamplified or quieter music, amplifying the bass is fine, anything too loud is hard. I also really like the "lobby" area. When programing any kind of adventurous music it is great not to feel trapped as a listener. 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 tim at perkis.com Tue Oct 6 18:06:53 2009 From: tim at perkis.com (Tim Perkis) Date: Tue, 06 Oct 2009 18:06:53 -0700 Subject: [NewMusic] 21 Grand might be moving and wants your input In-Reply-To: <5FB34DFE-1756-4019-9EDB-C96FD362F518@balancepointacoustics.com> References: <5FB34DFE-1756-4019-9EDB-C96FD362F518@balancepointacoustics.com> Message-ID: <4ACBE9AD.6090609@perkis.com> I like having the alley, and the lobby area... but anyplace you can get away from the music for a while and socialize a bit is crucial to making the whole thing feel right. I like the acoustics in the current spot for almost everything, except when the music is very loud it can get harsh. T From bergmark1 at glocalnet.net Thu Oct 8 08:20:03 2009 From: bergmark1 at glocalnet.net (Johannes Bergmark) Date: Thu, 8 Oct 2009 17:20:03 +0200 Subject: [NewMusic] =?windows-1252?q?Fwd=3A_Petition_against_closing__IMEB?= =?windows-1252?q?_____P=E9tition__contre_la_fermeture_de_l=27IMEB?= References: <33F48346-732D-4ED5-9AB3-446115546DF3@yahoo.se> Message-ID: <68AC69E3-C183-4B78-9F33-50F6A38FBEB6@glocalnet.net> Request for Support for the International Institute for Electroacoustic Music Bourges IMEB After a first reduction of IMEB?s subsidy in 2003 and a second in 2009 amounting to 32% of the total budget, the delegation of the Ministry in the Region Centre (DRAC), without consulting the other institutional partners contributing to the subsidy, has expressed its firm intention to close IMEB. If the reduction in funds by the DRAC is not cancelled within the next days, the closing of IMEB will be unavoidable before the end of 2009. We ask that those colleagues of all countries who wish to see IMEB continue its activities immediately sign the petition at this address: www.supportforimeb.org . The petition and signatures will be sent daily to the Ministry of Culture, but also to the Presidents of the Regional Council and the General Council, in the hope that the support and the subsidies to IMEB will be continued and increased. Thank you very much for your solidarity. Demande de soutien pour l?IMEB Apr?s un premier d?sengagement en 2008 suivi d?un second en 2009 portant sur 32% de sa subvention, la d?l?gation du Minist?re en r?gion (DRAC), sans accord avec les autres partenaires institutionnels, a exprim? en troisi?me ?tape sa ferme intention de fermeture de l?IMEB. Si la diminution financi?re de la DRAC n?est pas annul?e dans les jours ? venir, la fermeture de l?IMEB sera in?luctable avant la fin 2009. Il est propos? aux coll?gues de tous pays qui souhaitent voir l?IMEB poursuivre ses activit?s, de signer le plus vite possible la p?tition qui se trouve sur le site www.supportforimeb.org . Cette p?tition et ses signatures seront transmises jour apr?s jour au Ministre de la Culture, mais aussi aux Pr?sidents des Conseils R?gional et G?n?ral afin que ceux-ci confortent leurs soutiens et subventionnements ? l?IMEB. Nous vous remercions pour votre solidarit? active. From matt at sfsound.org Thu Oct 8 10:50:17 2009 From: matt at sfsound.org (matt) Date: Thu, 8 Oct 2009 10:50:17 -0700 Subject: [NewMusic] Suzanne Fiol, Avant-Garde Impresario, Dies at 49 Message-ID: <544BA0CA-39B3-431A-81E0-BC850BB3358D@sfsound.org> http://www.nytimes.com/2009/10/08/arts/music/08fiol.html?_r=1&ref=obituaries From slusser at pixar.com Thu Oct 8 15:00:20 2009 From: slusser at pixar.com (David Slusser) Date: Thu, 8 Oct 2009 15:00:20 -0700 Subject: [NewMusic] Eigenharp In-Reply-To: References: Message-ID: <1A818F17-4B28-4592-BD57-668A4DB5EF46@pixar.com> On Oct 6, 2009, at 12:02 PM, Michael Zelner wrote: > "After eight years in the making, the most revolutionary new musical > instrument of the last 60 years has arrived. Designed specifically > for live performance, it is simply the most expressive electronic > musical instrument ever made." > > Hmm. . . judge for yourself: > > > > another thing to bookmark: http://creepsville.com/calendar/calendar.php?op=cal&month=10&year=2009&catview=0 m@ From 8vuit8 at gmail.com Mon Oct 12 11:00:58 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Mon, 12 Oct 2009 11:00:58 -0700 Subject: [NewMusic] Dohee Lee/Meridian Gallery 10/10 Message-ID: <98e30a870910121100o5532f652vbd836be649d7dbb@mail.gmail.com> Saturday night was one of those night of convergence. So many attractive events - Mills, Rent and Thollem at Trinity, opera at Flux 53, Butoh at ODC, and Lee at Meridian. I chose Meridian for two reasons beyond the intrigue of the announcement: proximity to where I work and a general desire to support the Meridian Gallery whenever and however I can. Dohee Lee?s piece was complex and transforming. I have experienced more transformation through dance and movement than any other art form. And I was transformed this night. My inward parts were re-arranged in a significant way. To even call her performance a performance is a little misleading. And while we all appreciated what she did deeply, I though the applause out of place and on the BART ride home I felt no desire to stick those things in my ears but listened to the whirring and bubbling of my environment. Her use of Korean shamanistic sounds, movements and voice with other influences such as Anna Halperin workshops added up to something more than its parts. And then she managed to roust every up into gleeful dancing around the space. A great celebratory ending that was really a beginning. Thanks to those at Meridian and Dohee -- Bob Marsh 475 43rd Street Richmond, CA 94805 510-236-2595 home 510-932-9268 cell www.bobmarsh.net www.myspace.com/bobisadoctor www.myspace.com/emergencystringxtet www.myspace.com/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/neufnineneuf www.myspace.com/thespiritmovesus From pgsaxo at pacbell.net Mon Oct 12 11:43:02 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Mon, 12 Oct 2009 11:43:02 -0700 (PDT) Subject: [NewMusic] Dohee Lee/Meridian Gallery 10/10 Message-ID: <964283.74419.qm@web81408.mail.mud.yahoo.com> thanks for writing about this show, bob, it sounds like a great show. i've seen her a few times and admire her work. i was in chicago freezing my fanny off and could not attend any of the wonderful events scheduled that night... sent from phillip's iPhone On Oct 12, 2009, at 11:00 AM, Bob Marsh <8vuit8 at gmail.com> wrote: Saturday night was one of those night of convergence. So many attractive events - Mills, Rent and Thollem at Trinity, opera at Flux 53, Butoh at ODC, and Lee at Meridian. I chose Meridian for two reasons beyond the intrigue of the announcement: proximity to where I work and a general desire to support the Meridian Gallery whenever and however I can. Dohee Lee?s piece was complex and transforming. I have experienced more transformation through dance and movement than any other art form. And I was transformed this night. My inward parts were re-arranged in a significant way. To even call her performance a performance is a little misleading. And while we all appreciated what she did deeply, I though the applause out of place and on the BART ride home I felt no desire to stick those things in my ears but listened to the whirring and bubbling of my environment. Her use of Korean shamanistic sounds, movements and voice with other influences such as Anna Halperin workshops added up to something more than its parts. And then she managed to roust every up into gleeful dancing around the space. A great celebratory ending that was really a beginning. Thanks to those at Meridian and Dohee -- Bob Marsh 475 43rd Street Richmond, CA 94805 510-236-2595 home 510-932-9268 cell www.bobmarsh.net www.myspace.com/bobisadoctor www.myspace.com/emergencystringxtet www.myspace.com/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/neufnineneuf www.myspace.com/thespiritmovesus _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From mattdavignon at gmail.com Sun Oct 18 00:04:18 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Sun, 18 Oct 2009 00:04:18 -0700 Subject: [NewMusic] Travis Johns live streaming right now (12:00 am) Message-ID: http://www.ustream.tv/channel/y2k9loopfest He's the last set of the night. Assuming the feed is still running tomorrow, I'll be on tomorrow at 1:00. -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From electric.tokyo at gmail.com Sun Oct 18 13:58:04 2009 From: electric.tokyo at gmail.com (Travis Johns) Date: Sun, 18 Oct 2009 13:58:04 -0700 Subject: [NewMusic] Travis Johns live streaming right now (12:00 am) In-Reply-To: References: Message-ID: hehheh, thanks for the heads up matt! it was a pretty ripping set - no computer - just synths, delays and some prerecoded binaural frequencies on the ipod (much easier than lugging massive analogs for the equivalent when yr car's loaded to the brim with camping gear and drinkin' buddies...) finished up at around 12:45ish or so and took off for the beach (scouted a campsite earlier in the eve). woke up to waves and sunshine and a nice stroll down the sand before the fog rolled in. tonight i see the flaming lips over on treasure island - all said, awesome weekend! lerv, t. On Sun, Oct 18, 2009 at 12:04 AM, Matt Davignon wrote: > http://www.ustream.tv/channel/y2k9loopfest > He's the last set of the night. > > Assuming the feed