@ Doofy, Thanks . . . the TT certainly looks interesting
@ PaulR, My goodness ! - Thanks.
As always on eMusers, so much to listen to, so little time!
- Indeed . . .
We are right in the middle of "The Land og Milk and Honey."
:-)
- "A collaboration between Stereolab and the New York Sculptor Charles Long. Stereolab provided the music for sculptures made by Charles Long. All of the sculptures were exhibited in New York and were offered for sale as were 1500 "first edition" copies of the CD. Charles also made a limited edition of "Amorphous Babies". Each sculpture / Amorphous Baby was sold with a CD and the balance of the CDs were sold at the gallery and a few shops. The album was initially available only at the exhibit in a pressing of 1500; another limited pressing was later released to stores but it is now out of print. The tracks were included in the collection Aluminum Tunes: Switched On, Vol. 3."
- "Italian violinist Giusto Pio ,completed a classical musical training in Venice and was hired as a violinist in the RAI Milan orchestra,following aspects of traditional classical music but without losing an eye on current experiments.
It has become known to the general public for having cooperated with various songwriters Italians, including Franco Battiato, Alice and Milva. Often in the 80s and 90s he had collaborated with experimental artists, working and contributing, as arranger, violinist director or conductor,especially for Battiato, which Pio's gave violin lessons in the seventies.
This is an excellent release on the Cramps label ,blending his love for abstract experimental music." Mutant Sounds
Fantastic stuff from a composer previously unknown to me - Highly recommended !
[Side A: (29:10)
- Prolog
- Requiem I
- Requiem II
Side B: (35:02)
Requiem II (continued)
- Ricercar
- Rappresentazione
- Elegia
- Tratto
- Lamento
- Dona Nobis Pacem
Recorded by the Nederlandse Omroep Stichting Hilversum at the Holland-Festival in 1971.
Published by the Kulturkreis im Bundesverband der Deutschen Industrie - Stereo 2891 182 (LP)
- "Note: (Words are by Wladimir Majakowski, Sergej Jessenin, Conrad Beyer, Ezra Pound, H.H.Jahnn, Mao, Dubcek, Goebbels, Joyce, Camus, Weöres, Augustine, Hitler, Imre Nagy, Papandreou, Chamberlain, Aeschylus, Wittgenstein, Beatles [Hey Jude] and others...)
(languages - greek, russian, english, french, hungarian, czech, latin, german...)
- "Bernd Alois Zimmermann was born on the 20th March 1918 in Bliesheim near Cologne. He completed his studies at the Schools of Music in Cologne and Berlin with the teachers H. Lemacher and Ph. Jarnach. He received a scholarship in 1957 to visit the Villa Massimo. From 1958 onwards he taught composition and held a seminary for film and radio music at the Cologne Musikhochschule. He was awarded the Forderungspreis (for music) by the State of Nordrhein-Westfalen. Zimmermann died on the 10 August 1970 in Lovenich near Cologne." High res. cover + info @ Inconstant Sol
ETA: Re. Musique pour les soupers du Roi Ubu (1968)- (the first track on the page):
"This delightful and effective orchestral music, written in 1966, is for an imagined ballet given during festivities at the court of Ubu Roi, the character who embodies the absurdities and cruelty of authority in the first surrealist play by Alfred Jarry. The idea of a vast collage of music - from Bach, Beethoven, Schubert, Wagner, Berlioz, Stravinsky, Henze, Stockhausen, Dallapiccola, Zimmermann himself, with jazz improvisation sections and quotes from sixteenth- and seventeenth-century dances, could only have been accomplished by a composer possessing refined musical tastes. The music adds to the humor and joke of this absurdly rotund character, but with its historical references and emotional combinations, effectively expresses the macabre nature of this surreal and humanist comedy.
The music begins in a light, hilarious style with rhyming texts in French and German read between the sections. About midway through the piece, the narrator delivers a text with contemporary (1960s) references to people with long hair (correlating it with the story of Absolam catching his hair in the tree branch in the Bible) and nuclear fire. The whole affair starts to take on a more bittersweet edge, old dances and portions from J.S. Bach combined with contemporary jazz harmonies. In the final sequence, there are hints of World War II and other wars, with quotes from Wagner's The Ride of the Valkyries and Tchaikovsky's 1812 Overture against an obsessively banging piano cluster with drums."