is still running tomorrow, I'll be on tomorrow at 1:00. > > -- > Matt Davignon > www.ribosomemusic.com > Rigs! www.youtube.com/user/ribosomematt > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From damon at balancepointacoustics.com Sun Oct 18 21:46:20 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Sun, 18 Oct 2009 21:46:20 -0700 Subject: [NewMusic] MIni East Coast tour 10/23, 25, 27th Message-ID: <7B30B9C3-6B93-44D6-9209-053770473745@balancepointacoustics.com> OVER-NITE SENSATION: Autumn Edition Venue: Plays and Players Theater, 3rd Floor 1714 Delancey Place Philadelphia, PA presented with Plays and Players Friday, October 23, 8pm Damon Smith - solo double bass + many other short sets Lucky Old Souls Sunday, October 25, 2009 6:30pm - 11:00pm Moonstone Arts Center (aka Robin's Books) 110 S. 13th St., 2nd Floor Philadelphia, PA Lucky Old Souls and Dan Peterson present... a special Sunday dinner concert at Moonstone Arts Center with music from... TRUTH AND CONSEQUENCE TRIO Dan Peterson, reeds Matt Stein, bass Doug Hirlinger, drums JASON STEIN solo bass clarinet JACK WRIGHT Quartet Jack Wright, sax Jason Stein, bass clarinet Damon Smith, double bass Mike Szekely, drums Zebulon 258 Wythe Ave Brooklyn, NY 11211-3914 (718) 218-6934 10/27/2009 8:00 PM Jack Wright , Mike Pride, Damon Smith Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From matt at sfsound.org Mon Oct 19 10:06:06 2009 From: matt at sfsound.org (matt) Date: Mon, 19 Oct 2009 10:06:06 -0700 Subject: [NewMusic] abc 7 news spot of Vic Rawlings & Tim Feeney @ CNMAT Message-ID: <400758EC-133F-42C7-84AF-DED426E51019@sfsound.org> guess it was a slow news day.. http://abclocal.go.com/kgo/story?section=news/drive_to_discover&id=7047990 m@ From gino at rastascan.com Mon Oct 19 12:11:35 2009 From: gino at rastascan.com (Gino Robair) Date: Mon, 19 Oct 2009 12:11:35 -0700 Subject: [NewMusic] Han Bennink on TV last month Message-ID: Here's an interesting clip of him playing as a youth (ff to about 3:42). http://www.youtube.com/watch?v=t7TJHrPEEdc&feature=related The solo from the show is here: http://www.youtube.com/watch?v=heI4ZaT4JP4 From damon at balancepointacoustics.com Mon Oct 19 12:47:23 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Mon, 19 Oct 2009 12:47:23 -0700 Subject: [NewMusic] Han Bennink on TV last month In-Reply-To: References: Message-ID: <2A44E0CA-227C-4EEC-A98E-DBAB6C3B7558@balancepointacoustics.com> He plays Freight and Salvage on Wed. Damon Smith http://www.balancepointacoustics.com Sent from my iPod On Oct 19, 2009, at 12:11 PM, Gino Robair wrote: > Here's an interesting clip of him playing as a youth (ff to about > 3:42). > > http://www.youtube.com/watch?v=t7TJHrPEEdc&feature=related > > The solo from the show is here: > http://www.youtube.com/watch?v=heI4ZaT4JP4 > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From relijun at hotmail.com Mon Oct 19 13:18:48 2009 From: relijun at hotmail.com (arrington de dionyso) Date: Mon, 19 Oct 2009 13:18:48 -0700 Subject: [NewMusic] Arrington de Dionyso at 21 Grand on Friday In-Reply-To: <2A44E0CA-227C-4EEC-A98E-DBAB6C3B7558@balancepointacoustics.com> References: Message-ID: Hello Bay Area friends- I have a concert coming up at 21 Grand on Friday, the last date on a nearly two month long odyssey across the US and Canada. I would love to see any and all of you at the show- Pod Blotz and Janina Angel Bath are also on the bill. Much love, Arrington with dancer Malinda Allen http://www.youtube.com/watch?v=TXhu92bVvTM at The Stone NYC March 2009http://www.youtube.com/watch?v=u-SLjSULxe4 at High Zero, Baltimore 2008http://www.youtube.com/watch?v=RxlRNfOm_sw _________________________________________________________________ Hotmail: Powerful Free email with security by Microsoft. http://clk.atdmt.com/GBL/go/171222986/direct/01/ From gino at rastascan.com Tue Oct 20 13:11:53 2009 From: gino at rastascan.com (Gino Robair) Date: Tue, 20 Oct 2009 13:11:53 -0700 Subject: [NewMusic] Korg microSampler video demo Message-ID: This one's for your, Matt. http://www.gearwire.com/korg-microsampler-aes2009.html From slusser at pixar.com Tue Oct 20 13:41:29 2009 From: slusser at pixar.com (David Slusser) Date: Tue, 20 Oct 2009 13:41:29 -0700 Subject: [NewMusic] Arcana IV In-Reply-To: References: Message-ID: <5B0BA757-09C7-42D7-9A5F-FF53FAB2D389@pixar.com> Musicians on music, latest edition: http://www.tzadik.com/ (click Arcana IV in the sidebar) From matt at sfsound.org Tue Oct 20 13:53:04 2009 From: matt at sfsound.org (matt) Date: Tue, 20 Oct 2009 13:53:04 -0700 Subject: [NewMusic] Arcana IV In-Reply-To: <5B0BA757-09C7-42D7-9A5F-FF53FAB2D389@pixar.com> References: <5B0BA757-09C7-42D7-9A5F-FF53FAB2D389@pixar.com> Message-ID: <8F7395ED-1BCE-4318-8F95-4E577F431291@sfsound.org> cool - hopefully something interesting.. (have to admit i was disappointed with the 1st volume which didn't make me look into the others) -- what's your chapter on? On Oct 20, 2009, at 1:41 PM, David Slusser wrote: > Musicians on music, latest edition: > > http://www.tzadik.com/ (click Arcana IV in the sidebar) > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic m@ From slusser at pixar.com Tue Oct 20 14:15:52 2009 From: slusser at pixar.com (David Slusser) Date: Tue, 20 Oct 2009 14:15:52 -0700 Subject: [NewMusic] Arcana IV In-Reply-To: <8F7395ED-1BCE-4318-8F95-4E577F431291@sfsound.org> References: <5B0BA757-09C7-42D7-9A5F-FF53FAB2D389@pixar.com> <8F7395ED-1BCE-4318-8F95-4E577F431291@sfsound.org> Message-ID: <4484BAA3-60FC-4C2A-A4E6-40CFEC3DBA51@pixar.com> On Oct 20, 2009, at 1:53 PM, matt wrote: > cool - hopefully something interesting.. > (have to admit i was disappointed with the 1st volume which didn't > make me look into the others) > -- what's your chapter on? Mine is on Sound Art, specifically how my experiences in cinema inform mine. (It's an excerpt from a larger piece I wrote where other facets are also presented.) Admittedly the series is a mixed bag, but either informative or entertaining. Even if you dislike some of the authors, at least they get to speak for themselves. I've had no great revelations from reading them, but feel better about music and pursuing it after doing so. From gino at rastascan.com Tue Oct 20 18:32:21 2009 From: gino at rastascan.com (Gino Robair) Date: Tue, 20 Oct 2009 18:32:21 -0700 Subject: [NewMusic] Laser/Optic microphone prototype Message-ID: Video from AES. Smoke as diaphragm... http://www.gearwire.com/schwartzengineeringanddesign-smokemic-aes2009.html From ava.mendoza at gmail.com Tue Oct 20 22:06:47 2009 From: ava.mendoza at gmail.com (Ava Mendoza) Date: Tue, 20 Oct 2009 22:06:47 -0700 Subject: [NewMusic] Fwd: contact for ivy room? In-Reply-To: <317505170910202132w271ea521nb883ae9aede9a157@mail.gmail.com> References: <317505170910202132w271ea521nb883ae9aede9a157@mail.gmail.com> Message-ID: <317505170910202206t5834ce6aob73a44b38151b6f5@mail.gmail.com> ---------- Forwarded message ---------- From: Ava Mendoza Date: Tue, Oct 20, 2009 at 9:32 PM Subject: contact for ivy room? To: newmusicevents at music.mills.edu hellos, does anyone have contact info for whoever books the ivy room? i have someone named Ken at parasomnia at gmail.com but that might be out of date, not sure. thanks, ava -- www.myspace.com/avamendoza http://www.bayimproviser.com/avamendoza -- www.myspace.com/avamendoza http://www.bayimproviser.com/avamendoza From pete at creepsville.com Tue Oct 20 22:27:41 2009 From: pete at creepsville.com (Pete von Petrin) Date: Tue, 20 Oct 2009 22:27:41 -0700 Subject: [NewMusic] Fwd: contact for ivy room? In-Reply-To: <317505170910202206t5834ce6aob73a44b38151b6f5@mail.gmail.com> References: <317505170910202132w271ea521nb883ae9aede9a157@mail.gmail.com> <317505170910202206t5834ce6aob73a44b38151b6f5@mail.gmail.com> Message-ID: <4ADE9BCD.5030207@creepsville.com> my contact from 2008 was Leppo - yebbagee at yahoo.com Ava Mendoza wrote: > ---------- Forwarded message ---------- > From: Ava Mendoza > Date: Tue, Oct 20, 2009 at 9:32 PM > Subject: contact for ivy room? > To: newmusicevents at music.mills.edu > > > hellos, > > does anyone have contact info for whoever books the ivy room? i have someone > named Ken at parasomnia at gmail.com but that might be out of date, not sure. > > thanks, > ava > From gino at rastascan.com Wed Oct 21 16:26:33 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 21 Oct 2009 16:26:33 -0700 Subject: [NewMusic] Contrabass solo Message-ID: A favorite. One of the few things I haven't seen Barry Guy do with a bass... http://www.youtube.com/watch?v=7q8Gvwc2GyQ From slusser at pixar.com Wed Oct 21 16:29:55 2009 From: slusser at pixar.com (David Slusser) Date: Wed, 21 Oct 2009 16:29:55 -0700 Subject: [NewMusic] there's hope Message-ID: <266FE42E-C848-4676-90EC-1705632F1E35@pixar.com> even with hearing loss, musicians can hear better: http://www.npr.org/templates/story/story.php?storyId=113938566 From gino at rastascan.com Wed Oct 21 17:19:26 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 21 Oct 2009 17:19:26 -0700 Subject: [NewMusic] So how do we market what we do? Message-ID: Bob Lefsetz spread this link around recently. After watching it, I began to think again about our age-old debate of what to call our music and how to market it (and, ultimately, find new audiences). If you haven't seen this yet, it's worth the 10+ minutes: http://www.ted.com/talks/lang/eng/rory_sutherland_life_lessons_from_an_ad_ma n.html From lx.rudis at gmail.com Wed Oct 21 21:28:57 2009 From: lx.rudis