- "This irreverent pseudo-documentary about the band The Residents blends comedy with live clips, music videos, interviews and documentary footage. Spanning the years 1972 to 1990, and including clips from the recent album The King and Eye and fragments of the band's "media mercenary" work, the program romps through established notions of pop culture, the music industry and the nature of musical invention, replacing them with the iconoclastic vision of The Residents. Director: John Sanborn. With: Penn & Teller. Producer: Debbie Lepsinger. Produced by The Cryptic Corporation"
Recommended by Kargatron on the YouTube thread, with the words:
"Wow, this is a wonderful piece of vintage sound art."
(about Requiem of Art (aus Celtic) (Fluxorum Organum II)
- listed as 7, 8 and 9 under "Joesph Beuys: Various Tracks"
- And yes, prepare for an experimental masterpiece !
- and there's more goodies on this page. - More about this later.
Joseph Beuys Henning Christiansen
Schottische Symphonie / Requiem Of Art
Edition Schellmann, 2xLP, 1973
1. Schottische Symphonie (aus Celtic) 1 (23:18)
2. Schottische Symphonie (aus Celtic) 2 (18:08)
3. Op. 50: Requiem Of Art (aus Celtic) Fluxorum Organum II (36:22)
Schottische Symphonie (aus Celtic) performed by Joseph Beuys & Henning Christiansen. Recorded at Edinburgh College Of Art, August 21, 1970. Mono recording.
Op.50, Requiem Of Art (aus Celtic) Fluxorum Organum II. Score/tape realization by Henning Christiansen, 1973. Stereo recording.
- Also on the Joseph Beuys page:
listed as 3 and 4 on "Joesph Beuys: Various Tracks"
Henning Christiansen with Joseph Beuys and Nam June Paik.
- "Obtained during a period in the 90's when tracking down obscure gallery edition albums (the sort of thing covered in the book Broken Music) seemed like a worthwhile pursuit, before one too many albums of guys rolling ballbearings around on gallery floors drove me toward more fruitful sonic pastures. This was one of the few keepers from that period, though. This live recording of deeply odd surrealist atmospheres is conjured from some pretty humble ingredients (spare detuned piano chords, open oxygen tank valves hissing and birds singing in contact miked cages, for starters) and realized by Christiansen, legendary fluxus artist Nam June Paik and (via telephone link) even more legendary visual/performance artist Joseph Beuys. Enigmatic and highly compelling work that is as difficult to parse as it is to deny." Mutant Sounds 2007
----Side 1----
1 Lou Harrison "Sonata No.2 from Six Sonatas for Cembalo" (2:43)
2 Terry Riley "The Ethereal Time Shadow (excerpt)" (9:20)
3 Luciano Berio "Chamber Music" (7:10)
4 Dave Brubeck "Summer Song, arranged by Howard Brubeck" (2:56)
----Side 2----
1 David Rosenboom "In The Beginning: Etude I (Trombones)" (9:48)
2 Robert Ashley "Flying Saucer Dialogue from the opera Atalanta (Acts of God)" (7:14)
3 Anthony Braxton "Composition No.62 (+30+96)" (5:48)
----Side 3----
1 David Berhrman "Interspecies Smalltalk, Part 2 (excerpt)" (5:42)
2 Elinor Armer "Thaw" (5:51)
3 Steve Reich "Melodica" (10:43)
----Side 4----
1 Maggi Payne "Subterranean Network (excerpt)" (7:21)
2 Darius Milhaud "Segoviana" (3:14)
3 Pauline Oliveros "Alien Bog (excerpt)" (6:22)
4 Anthony Gnazzo "Asparagas" (4:49)
----Side 5----
1 Katrina Krimsky "Apparitions" (9:15)
2 Larry Polansky "Four Voice Cannon #3" (1:49)
3 Pandit Pran Nath "Dira Dira Ta Na in Raga Bhairavi (excerpt)" (12:49)
----Side 6----
1 Janice Giteck "Breathing Songs From a Turning Sky (excerpt)" (7:29)
2 Robert Sheff "Remembering, performed by "Blue" Gene Tyranny" (2:27)
3 Ramon Sender "Audition (excerpt)" (2:54)
4 Morton Subotnick "The Key To Songs (excerpt)" (8:29)
- "These records were published; In Celebration of the Centennial of the Chartering of Mills Collage 1885-1985. A selection of works featuring composers and performers from the Mills Collage Music Department and Center for Contemporary Music.
Includes compositions by: Elinor Armer, Robert Ashley, David Behrman, Luciano Berio, Anthony Braxton, Dave Brubeck, Howard Brubeck, Janice Giteck, Anthony Gnazzo, Lou Harrison, Katrina Krimsky, Darius Milhaund, Pandit Pran Nath, Paurine Oliveros, Maggi Payne, Larry Polansky, Steve Reich, Terry Riley, David Rosenboom, Ramon Sender, Morton Subotnik, "Blue" Gene Tyranny.
Cover: b/w with a print of The Critic Sees by Jasper Johns!
The Mills College Music Department and Center for Contemporary Music are proud to present this three-record set, released in celebration of the chartering of Mills College as a degree-granting institution in 1885. Since that time the Mills College Music Department has gained an international reputation for excellence in composition, performance and historical studies combined with innovation in contemporary musical media.
These records contain a mere sampling of the wealth of music that has emanated from Mills College during the last one hundred years. Most of the composers and performers represented are current or former faculty or students at Mills. The list of accomplished musicians responsible for the Mills reputation is very, very long. Regrettably, many of these world-class composers and performers are not included in this collection. This is due to limitations of space or circumstances of logistics and time and not to any evaluative, editorial judgements. We hope, however, that this collection will comprise an important historical and archival document and will help continue Mills' long-standing contribution to the evolution of American music.
The composers and performers represented on this album have donated their efforts and their music for this limited edition project. To them we express our deepest gratitude. Without their generosity and assistance this album would never have been possible. We also wish to acknowledge past Heads of the Mills Music Department whose tireless efforts and careful support were required to keep Mills in the forefront of contemporary music. In particular, many of the composers represented in this anthology came to Mills during the tenure of Margaret Lyon, who served as Head from 1955 to 1979. This tradition was continued by Susan Summerfield (1979-1984) and David Rosenboom (1984-present) and remains vital today."
- Mutant Sounds
I think these have been posted before, but not on this thread:
"Jozef van Wissem (b. 1962) is a Dutch minimalist composer and lute player from Maastricht, Netherlands.
Taking an experimental approach to Renaissance and Baroque forms of lute music, his compositions for the instrument have involved a dynamic mix of conceptual, minimalist, classical and improvisational strategies, seamlessly bridging the language of 17th century music with that of the 21st, without compromising the timbre and resonance of traditional lute playing techniques.
Over the last two decades, van Wissem has variously used cut-and-paste tactics, field recordings, free improvisation, and created palindromic compositions by playing pieces forwards and then backwards. The resulting sound world is at once meditative and surprising, new and arcane. Mirror image melodies are formed that step up and then back down seemingly without end, thus eschewing traditional linear progression and climax, instead maintaining a constant level of intensity. This music doesnt demand concentrated listening, but rather brings the listener into a state of concentrated listening.
His music is uncluttered and direct, with a viscerally hypnotic and emotional impact,delivered with an ascetic intensity reflected both in his Biblical titles and his no wave influences. An incessantly touring musician, van Wissems hypnotic live shows have taken him all over the world. He has records out on Important Records and his own Incunabulum label and has collaborated with James Blackshaw, Keiji Haino and Jim Jarmusch amongst others. Van Wissem studied lute in New York with Pat OBrien and released a classical lute CD A Rose by Any Other Name consisting of anonymous lute pieces. He lectures on The Liberation of the Lute (at Harvard, Wesleyan University, Mills College amongst others) and was commissioned by The National Gallery of London to compose a sound piece to Hans Holbeins painting The Ambassadors. His work is featured more and more in documentaries and feature films and he recently composed pieces for lute and voice for the new Sims Medieval video game."