at gmail.com (lx rudis) Date: Wed, 21 Oct 2009 21:28:57 -0700 Subject: [NewMusic] So how do we market what we do? In-Reply-To: References: Message-ID: <7272233a0910212128x65c03507i5e5421def47c12c@mail.gmail.com> the 'shreddies' bit was awe-inspiring! ahem, it provoked me to Create: http://www.flickr.com/photos/80371672 at N00/4033308523/ On Wed, Oct 21, 2009 at 5:19 PM, Gino Robair wrote: > Bob Lefsetz spread this link around recently. After watching it, I began to > think again about our age-old debate of what to call our music and how to > market it (and, ultimately, find new audiences). > > If you haven't seen this yet, it's worth the 10+ minutes: > > http://www.ted.com/talks/lang/eng/rory_sutherland_life_lessons_from_an_ad_ma > n.html > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From kaspelin72 at yahoo.com Thu Oct 22 10:29:14 2009 From: kaspelin72 at yahoo.com (Kristian Aspelin) Date: Thu, 22 Oct 2009 10:29:14 -0700 (PDT) Subject: [NewMusic] So how do we market what we do? In-Reply-To: References: Message-ID: <352082.21693.qm@web52604.mail.re2.yahoo.com> Gino, thank you for the link.? I don't know if this answers the question of how to market our music, but if "our music" includes improvised music, then?the following piece I found on TED might provide some insight (go to about 16:20 into the segment): http://www.ted.com/talks/jennifer_lin_improvs_piano_magic.html I don't know anything about Jennifer Lin, but apparently she has appeared on Oprah and has been hailed for her skills not only as a prodigy/virtuoso pianist, but also, more interestingly, as an improviser. ?The title of her segment on TED, "Jennifer Lin improvs piano magic" seems to have been an effective marketing tool, in this case drawing people to this segment on TED (including Goldie Hawn!). ?However, it doesn't stop there. ?If you click on the link that takes you to her bio, you get the following: A student of the?Yamaha Music Education System?from the age of 4, pianist Jennifer Lin has an unusual talent for improvisation. Speaking at TED, she compared her creative process to drawing a comic, and admitted that?the state of "flow" -- when she is able produce beautiful music instantly -- cannot be forced.? Her virtuoso performances, particularly the improvisations, are profoundly moving, and -- even via podcast -- have been known to reduce listeners to tears. As one blogger recorded, "I was listening to a presentation by?a 14-year old girl named Jennifer Lin who plays the piano likewhoa?... I wasn't expecting it, and when she was a minute or two into the piece, I was literally crying in the crowded subway car." Lin was featured on?ABC World News Tonight?as Person of the Week and also appeared on a "Little Geniuses" segment on?Oprah,?where Winfrey declared her "a miracle prodigy." While the word "improvisation" in this case is being used to describe music that is much different than ours, the point is that people are apparently moved to tears by the fact that this 14 year-old girl was creating music instantly (how instant is open to much debate, of course). ?We can argue all day long about what improv is, but I think most of us will agree that creating music instantly, in the moment, is a big part of it. Therefore, rather than invent or use a new term to describe Jennifer's music (e.g., "Magic Music"), the word "improvisation" has been re-appropriated to represent something other than what many of us think of when we see or hear the word. ?What I find interesting is that from reading her bio as well as the comments on the TED page, people seem to be "moved" by the fact that she is improvising, which, to me, is a good thing in the sense that people can be attracted to the notion of music being created instantly. ? Getting back to Rory Sutherland's piece, the intangible value here is that you have a young girl playing "safe" music that is being associated with an established word, improvisation. ?If you had an older master musician on stage at TED whose appearance was somewhat gruff or aloof, speaking in more technical terms about what improvisation is and how he or she approaches it, and then proceeded to improvise fast, dense, and "dissonant" music, would the same people say that they were moved to tears? ?My guess is no, they would not.??It all depends on who you want to reach with this music, but in my opinion, a part of marketing this music is who you associate as?the face of the music.? Also, of course, it comes down to the actual music itself.? I think the bigger question then becomes, does this music have a market larger than the one that currently exists?? Is there a new audience for this music?? Based on the Jennifer Lin example, I do think that there is a larger audience for improvised music, but then I think it comes down to the style of the improvisation.? Keith Jarrett improvises, too, but his improvised music is much different than that of Georg Grawe, for example.? Since Keith Jarrett is able to sell out large performance halls around the world while only 8 people show up for a Georg Grawe solo performance in the Bay Area, it seems to me that the style of the improvisation is a big factor when it comes to marketing.? Of course, it would help if the Bay Area creative music community had the deep pockets that SF Jazz has to help?promote and present the music.? Now, if Georg Grawe suddenly married Paris Hilton, then we might have a different story here... ? ________________________________ From: Gino Robair To: newmusic at music.mills.edu Sent: Wed, October 21, 2009 5:19:26 PM Subject: [NewMusic] So how do we market what we do? Bob Lefsetz spread this link around recently. After watching it, I began to think again about our age-old debate of what to call our music and how to market it (and, ultimately, find new audiences). If you haven't seen this yet, it's worth the 10+ minutes: http://www.ted.com/talks/lang/eng/rory_sutherland_life_lessons_from_an_ad_ma n.html _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From gino at rastascan.com Thu Oct 22 17:42:17 2009 From: gino at rastascan.com (Gino Robair) Date: Thu, 22 Oct 2009 17:42:17 -0700 Subject: [NewMusic] Gourmet Noises Message-ID: And a timely quote came in today: "More than simply aural education, it was about sustainable, organic, gourmet noises..." One of the best descriptions I've heard in awhile for audio-art. It's from a review of the Intonarumori concert last Friday: http://sfciviccenter.blogspot.com/2009/10/music-for-16-futurist-noise-intone rs.html And, no, I did NOT play sax in John Butcher's piece in that concert. I'm not worthy of even touching the cases... From 8vuit8 at gmail.com Thu Oct 22 17:49:55 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Thu, 22 Oct 2009 17:49:55 -0700 Subject: [NewMusic] Gourmet Noises In-Reply-To: References: Message-ID: <98e30a870910221749w514c4abdo39913e5c8ce3dff2@mail.gmail.com> very nice review with lots of nice pictures which should up the improintangible quota nicely On Thu, Oct 22, 2009 at 5:42 PM, Gino Robair wrote: > And a timely quote came in today: > "More than simply aural education, it was about sustainable, organic, > gourmet noises..." > > One of the best descriptions I've heard in awhile for audio-art. > > It's from a review of the Intonarumori concert last Friday: > > http://sfciviccenter.blogspot.com/2009/10/music-for-16-futurist-noise-intone > rs.html > > > And, no, I did NOT play sax in John Butcher's piece in that concert. I'm > not > worthy of even touching the cases... > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Bob Marsh 475 43rd Street Richmond, CA 94805 510-236-2595 home 510-932-9268 cell www.bobmarsh.net www.myspace.com/bobisadoctor www.myspace.com/emergencystringxtet www.myspace.com/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/neufnineneuf www.myspace.com/thespiritmovesus From gcremaschi at hotmail.com Fri Oct 23 04:29:34 2009 From: gcremaschi at hotmail.com (George Cremaschi) Date: Fri, 23 Oct 2009 04:29:34 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: In the total bummer department, Maryanne Amacher died yesterday, 22 October, 2009. -George _________________________________________________________________ Windows 7: Simplify your PC. Learn more. http://www.microsoft.com/Windows/windows-7/default.aspx?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen1:102009 From damon at balancepointacoustics.com Fri Oct 23 06:09:01 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Fri, 23 Oct 2009 09:09:01 -0400 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: <22FCDF84-1EA2-419D-8BFE-6A1BB0592C2B@balancepointacoustics.com> Yeah, so did Sirone. Damon Smith http://www.balancepointacoustics.com Sent from my iPod On Oct 23, 2009, at 7:29 AM, George Cremaschi wrote: > > > In the total bummer department, Maryanne Amacher died yesterday, 22 > October, 2009. > > > -George > > > _________________________________________________________________ > Windows 7: Simplify your PC. Learn more. > http://www.microsoft.com/Windows/windows-7/default.aspx?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen1:102009 > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From ava.mendoza at gmail.com Fri Oct 23 14:17:26 2009 From: ava.mendoza at gmail.com (Ava Mendoza) Date: Fri, 23 Oct 2009 14:17:26 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: <22FCDF84-1EA2-419D-8BFE-6A1BB0592C2B@balancepointacoustics.com> References: <22FCDF84-1EA2-419D-8BFE-6A1BB0592C2B@balancepointacoustics.com> Message-ID: <317505170910231417s27921881m258876e1d3cd3e3f@mail.gmail.com> maryanne amacher + thurston moore covering his ears http://www.youtube.com/watch?v=SRrksHhVfj8&feature=fvw On Fri, Oct 23, 2009 at 6:09 AM, Damon Smith < damon at balancepointacoustics.com> wrote: > Yeah, so did Sirone. > > Damon Smith > http://www.balancepointacoustics.com > > Sent from my iPod > > On Oct 23, 2009, at 7:29 AM, George Cremaschi > wrote: > > > > > > > In the total bummer department, Maryanne Amacher died yesterday, 22 > > October, 2009. > > > > > > -George > > > > > > _________________________________________________________________ > > Windows 7: Simplify your PC. Learn more. > > > http://www.microsoft.com/Windows/windows-7/default.aspx?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen1:102009 > > _______________________________________________ > > 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 > -- www.myspace.com/avamendoza http://www.bayimproviser.com/avamendoza From katttsammon at hotmail.com Fri Oct 23 15:07:10 2009 From: katttsammon at hotmail.com (Kattt Atchley) Date: Fri, 23 Oct 2009 15:07:10 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: <317505170910231417s27921881m258876e1d3cd3e3f@mail.gmail.com> References: Message-ID: I love this video! I watched it yesterday. I feel lucky to have caught her performance at Mills a couple of years back.... and to see her dance around the sound board during her set. It was probably the loudest I heard the Meyers Sound System cranked up @ Mills... and sounded great. I only wish I could have experienced her work more in a live setting. This interview was also quite interesting: http://www.colba.net/~eliot/amacher.htm Also her wikipedia entry (which seemed to have functioned as her website) is very updated too - http://en.wikipedia.org/wiki/Maryanne_Amacher Kattt > Date: Fri, 23 Oct 2009 14:17:26 -0700 > From: ava.mendoza at gmail.com > To: newmusic at music.mills.edu > Subject: Re: [NewMusic] Maryanne Amacher > > maryanne amacher + thurston moore covering his ears > > http://www.youtube.com/watch?v=SRrksHhVfj8&feature=fvw > > > On Fri, Oct 23, 2009 at 6:09 AM, Damon Smith < > damon at balancepointacoustics.com> wrote: > > > Yeah, so did Sirone. > > > > Damon Smith > > http://www.balancepointacoustics.com > > > > Sent from my iPod > > > > On Oct 23, 2009, at 7:29 AM, George Cremaschi > > wrote: > > > > > > > > > > > In the total bummer department, Maryanne Amacher died yesterday, 22 > > > October, 2009. > > > > > > > > > -George > > > > > > > > > _________________________________________________________________ > > > Windows 7: Simplify your PC. Learn more. > > > > > http://www.microsoft.com/Windows/windows-7/default.aspx?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen1:102009 > > > _______________________________________________ > > > 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 > > > > > > -- > www.myspace.com/avamendoza > http://www.bayimproviser.com/avamendoza > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic _________________________________________________________________ Windows 7: It helps you do more. Explore Windows 7. http://www.microsoft.com/Windows/windows-7/default.aspx?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen3:102009 From gcremaschi at hotmail.com Fri Oct 23 16:00:58 2009 From: gcremaschi at hotmail.com (George Cremaschi) Date: Fri, 23 Oct 2009 16:00:58 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: Being that her music needs so obviously to be experienced live, does anyone know if she trained anyone, or had any close students, who can execute any of her music? And yeah, the clip with Thurston Moore is great, but honestly - is there ANY hip music documentary these days that he's NOT in? -George _________________________________________________________________ Windows 7: Simplify your PC. Learn more. http://www.microsoft.com/Windows/windows-7/default.aspx?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen1:102009 From wobbly at detritus.net Fri Oct 23 16:34:50 2009 From: wobbly at detritus.net (Jon Leidecker) Date: Fri, 23 Oct 2009 16:34:50 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: it's a big issue -- I hope there is someone out there. Naut Humon has a 12-channel multitrack recording of one of her live performances from a few years ago, unmixed -- so ostensibly someone could 'perform' / balance that composition w/ flexibility & variance depending on the playback system. but it'd have to be someone who knew the piece, and the way her music should sound, extremely well. here's hoping the rest of her archives are in good hands. I know they'll never compare to her live performances, but at this point, history needs to hear the tapes. on the basis of the three shows & I saw and the odd room recording bootleg, I just think it's obvious she's one of the most important composers of electronic music we have, one who did something that'd never been done before and that too few others have figured out how to do quite yet, but will -jl On Oct 23, 2009, at 4:00 PM, George Cremaschi wrote: > > > Being that her music needs so obviously to be experienced live, does > anyone know > if she trained anyone, or had any close students, who can execute any > of her music? > > And yeah, the clip with Thurston Moore is great, but honestly - is > there ANY hip music > documentary these days that he's NOT in? > > > -George > > > _________________________________________________________________ > Windows 7: Simplify your PC. Learn more. > http://www.microsoft.com/Windows/windows-7/default.aspx? > ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen1:102009 > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From slusser at pixar.com Fri Oct 23 16:34:56 2009 From: slusser at pixar.com (David Slusser) Date: Fri, 23 Oct 2009 16:34:56 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: On Oct 23, 2009, at 4:34 PM, Jon Leidecker wrote: > it's a big issue -- I hope there is someone out there. Naut Humon has > a 12-channel multitrack recording of one of her live performances from > a few years ago, unmixed -- so ostensibly someone could 'perform' / > balance that composition w/ flexibility & variance depending on the > playback system. but it'd have to be someone who knew the piece, and > the way her music should sound, extremely well. > > here's hoping the rest of her archives are in good hands. I know > they'll never compare to her live performances, but at this point, > history needs to hear the tapes. on the basis of the three shows & I > saw and the odd room recording bootleg, I just think it's obvious > she's > one of the most important composers of electronic music we have, one > who did something that'd never been done before and that too few > others > have figured out how to do quite yet, but will that's a nomination for the next tape music festival From miltnerunit at gmail.com Fri Oct 23 16:44:08 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Fri, 23 Oct 2009 16:44:08 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: that's a very good idea. i second the nomination. If anyone could do a good job performing her work, definitely Matt, Tom, Kent or Cliff are top contenders. k On Fri, Oct 23, 2009 at 4:34 PM, David Slusser wrote: > On Oct 23, 2009, at 4:34 PM, Jon Leidecker wrote: > > > it's a big issue -- I hope there is someone out there. Naut Humon has > > a 12-channel multitrack recording of one of her live performances from > > a few years ago, unmixed -- so ostensibly someone could 'perform' / > > balance that composition w/ flexibility & variance depending on the > > playback system. but it'd have to be someone who knew the piece, and > > the way her music should sound, extremely well. > > > > here's hoping the rest of her archives are in good hands. I know > > they'll never compare to her live performances, but at this point, > > history needs to hear the tapes. on the basis of the three shows & I > > saw and the odd room recording bootleg, I just think it's obvious > > she's > > one of the most important composers of electronic music we have, one > > who did something that'd never been done before and that too few > > others > > have figured out how to do quite yet, but will > > > that's a nomination for the next tape music festival > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From barry.threw at gmail.com Fri Oct 23 17:03:28 2009 From: barry.threw at gmail.com (Barry Threw) Date: Fri, 23 Oct 2009 17:03:28 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: <52B3BB57-21B5-4ADA-9591-0ABD02487E48@gmail.com> I think Naut is probably more versed in her music than anyone. We have a few unheard works in the RML archives. I fully expect there to be some very appropriate and well executed events to experience Maryanne's music in the not so distant future. Her works are already in the process of being collated. bt On Oct 23, 2009, at 4:34 PM, Jon Leidecker wrote: > it's a big issue -- I hope there is someone out there. Naut Humon has > a 12-channel multitrack recording of one of her live performances from > a few years ago, unmixed -- so ostensibly someone could 'perform' / > balance that composition w/ flexibility & variance depending on the > playback system. but it'd have to be someone who knew the piece, and > the way her music should sound, extremely well. > > here's hoping the rest of her archives are in good hands. I know > they'll never compare to her live performances, but at this