Recommended on the good old experimental thread many moons ago: Phil Niblock - G2, 44+/X2 - "G2, 44+/x2 (check the song titles for an explanation of the album's title) consists of two versions of a single piece, "Guitar too, for four." The first is a solo performance by the Spanish guitarist Rafael Toral. The instructions for the piece appear to be quite simple but require an enormous amount of concentration and physical tension. Using an E-Bow (a small electronic device capable of magnetically vibrating the guitar's strings), he must hold it as close as possible to the strings without touching them, while manipulating his tremolo arm in an extremely subtle manner so as to educe the maximum amount of richness and volume from his instrument with a minimum of means. For the listener, this results in a deep, resonant, and multi-layered drone that oscillates from speaker to speaker, filling the aural space like a horde of chanting Tibetan monks. It's hypnotic, ravishing, and endlessly fascinating. The second rendition ups the ante considerably, taking samples from Toral, Robert Poss, Susan Stengler, and David First and adding in performances of the piece by Kevin Drumm, Lee Ranaldo, Thurston Moore, and Alan Licht, all mixed by Jim O'Rourke."
This album was recently added to Emusic from the Wergo back catalogue (1988).
On Ubuweb it's CD 59 (track 443 - 446) of History of Electronic / Electroacoustic Music (1937-2001)
Really excellent old school computer / electronic music.
- "Lyrical and sophisticated FM synthesis computer music with mysterious and surprising psychoacoustic illusions, like in Turenas, the first piece to create the impression of sound sources moving in a 360-degree space." AMG
[url=][/url]
John M. Chowning; - "Born August 22, 1934 in Salem, New Jersey) is an American composer, musician, inventor, and professor best known for his work at Stanford University and his invention of FM synthesis while there.
Chowning is known for having discovered the FM synthesis algorithm in 1967. In FM (frequency modulation) synthesis, both the carrier frequency and the modulation frequency are within the audio band. In essence, the amplitude and frequency of one waveform modulates the frequency of another waveform producing a resultant waveform that can be periodic or non-periodic depending upon the ratio of the two frequencies.
Chowning's breakthrough allowed for simplein terms of processyet rich sounding timbres, which synthesized 'metal striking' or 'bell like' sounds, and which seemed incredibly similar to real percussion. (Chowning was also a skilled percussionist.) He spent six years turning his breakthrough into a system of musical importance and eventually was able to simulate a large number of musical sounds, including the singing voice. In 1974 Stanford University licensed the discovery to Yamaha in Japan (Mattis 2001), with whom Chowning worked in developing a family of synthesizers and electronic organs. This patent was Stanford's most lucrative patent at one time[citation needed], eclipsing many in electronics, computer science, and biotechnology.
The first product to incorporate the FM algorithm was Yamaha's GS1, a digital synthesizer that first shipped in 1981. Some thought it too expensive at the time, Chowning included. Soon after, in 1983, Yamaha made their first commercially successful digital FM synthesizer, the DX7.
Another important aspect of Chowning's work is the simulated motion of sound through physical space. In 1972 he was first able to create the illusion of a continuous 360-degree space using only four speakers, in his composition Turenas (Mattis 2001). . . . .
The Mystery Tapes that Amclark2 posted back in 2010 seems to have gone. (how time flies)
"The distribution of "Plunderphonic" stopped as of December 1989 after Canadian Recording Industry Association & CBS Records, representing Michael Jackson took a legal action against John Oswald.