point, > history needs to hear the tapes. on the basis of the three shows & I > saw and the odd room recording bootleg, I just think it's obvious > she's > one of the most important composers of electronic music we have, one > who did something that'd never been done before and that too few > others > have figured out how to do quite yet, but will > > -jl > > > > > On Oct 23, 2009, at 4:00 PM, George Cremaschi wrote: > >> >> >> Being that her music needs so obviously to be experienced live, does >> anyone know >> if she trained anyone, or had any close students, who can execute any >> of her music? >> >> And yeah, the clip with Thurston Moore is great, but honestly - is >> there ANY hip music >> documentary these days that he's NOT in? >> >> >> -George >> >> >> _________________________________________________________________ >> Windows 7: Simplify your PC. Learn more. >> http://www.microsoft.com/Windows/windows-7/default.aspx? >> ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen1:102009 >> _______________________________________________ >> 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 Fri Oct 23 17:07:31 2009 From: wobbly at detritus.net (Jon Leidecker) Date: Fri, 23 Oct 2009 17:07:31 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: References: Message-ID: <395A48A2-C031-11DE-85B3-000D9347C6BE@detritus.net> I think it'll happen eventually, but I can only imagine the issues that need to be worked out first. The tapes do exist for history and are in the hands of people who know how important they are and the essentials of the many things required to present them to her standards. For the next tape music festival, either or both of the first two tracks on the 'Sound Characters' CD would be sufficient if played back on a good PA at 70 dB or higher -- that's enough to get the ear dances going, even in stereo. I can get them going on my Dynaudios when I crank them, but my neighbors really don't enjoy that very much, and a big part of the music is the social aspect -- your body responds with euphoria when those tones hit your ears, each of the three times I saw her, the audience begins laughing and smiling uncontrollably and the fact that it's the sounds directly causing an automatic emotional response -- the fact of it hits you harder when you see it happening to everyone around you. it is also pretty much essential that the audience can freely walk around the room, as the sound changes subjectively with every movement, so the Tape Music Festival would have to remove the chairs But still, yeah, would very much vote for that as well -j On Oct 23, 2009, at 4:44 PM, Kristin Miltner wrote: > that's a very good idea. i second the nomination. If anyone could do a > good > job performing her work, definitely Matt, Tom, Kent or Cliff are top > contenders. > > k > > On Fri, Oct 23, 2009 at 4:34 PM, David Slusser > wrote: > >> On Oct 23, 2009, at 4:34 PM, Jon Leidecker wrote: >> >>> it's a big issue -- I hope there is someone out there. Naut Humon >>> has >>> a 12-channel multitrack recording of one of her live performances >>> from >>> a few years ago, unmixed -- so ostensibly someone could 'perform' / >>> balance that composition w/ flexibility & variance depending on the >>> playback system. but it'd have to be someone who knew the piece, and >>> the way her music should sound, extremely well. >>> >>> here's hoping the rest of her archives are in good hands. I know >>> they'll never compare to her live performances, but at this point, >>> history needs to hear the tapes. on the basis of the three shows & I >>> saw and the odd room recording bootleg, I just think it's obvious >>> she's >>> one of the most important composers of electronic music we have, one >>> who did something that'd never been done before and that too few >>> others >>> have figured out how to do quite yet, but will >> >> >> that's a nomination for the next tape music festival >> _______________________________________________ >> Bay Area New Music Discussion Group >> NewMusic at music.mills.edu >> http://music.mills.edu/mailman/listinfo/newmusic >> > > > > -- > kristin miltner > audio professional > www.kristinmiltner.net > www.myspace.com/miltnerunit > http://www.linkedin.com/in/kristinmiltner > http://www.praemedia.com/consumerproducts.html > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From henrykuntz at comcast.net Sat Oct 24 15:46:40 2009 From: henrykuntz at comcast.net (Henry Kuntz) Date: Sat, 24 Oct 2009 15:46:40 -0700 Subject: [NewMusic] Hear a New Piece of Mine... Message-ID: <000b01ca54fb$da86eb00$8f94c100$@net> Hear a new piece of mine. "Double 8 Bird" An African-inspired piece. 3 minutes, 28 seconds Now on my website http://henrykuntz.free-jazz.net/about/ Thanks for having a listen! Henry Sax & Stories http://henrykuntz.free-jazz.net/ BELLS http://bells.free-jazz.net/ From katttsammon at hotmail.com Sun Oct 25 13:14:39 2009 From: katttsammon at hotmail.com (Kattt Atchley) Date: Sun, 25 Oct 2009 13:14:39 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: <395A48A2-C031-11DE-85B3-000D9347C6BE@detritus.net> References: Message-ID: information on the archive: http://maryanneamacher.org/Amacher_Archive_Project/Amacher_Archive_Project.html > From: wobbly at detritus.net > Date: Fri, 23 Oct 2009 17:07:31 -0700 > To: newmusic at music.mills.edu > Subject: Re: [NewMusic] Maryanne Amacher > > I think it'll happen eventually, but I can only imagine the issues that > need to be worked out first. The tapes do exist for history and are in > the hands of people who know how important they are and the essentials > of the many things required to present them to her standards. > > For the next tape music festival, either or both of the first two > tracks on the 'Sound Characters' CD would be sufficient if played > back on a good PA at 70 dB or higher -- that's enough to get the ear > dances going, even in stereo. I can get them going on my Dynaudios > when I crank them, but my neighbors really don't enjoy that very much, > and a big part of the music is the social aspect -- your body responds > with euphoria when those tones hit your ears, each of the three times I > saw her, the audience begins laughing and smiling uncontrollably and > the fact that it's the sounds directly causing an automatic emotional > response -- the fact of it hits you harder when you see it happening to > everyone around you. it is also pretty much essential that the > audience can freely walk around the room, as the sound changes > subjectively with every movement, so the Tape Music Festival would have > to remove the chairs > > But still, yeah, would very much vote for that as well > > -j > > > > > > > > > On Oct 23, 2009, at 4:44 PM, Kristin Miltner wrote: > >> that's a very good idea. i second the nomination. If anyone could do a >> good >> job performing her work, definitely Matt, Tom, Kent or Cliff are top >> contenders. >> >> k >> >> On Fri, Oct 23, 2009 at 4:34 PM, David Slusser >> wrote: >> >>> On Oct 23, 2009, at 4:34 PM, Jon Leidecker wrote: >>> >>>> it's a big issue -- I hope there is someone out there. Naut Humon >>>> has >>>> a 12-channel multitrack recording of one of her live performances >>>> from >>>> a few years ago, unmixed -- so ostensibly someone could 'perform' / >>>> balance that composition w/ flexibility & variance depending on the >>>> playback system. but it'd have to be someone who knew the piece, and >>>> the way her music should sound, extremely well. >>>> >>>> here's hoping the rest of her archives are in good hands. I know >>>> they'll never compare to her live performances, but at this point, >>>> history needs to hear the tapes. on the basis of the three shows & I >>>> saw and the odd room recording bootleg, I just think it's obvious >>>> she's >>>> one of the most important composers of electronic music we have, one >>>> who did something that'd never been done before and that too few >>>> others >>>> have figured out how to do quite yet, but will >>> >>> >>> that's a nomination for the next tape music festival >>> _______________________________________________ >>> Bay Area New Music Discussion Group >>> NewMusic at music.mills.edu >>> http://music.mills.edu/mailman/listinfo/newmusic >>> >> >> >> >> -- >> kristin miltner >> audio professional >> www.kristinmiltner.net >> www.myspace.com/miltnerunit >> http://www.linkedin.com/in/kristinmiltner >> http://www.praemedia.com/consumerproducts.html >> _______________________________________________ >> 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 _________________________________________________________________ Windows 7: It helps you do more. Explore Windows 7. http://www.microsoft.com/Windows/windows-7/default.aspx?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen3:102009 From mattdavignon at gmail.com Sun Oct 25 17:12:01 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Sun, 25 Oct 2009 17:12:01 -0700 Subject: [NewMusic] Play in Droneshift - 11/19 Message-ID: Hi all, I'm putting on another Droneshift concert. It will be a continuous 2 hour drone on Thursday, November 19th from 8 to 10 pm at the Luggage Store. You can participate if you like. I'm looking for 15-18 musicians. The rules: 1) The concert is all drone music - very long notes, focusing on building complex, long-form sounds in collaboration with the other musicians. Slow attacks and slow decays are encouraged most of the time. Rather than thinking of your own note, think of what you're contributing to the "group note" at any given time. Melodies, solos, rhythms and "skronking" are forbidden. 