"We finally agreed on a list which made me quite happy says Oswald. lt effectively took me out of the Plunderphonic CD distribution business. I could no longer send these things around for free. I was ordered to destroy the CDs which l had remaining in my possession, which were about 300. They were delivered to CRIA's lawyers by my lawyers and were subsequently crushed by somebody they hired. This made me quite happy because it put them in a position of being CD crushers, audio book burners and all the things we can associate with those fascist type tactics. Their initial demands were that all copies be recalled. I said I wasnt willing to do that, and I got my lawyer to convince them that it was impractical and unnecessary. But to back that up, I had statements from several radio stations, most particularly KPFA in San Francisco, that they werent willing to give up their copy, and they would welcome a visit from the Royal Canadian Mounted Police trying to take it back. We also had an agreement that if I fulfilled those requirements I could talk all l wanted about the thing.
Ultimately, John Oswald wasnt concerned about the destruction of the master, because of the disabled copy-protection flag, any of the existing CDs could be recorded digitally, and after all, it could be listened to in libraries and radio stations across the country. Distribution was then taken up by radio stations and organizations like the "Copyright violation squad" in Iowa who would dub copies free of charge if supplied with a blank cassette. "
I can imagine that, especially if you carried on for the entire 64 minutes . . . :-)
This one is fairly new on Ubu (recently brought to my attention by an Ubu Tweet) "The earliest Japanese musique concrete & tape music (1953-1956), Mayazumi, Hasegawa, Moroi, Takemitsu" (The cover is from the CD release from 2000.)
"Concert series of Japanese contemporary music after WWII at Kioi Hall in Tokyo. This issue includes unreleased and rare tape music. Toshiro Mayuzumi "Works for musique concrete X. Y. Z (1953, earliest musique concrete in Japan)" Makoto Moroi / Toshiro Mayuzumi "Variations on numerical principle of 7 (1956)" - same source of Hiroshi Shiotani's CD "Oto no Hajimari wo Motomete" - Toru Takemitsu "Vocalism A.I", "Ki. Sora. Tori (Tree. Sky. Bird)", "Clap Vocalism" (1956) Yoshio Hasegawa "A musical tale for radio "The World in the Jar (1956)"
"Toshiro Mayuzumi (黛敏郎, 20 February 1929, in Yokohama – 10 April 1997, in Kawasaki) was a Japanese composer of classical music, soundtracks, and traditional Japanese music. Mayuzumi was a student at the Tokyo National University of Fine Arts and Music immediately following the Second World War, before going to Europe where he attended the Paris Conservatoire national supérieur de musique. He was initially enthusiastic about avant-garde Western music but in the course of the 1950s he gradually became more interested in traditional Japanese music as well as esoteric Buddhism."
Pre-Residents private tape. All recordings from August to November 1971.
- "Baby Sex is another experimental reel-to-reel tape which has never been release (in its entirely) in any form. Portions of this 37 minute album were recorded live at the Boarding House in San Francisco on October 18, 1971, and also at radio station KHSC-FM (Arcata, California) during a live interview. The shocking and herewith censored front cover illustration for the tape box was taken from a kiddie-porn advertisement from Denmark; the back design is pictured here."
- "This LP was also available as part of the six LP box set 'Avangarde Vol.4' on Deutsche Grammophon. Recorded at Chappell Studios, London, on February 15/16 1971. Composed in 1969.
Though David Jackman is not mentioned anywhere on the sleeve, he was an active member of the Scratch Orchestra at this point and is probably one of the massed singers. Some of the other members mentioned in the liner notes are: John Tillbury, Gavin Bryars, Michael Parsons, Howard Skempton, Michael Chant, Christopher Hobbs, and Hugh Shrapnel - each of who recruited friends, family and students to swell the ranks."
The Scratch Orchestra - "The Scratch Orchestra was an experimental musical ensemble founded in the spring of 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton. The Orchestra reflected Cardew's musical philosophy at that time. This meant that anyone could join, graphic scores were used (rather than traditional sheet music), and there was an emphasis on improvisation. The Scratch Orchestra arose from Cardew's 'Experimental Music' class at Morley College, London, which served as a venue for extra rehearsals for Scratch Orchestra concerts, but Scratch Orchestra rehearsals were also held separately.
The first meeting of the Scratch Orchestra was at St. Katharine's Dock, 1 July 1969. It was announced by means of a 'Draft Constitution', published in "The Musical Times" in June 1969. The Draft Constitution set out categories of musical activity: Improvisation Rites, Popular Classics, Compositions, and Research Projects. Cardew also proposed that the responsibility of programming of concerts be assigned in reverse seniority, so that the first concert, on 1 November 1969 at Hampstead Town Hall, was designed by Christopher Hobbs, an eighteen-year-old student of Cardew's at the Royal Academy of Music. Despite the emphasis on free improvisation, the varying experience of the members, and the 'do your own thing' free aesthetic of the time, the Scratch Orchestra was a disciplined ensemble. Eventually the strains of Cardew's "reverse seniority", tensions between musically-trained and non-musically-trained members, and an increasing interest in political aesthetics led to a gradual change in the activities, and then the outlook of the ensemble. It was effectively inoperative by 1974."
Comments
@ PaulR, My goodness ! - Thanks. - Indeed . . .
We are right in the middle of "The Land og Milk and Honey."
:-)
- "Italian violinist Giusto Pio ,completed a classical musical training in Venice and was hired as a violinist in the RAI Milan orchestra,following aspects of traditional classical music but without losing an eye on current experiments.
It has become known to the general public for having cooperated with various songwriters Italians, including Franco Battiato, Alice and Milva. Often in the 80s and 90s he had collaborated with experimental artists, working and contributing, as arranger, violinist director or conductor,especially for Battiato, which Pio's gave violin lessons in the seventies.
This is an excellent release on the Cramps label ,blending his love for abstract experimental music."
Mutant Sounds
[Side A: (29:10)
- Prolog
- Requiem I
- Requiem II
Side B: (35:02)
Requiem II (continued)
- Ricercar
- Rappresentazione
- Elegia
- Tratto
- Lamento
- Dona Nobis Pacem
Recorded by the Nederlandse Omroep Stichting Hilversum at the Holland-Festival in 1971.
Published by the Kulturkreis im Bundesverband der Deutschen Industrie - Stereo 2891 182 (LP)
- "Note: (Words are by Wladimir Majakowski, Sergej Jessenin, Conrad Beyer, Ezra Pound, H.H.Jahnn, Mao, Dubcek, Goebbels, Joyce, Camus, Weöres, Augustine, Hitler, Imre Nagy, Papandreou, Chamberlain, Aeschylus, Wittgenstein, Beatles [Hey Jude] and others...)
(languages - greek, russian, english, french, hungarian, czech, latin, german...)
- "Bernd Alois Zimmermann was born on the 20th March 1918 in Bliesheim near Cologne. He completed his studies at the Schools of Music in Cologne and Berlin with the teachers H. Lemacher and Ph. Jarnach. He received a scholarship in 1957 to visit the Villa Massimo. From 1958 onwards he taught composition and held a seminary for film and radio music at the Cologne Musikhochschule. He was awarded the Forderungspreis (for music) by the State of Nordrhein-Westfalen. Zimmermann died on the 10 August 1970 in Lovenich near Cologne."
High res. cover + info @ Inconstant Sol
ETA: Re. Musique pour les soupers du Roi Ubu (1968)- (the first track on the page): - "Blue" Gene Tyranny @ Allmusic.
That is a lot of Throbbing Gristle!
- And lots of other stuff. . .
- And this explains my Robert Ashley "mystery". Ubu tweeted about this, one day before my RIP thread post.
High res. covers:
http://img.cdandlp.com/2012/11/imgL/115762997.jpg
http://img.cdandlp.com/2012/11/imgL/115762997-2.jpg
- And yes, prepare for an experimental masterpiece !
- and there's more goodies on this page. - More about this later.
Joseph Beuys Henning Christiansen
Schottische Symphonie / Requiem Of Art
Edition Schellmann, 2xLP, 1973
1. Schottische Symphonie (aus Celtic) 1 (23:18)
2. Schottische Symphonie (aus Celtic) 2 (18:08)
3. Op. 50: Requiem Of Art (aus Celtic) Fluxorum Organum II (36:22)
Schottische Symphonie (aus Celtic) performed by Joseph Beuys & Henning Christiansen. Recorded at Edinburgh College Of Art, August 21, 1970. Mono recording.