2) Every musician must have some sort of stopwatch. Depending on how many musicians participate, I'll assign a total amount of time that each person can participate. (Last time, everyone could play up to 30 minutes. It was up to the musician to decide which 30 minutes to play. They could play a minute in the beginning and 29 minutes in the end, or 6 periods of 5 minutes, etc.) It's ok for an artist to play for less than the time limit. 3) The concert starts at 8:00 pm and ends at 10:00 pm. Music should be happening continuously for that entire time. Some considerations: A) The performance will contain some very loud sections and some very quiet sections. It should not continuously get louder and louder over the course of 2 hours. B) Don't be afraid to go simple, or to play an instrument you're not known for playing. Plucked and percussive sounds will probably not work well. Wind instruments are ok, but plan to use full breaths for notes. I often think we could use more "pure sound" instruments in the mix. C) There will be a lot of musicians setting up in a relatively small area, so please plan on having a small physical footprint. D) I'd rather not use the PA if possible, since I think it will sound better if the sound comes out of more than 2 locations. Please plan to bring your own amplification. Your sound should come from your location. If you're interested, please let me know. I'll need to know which instrument(s) you plan to play. -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From michaelz at zoka.com Mon Oct 26 17:37:51 2009 From: michaelz at zoka.com (Michael Zelner) Date: Mon, 26 Oct 2009 17:37:51 -0700 Subject: [NewMusic] Maryanne Amacher In-Reply-To: <317505170910231417s27921881m258876e1d3cd3e3f@mail.gmail.com> References: <22FCDF84-1EA2-419D-8BFE-6A1BB0592C2B@balancepointacoustics.com> <317505170910231417s27921881m258876e1d3cd3e3f@mail.gmail.com> Message-ID: On 10/23/09, Ava Mendoza wrote: >maryanne amacher + thurston moore covering his ears > >http://www.youtube.com/watch?v=SRrksHhVfj8&feature=fvw It looks to me like he's pushing his ears forward (and sometimes cupping them with his hands) to capture more of the direct sound. . . I think the live performance clip is also very watchable/listenable: MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From gino at rastascan.com Tue Oct 27 23:43:51 2009 From: gino at rastascan.com (Gino Robair) Date: Tue, 27 Oct 2009 23:43:51 -0700 Subject: [NewMusic] the ekdahl moisturizer Message-ID: Because it's so quiet in here... Scrape this: http://www.analoguehaven.com/knas/theekdahlmoisturizer/ From letucepry at yahoo.com Wed Oct 28 10:01:06 2009 From: letucepry at yahoo.com (Ron Lettuce) Date: Wed, 28 Oct 2009 10:01:06 -0700 (PDT) Subject: [NewMusic] the ekdahl moisturizer In-Reply-To: References: Message-ID: <21278.11997.qm@web54307.mail.re2.yahoo.com> I LOVE spring reverb...which brings up the question (possibly a stupid one)...Why don't stack amps have spring reverbs? I assume that it's because if you're playing a stack amp, the manufacturer is assuming that you're going to be playing in a pretty large room, and don't need reverb...but spring reverb is so fake that it's a sound in itself that has nothing to do with actual reverb... ? ________________________________ From: Gino Robair To: newmusic at music.mills.edu Sent: Tue, October 27, 2009 11:43:51 PM Subject: [NewMusic] the ekdahl moisturizer Because it's so quiet in here... Scrape this: http://www.analoguehaven.com/knas/theekdahlmoisturizer/ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From jon_raskin at yahoo.com Wed Oct 28 10:07:17 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Wed, 28 Oct 2009 10:07:17 -0700 (PDT) Subject: [NewMusic] the ekdahl moisturizer In-Reply-To: <21278.11997.qm@web54307.mail.re2.yahoo.com> References: <21278.11997.qm@web54307.mail.re2.yahoo.com> Message-ID: <807412.22044.qm@web55603.mail.re4.yahoo.com> One of my?favorite reverbs is at Fort Mason between the last building and a concrete wall.? You get a wonderful reverb affect as it bounces?back and forth between the two surfaces.? It is to close to be an echo. ?Jon Raskin ________________________________ From: Ron Lettuce To: Bay Area New Music Discussion Group Sent: Wed, October 28, 2009 10:01:06 AM Subject: Re: [NewMusic] the ekdahl moisturizer I LOVE spring reverb...which brings up the question (possibly a stupid one)...Why don't stack amps have spring reverbs? I assume that it's because if you're playing a stack amp, the manufacturer is assuming that you're going to be playing in a pretty large room, and don't need reverb...but spring reverb is so fake that it's a sound in itself that has nothing to do with actual reverb... ? ________________________________ From: Gino Robair To: newmusic at music.mills.edu Sent: Tue, October 27, 2009 11:43:51 PM Subject: [NewMusic] the ekdahl moisturizer Because it's so quiet in here... Scrape this: http://www.analoguehaven.com/knas/theekdahlmoisturizer/ _______________________________________________ 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 Oct 28 10:09:58 2009 From: letucepry at yahoo.com (Ron Lettuce) Date: Wed, 28 Oct 2009 10:09:58 -0700 (PDT) Subject: [NewMusic] the ekdahl moisturizer In-Reply-To: <807412.22044.qm@web55603.mail.re4.yahoo.com> References: <21278.11997.qm@web54307.mail.re2.yahoo.com> <807412.22044.qm@web55603.mail.re4.yahoo.com> Message-ID: <231563.38579.qm@web54304.mail.re2.yahoo.com> Also...Fort Funston...Bunkers... ________________________________ From: Jon Raskin To: Bay Area New Music Discussion Group Sent: Wed, October 28, 2009 10:07:17 AM Subject: Re: [NewMusic] the ekdahl moisturizer One of my?favorite reverbs is at Fort Mason between the last building and a concrete wall.? You get a wonderful reverb affect as it bounces?back and forth between the two surfaces.? It is to close to be an echo. ?Jon Raskin ________________________________ From: Ron Lettuce To: Bay Area New Music Discussion Group Sent: Wed, October 28, 2009 10:01:06 AM Subject: Re: [NewMusic] the ekdahl moisturizer I LOVE spring reverb...which brings up the question (possibly a stupid one)...Why don't stack amps have spring reverbs? I assume that it's because if you're playing a stack amp, the manufacturer is assuming that you're going to be playing in a pretty large room, and don't need reverb...but spring reverb is so fake that it's a sound in itself that has nothing to do with actual reverb... ? ________________________________ From: Gino Robair To: newmusic at music.mills.edu Sent: Tue, October 27, 2009 11:43:51 PM Subject: [NewMusic] the ekdahl moisturizer Because it's so quiet in here... Scrape this: http://www.analoguehaven.com/knas/theekdahlmoisturizer/ _______________________________________________ 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 lx.rudis at gmail.com Wed Oct 28 10:16:31 2009 From: lx.rudis at gmail.com (lx rudis) Date: Wed, 28 Oct 2009 10:16:31 -0700 Subject: [NewMusic] the ekdahl moisturizer In-Reply-To: References: Message-ID: <7272233a0910281016j30313ce8r6606b47fdecbffd0@mail.gmail.com> very interesting product! fwiw there used to be a lot of lore in the arp 2600 community about ways to improve the built-in spring reverb tank which sounded a bit tinny and cheap. i remember going in there with bits of balsa wood and yarn, patching a VCO thru the tank and monitoring whilst sticking little bits of stuff into areas of the springs that seemed to correspond to harmonics, etc. some people suggested using droplets of oil at a couple of places along the spring to control its output, although i don't remember very good results from that. if you want to experiment with this, it's not difficult: source a spare reverb tank [old transistorized home organs from the 70s usually have one inside of them] - most of the ones i've seen tend to have little RCA jacks on them for input/output. you'll need to send a healthy 'speaker level' signal into it, and control the signal coming out. you should be able to use the headphone out from anything that will amplify an incoming signal to energize the thing, and you can use most any pre-amp at the output to send the resulting reverbed signal out to a mixer or amp. another springy idea: robin whittle [created the DevilFish mod for the 303, also one of the first 'circuit benders' working on casios] created and presented a large scale sculpture/sound instrument with a bunch of slinky toys back around 1999 or so: http://www.firstpr.com.au/slinky/ On Tue, Oct 27, 2009 at 11:43 PM, Gino Robair wrote: > Because it's so quiet in here... > Scrape this: > http://www.analoguehaven.com/knas/theekdahlmoisturizer/ > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From gino at rastascan.com Wed Oct 28 11:11:39 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 28 Oct 2009 11:11:39 -0700 Subject: [NewMusic] Slinky! Message-ID: Thanks, LX, for the slinky linky. Wow!!!! Speaking of circuit bending, Phil Perkins was telling us about Richard Marriott's wonderful switch/knob additions to the Casiotone VL-1 that were used by the Residents. I remember seeing it once and being pretty flipped out by it back in the early '80s, well before Reed Ghazala named this mode of sound-play. Does anyone know the source of that Casio bend? Richard got the info from someone, somwhere, back when he was soldering at Serge's place. I guess I should just ask him... From miltnerunit at gmail.com Wed Oct 28 11:43:13 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Wed, 28 Oct 2009 11:43:13 -0700 Subject: [NewMusic] the ekdahl moisturizer In-Reply-To: <7272233a0910281016j30313ce8r6606b47fdecbffd0@mail.gmail.com> References: <7272233a0910281016j30313ce8r6606b47fdecbffd0@mail.gmail.com> Message-ID: also, Sudhu Tewari (CMAU) kind of specializes in building things like this from old stereo receivers. http://www.sudhutewari.com/CMAU/index.html k On Wed, Oct 28, 2009 at 10:16 AM, lx rudis wrote: > very interesting product! > fwiw there used to be a lot of lore in the arp 2600 community about ways to > improve the built-in spring reverb tank which sounded a bit tinny and > cheap. > i remember going in there with bits of balsa wood and yarn, patching a VCO > thru the tank and monitoring whilst sticking little bits of stuff into > areas > of the springs that seemed to correspond to harmonics, etc. > some people suggested using droplets of oil at a couple of places along the > spring to control its output, although i don't remember very good results > from that. > > if you want to experiment with this, it's not difficult: source a spare > reverb tank [old transistorized home organs from the 70s usually have one > inside of them] - most of the ones i've seen tend to have little RCA jacks > on them for input/output. > > you'll need to send a healthy 'speaker level' signal into it, and control > the signal coming out. > > you should be able to use the headphone out from anything that will amplify > an incoming signal to energize the thing, and you can use most any pre-amp > at the output to send the resulting reverbed signal out to a mixer or amp. > > > another springy idea: > robin whittle [created the DevilFish mod for the 303, also one of the first > 'circuit benders' working on casios] created and presented a large scale > sculpture/sound instrument with a bunch of slinky toys back around 1999 or > so: > http://www.firstpr.com.au/slinky/ > > > > On Tue, Oct 27, 2009 at 11:43 PM, Gino Robair wrote: > > > Because it's so quiet in here... > > Scrape this: > > http://www.analoguehaven.com/knas/theekdahlmoisturizer/ > > > > _______________________________________________ > > 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 > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From lx.rudis at gmail.com Wed Oct 28 11:50:18 2009 From: lx.rudis at gmail.com (lx rudis) Date: Wed, 28 Oct 2009 11:50:18 -0700 Subject: [NewMusic] Slinky! In-Reply-To: References: Message-ID: <7272233a0910281150h77e4a29em7dce24662afbdceb@mail.gmail.com> my recollection is that marriot initially spoke with robin whittle [same guy who did the slinky thing]. robin's got a casio mod info page which can be seen at: ht tp://ww w.fir stpr.com.a u/rwi/ca sio/ ...richard went on to create some of his own mods, such as a mhz-frequency VCO which replaced the static frequency mhz clock in the polyphonic casios. used along with a locking 'sustain' switch, this mod allowed an M10 or MT30 to be used as a variable waveshape VCO. another interesting bit about these mods is that i think they are among the earliest examples of people deliberately using _digital_ distortion for musical purposes - my recollection is that the M10 was very suited to this, as it had two separate DACs addressing 4bits apiece [? i better go look at the notes, it's been a while and i'm probably misremembering...DACs wern't cheap] - if you changed the balance of the two DACs, you got all sorts of bizarre sounds out of the thing. god i'm getting old. we got scott gresham-lancaster on this list? scott? weren't you the one who turned marriot onto this thing? i think sg-l was the guy who first commissioned the hifreq VCO from marriot... lx On Wed, Oct 28, 2009 at 11:11 AM, Gino Robair wrote: > Thanks, LX, for the slinky linky. Wow!!!! > > Speaking of circuit bending, Phil Perkins was telling us about Richard > Marriott's wonderful switch/knob additions to the Casiotone VL-1 that were > used by the Residents. I remember seeing it once and being pretty flipped > out by it back in the early '80s, well before Reed Ghazala named this mode > of sound-play. > > Does anyone know the source of that Casio bend? Richard got the info from > someone, somwhere, back when he was soldering at Serge's place. > > I guess I should just ask him... > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From gino at rastascan.com Wed Oct 28 14:27:03 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 28 Oct 2009 14:27:03 -0700 Subject: [NewMusic] Apple sequencing and Sibelius 5 Message-ID: I have boxed NFR versions of both that need a good home. (The sequencer is NOT Garageband...). I didn't use either of them, but someone should. No, they are each one rev back from the latest versions, but they're fine as they are. And they're free... Contact me off list. From matt at sfsound.org Wed Oct 28 15:14:21 2009 From: matt at sfsound.org (matt) Date: Wed, 28 Oct 2009 15:14:21 -0700 Subject: [NewMusic] nic collins book was Re: Slinky! In-Reply-To: References: Message-ID: speaking of circuit bending... james fei mentioned to me the other day that the 2nd edition of Nic Collins "handmade electronics: art of hardware hacking" is now out (i seem to remember tom duff reviewed 1st edition for the transbay a couple years ago?) well i just picked it up the new edition have been hitting it really hard -- although i am least interested in the actual "bending" chapters in the book, it is a pretty fun and practical introduction to electronics with an experimental-music-slant (the first project is wire from battery lying with other metal objects on a speaker code -- to get a bouncy noise crackle -- the first breadboard project is creating a 6 oscillator squarewave synth out of a pot, a capacitor, and a 50cent chip!) if you did want to get started bending circuits, i think this would be as good a book as any. this new edition fleshes out more stuff in building circuits and a little more detail on what actually is happening, plus a new loaded dvd, and lots more artist examples (by people you most likely know!), etc.. maybe it's common knowledge, but this was the first i learned about gating audio with an led taped to a photoresistor and it got me inspired to drag out a basicstamp someone gave me a while back (which im ditching for an arduino) and try some things with it controlling the leds... -m On Oct 28, 2009, at 11:11 AM, Gino Robair wrote: > Thanks, LX, for the slinky linky. Wow!!!! > > Speaking of circuit bending, Phil Perkins was telling us about Richard > Marriott's wonderful switch/knob additions to the Casiotone VL-1 > that were > used by the Residents. I remember seeing it once and being pretty > flipped > out by it back in the early '80s, well before Reed Ghazala named > this mode > of sound-play. > > Does anyone know the source of that Casio bend? Richard got the info > from > someone, somwhere, back when he was soldering at Serge's place. > > I guess I should just ask him... > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic m@ From gino at rastascan.com Wed Oct 28 16:08:17 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 28 Oct 2009 16:08:17 -0700 Subject: [NewMusic] Gone: Apple sequencing and Sibe Message-ID: Thanks, folks. All have been claimed. g From matt at sfsound.org Thu Oct 29 18:59:24 2009 From: matt at sfsound.org (matt) Date: Thu, 29 Oct 2009 18:59:24 -0700 Subject: [NewMusic] looking for help for venue and hammond/celeste Message-ID: <93E9B01E-1C3A-4241-9935-D67DDA9FA56B@sfsound.org> hi, sfSound will be attempting to play Ligeti's "Chamber Concerto" in January at the SF Conservatory (with a ton of commissioned short works by local composers) and it calls for 2 keyboardists playing piano, harpsichord, hammond organ (or harmonium?), and celeste. i was wondering if anyone out there has, or knows someone who has, a hammond or celeste they would be willing to rent us cheap or "in-kind"? == also, after *selling out* our last 2 shows @ ODC, they now have cut our rental subsidy and are asking ~$1000/night ( venue, warm up room, tech, etc ) -- so we are bailing for 2010 and looking for a new venue -- assuming we can get the same kind of crowds as this year, we are looking for a place with a good piano, nice acoustics, seats over 100, and something we can do 3-6 shows a year. if the conservatory works out we might see if more shows are possible ( it's even more expensive than ODC - but acoustics and piano are much better ) -- the "green room" seems to be the only other thing that comes to mind (although a lot of people do not like the sound there) -- going back to CMC seems like a step backwards, but... anybody have any other suggestions? THANKS! m@ From wobbly at detritus.net Fri Oct 30 00:24:13 2009 From: wobbly at detritus.net (Jon Leidecker) Date: Thu, 29 Oct 2009 23:24:13 -0800 Subject: [NewMusic] League of Automatic Music Composers Archive '78-'81 release In-Reply-To: References: Message-ID: <39A1F370-C525-11DE-8601-000D9347C6BE@detritus.net> On Oct 5, 2009, at 9:23 PM, Gino Robair wrote: > Saved from the Shoebox of Doom by Jon Leidecker, it's now available on > a ltd > edition flash drive: Info and photo here: > http://matrixsynth.blogspot.com/2009/10/league-of-automatic-music- > composers. > html > > And here: > http://personal.ilimit.es/perkele/evol/purchase.html I missed this when you sent it out the first time Gino -- thanks for noising it (and for posting the ekdahl moisturizer, which is x10 fun to play -- anyone who stops by Baltimore, visit True Vine records and stop by the side room, where Karl is usually hanging out in his shop surrounded by absolutely bizarre noisemakers) Anyway since this list is quiet enough and the keydrive retails for about $30, here are the very idealistic and pretentious liner notes I wrote for the key drive -jl -- Near the beginning of the twentieth century, a few forward thinking composers began to look forward to the machines that would allow them direct and total control over every parameter of their music. Musical imagination was already straining against the limits of what the technology of written notation could provide. New compositions were increasingly becoming too complex to be accurately played by even the most technically proficient orchestras. And while the framework of written notation seemed to inevitably lead towards atonality, others began to hear a music organized from a wider realm of sound, well outside the parameters of what notation could allow them to manipulate or inscribe. Those who wished to leave traditional harmonic writing behind entirely began to dream of machines which could instantly produce any combination of imaginable sounds directly upon receipt of the composer's score. As imagined by Var?se in "The Liberation of Sound" in 1936: "Whatever I write, whatever my message, it will reach the listener unadulterated by 'interpretation'". Taking this Utopian ideal to its logical conclusion, the composer Raymond Scott wrote in 1949: "In the music of the future, the composer will sit alone on the concert stage and merely THINK his idealized conception of his music. His brain waves will be picked up by mechanical equipment and channeled directly into the minds of his hearers, thus allowing no room for distortion of the original idea." Within a decade, Scott had invented the first electronic musical Sequencer, allowing him to dispense with human performances of his music altogether. Much of what these composers wished for have long since become commonplace modes of working for us. Anyone with access to a computer has the ability to realize and juxtapose seemingly unlimited arrangements of sounds, and to hear the result before leaving their desk. This process of working is so radically different in practice and result, that it scarcely seems a replacement. But, as in any case where a machine enables one person to do a facsimile of the work of many, economic realities will impose this new workflow as standard. Some artists have flourished in this environment; being forced to do everything yourself leads to an explosion of new approaches and solutions. But it is a different. more inward kind of music. The kind of variety that naturally results from teamwork is difficult to manually code -- you can put in the hours to simulate that complexity, but in the end, what is audible in the result is usually just the extra time the author has spent alone. This isolation is built into the design of our tools - computer software designed to enable one users' total control rarely accommodates multiple users well -- the tools built to empower the individual make realtime musical collaborations awkward, with everyone instead taking their turns at the workstation. The composer once frustrated by the limitations of musicians today finds himself alone, a programmer staring at a screen. As for the audience, Scott's depiction of Utopia is increasingly close to their reality: we are left, in our seats, with nothing to watch but that programmer's face, illuminated by a screen. In fact, some of the most powerfully emotional and communicative concerts I've seen in the last ten years meet this description: given the role of the machines in our lives, this relationship is increasingly a familiar and evocative situation. But for those who appreciate music as a social activity, enriched by the collaboration required to make a fuller sound, it is clear that our tools are having more of an influence on the result than many of those who use them. When you are taught to relate to something strictly as your servant, you are inevitably enslaved himself. When listening to the unedited, slowly unfolding cassettes of the League of Automatic Music Composers, we hear an alternative to our relating to machines explicitly as tools. The League's interest in unstable, unpredictable networked systems that react to inputs instead of complying to commands brought about a situation where the performer was forced to listen, to engage with the sound. Now that we have made these machines a part of our environment, we need an aesthetic that allows us to hear the intrinsic behaviors & properties of these machines for what they really are -- as increasingly natural objects in our environment. The League's music demonstrates opportunities for play and communication in the technologies that we are now prone to seeing strictly through a dystopian lens. Within the language of music, we can learn to hear and respond to the emerging idiomatic 'voice' of the computer without reflexive alienation. The fact that these recordings are already thirty years old seems incredibly reassuring. Roots like this illustrate how little we settle for when speaking of 'interactivity' in software. These are more than artifacts, they provide a model for optimism in our current landscape. These ideas are only getting started. Jon Leidecker, September 2009 p.s. hey guys by way of postscript here are five examples of precedents & contemporary work pursuing similar creative goals to the League. Louis Barron's electronic instrument design took inspiration from the concept of Cybernetics as defined by American mathematician Norbert Wiener, joining analog tone generators together with unstable wiring that would respond to a performer's input in ways that were seemingly alive, a fact underlined by the fact that these circuits would sometimes short out and destroy themselves to spectacular sonic effect. David Tudor's music structured from amplification and gain staging to create unpredictable patterns of feedback ('feedback' having once been described by Tudor as the intrinsic voice of the electronic music medium, unavailable before the creation of amplifier / speaker systems). Roland Kayn also modeled his extended improvisations on the concept of Cybernetics, patching together electronics to reveal relationships 'not accessible to processes of human reasoning', which he described as a rudimentary form of artificial intelligence. Engineer Kurt Graupner's cross-patched mixing consoles designed for the rock band Faust allowed each member to mute the output of any combination of the other member's mixers, and be muted in turn, allowing them to recreate the studio tape-edits of their records in a real-time concert setting. And Laurie Spiegel's early programming work allowed the computer to analyze her playing and respond with layers of transpositions, reversals, interpolations & fragmentations, which she could then respond to in turn. These examples provide a context of the most inspiring aspect of the League's work: not just as pioneers in the use of improvising with microcomputers, but as musicians who shifted their roles as performers away from a notion of one who 'masters' the instrument to one who truly interacts and engages with its emerging voice. Bibliography Overkill Collins, Nicolas, editor: Composers Inside Electronics, Music after David Tudor, Leonardo Music Journal Volume 14, 2004 Frith, Fred, personal anecdote regarding early 70's touring with Faust Kayn, Roland, liner notes for 'Elektroakustische Projekte 1966-1975' 3 LP box set, Colosseum Records, 1975 Perkis, Tim, 'The impact of Computer Technology on the Artistic Process', http://www.perkis.com/wpc/writings.html, 1993 Scott, Raymond, typewritten notes reproduced in liner notes for 'Manhattan Research, Inc.', Basto Records, 2000 Spiegel, Laurie, 'Manipulations of Musical Patterns', IEEE Computer Society Catalog No. 393, pp. 19-22, 1981 Var?se, Edgard, "The Liberation of Sound", Perspectives on New Music, 1936 Zvonar, Richard, 'Louis and Bebe Barron: Strange Cues from the ID', e/i Magazine, Issue 3, 2003 From tfbsaxman at hotmail.com Fri Oct 30 21:02:47 2009 From: tfbsaxman at hotmail.com (Michael Cooke) Date: Fri, 30 Oct 2009 21:02:47 -0700 Subject: [NewMusic] Violinist Message-ID: I'm looking for a miracle in the form of a violinist who would like to play a trio for violin, bassoon and piano I wrote for fun. The piece seems to be to difficult for the violinist originally going to playing it. So I'm trying to find a replacement ASAP or I'll have to pull the piece off the concert. Mon Nov 2nd rehearsal, in sf 9:30 - 10 pm Thu Nov 5th rehearsal, in sf 9:30 - 10 pm Fri Nov 6th dress rehearsal, Chapel of the Chimes 7:30 pm - 9 pm Sat, Nov 7th Concert, Chapel of the Chimes Synth version of the piece: http://www.michaelkcooke.com/comp/with_the_Spirit_of_the_Desert.mp3 And of course the kicker is I don't really have money to really hire, but I could pay a little, so it would really need to be for the fun of it plus I would be more then happy to return the favor. Let me know if anyone is interested, willing and thinks the can play it in such a short time. Thus the miracle. Michael Cooke http://www.blackhatrecords.com/ _________________________________________________________________ New Windows 7: Find the right PC for you. 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