Op.50, Requiem Of Art (aus Celtic) Fluxorum Organum II. Score/tape realization by Henning Christiansen, 1973. Stereo recording.
listed as 3 and 4 on "Joesph Beuys: Various Tracks"
Henning Christiansen with Joseph Beuys and Nam June Paik.
- "Obtained during a period in the 90's when tracking down obscure gallery edition albums (the sort of thing covered in the book Broken Music) seemed like a worthwhile pursuit, before one too many albums of guys rolling ballbearings around on gallery floors drove me toward more fruitful sonic pastures. This was one of the few keepers from that period, though. This live recording of deeply odd surrealist atmospheres is conjured from some pretty humble ingredients (spare detuned piano chords, open oxygen tank valves hissing and birds singing in contact miked cages, for starters) and realized by Christiansen, legendary fluxus artist Nam June Paik and (via telephone link) even more legendary visual/performance artist Joseph Beuys. Enigmatic and highly compelling work that is as difficult to parse as it is to deny."
Mutant Sounds 2007
----Side 1----
1 Lou Harrison "Sonata No.2 from Six Sonatas for Cembalo" (2:43)
2 Terry Riley "The Ethereal Time Shadow (excerpt)" (9:20)
3 Luciano Berio "Chamber Music" (7:10)
4 Dave Brubeck "Summer Song, arranged by Howard Brubeck" (2:56)
----Side 2----
1 David Rosenboom "In The Beginning: Etude I (Trombones)" (9:48)
2 Robert Ashley "Flying Saucer Dialogue from the opera Atalanta (Acts of God)" (7:14)
3 Anthony Braxton "Composition No.62 (+30+96)" (5:48)
----Side 3----
1 David Berhrman "Interspecies Smalltalk, Part 2 (excerpt)" (5:42)
2 Elinor Armer "Thaw" (5:51)
3 Steve Reich "Melodica" (10:43)
----Side 4----
1 Maggi Payne "Subterranean Network (excerpt)" (7:21)
2 Darius Milhaud "Segoviana" (3:14)
3 Pauline Oliveros "Alien Bog (excerpt)" (6:22)
4 Anthony Gnazzo "Asparagas" (4:49)
----Side 5----
1 Katrina Krimsky "Apparitions" (9:15)
2 Larry Polansky "Four Voice Cannon #3" (1:49)
3 Pandit Pran Nath "Dira Dira Ta Na in Raga Bhairavi (excerpt)" (12:49)
----Side 6----
1 Janice Giteck "Breathing Songs From a Turning Sky (excerpt)" (7:29)
2 Robert Sheff "Remembering, performed by "Blue" Gene Tyranny" (2:27)
3 Ramon Sender "Audition (excerpt)" (2:54)
4 Morton Subotnick "The Key To Songs (excerpt)" (8:29)
- "These records were published; In Celebration of the Centennial of the Chartering of Mills Collage 1885-1985. A selection of works featuring composers and performers from the Mills Collage Music Department and Center for Contemporary Music.
Includes compositions by: Elinor Armer, Robert Ashley, David Behrman, Luciano Berio, Anthony Braxton, Dave Brubeck, Howard Brubeck, Janice Giteck, Anthony Gnazzo, Lou Harrison, Katrina Krimsky, Darius Milhaund, Pandit Pran Nath, Paurine Oliveros, Maggi Payne, Larry Polansky, Steve Reich, Terry Riley, David Rosenboom, Ramon Sender, Morton Subotnik, "Blue" Gene Tyranny.
Cover: b/w with a print of The Critic Sees by Jasper Johns!
The Mills College Music Department and Center for Contemporary Music are proud to present this three-record set, released in celebration of the chartering of Mills College as a degree-granting institution in 1885. Since that time the Mills College Music Department has gained an international reputation for excellence in composition, performance and historical studies combined with innovation in contemporary musical media.
These records contain a mere sampling of the wealth of music that has emanated from Mills College during the last one hundred years. Most of the composers and performers represented are current or former faculty or students at Mills. The list of accomplished musicians responsible for the Mills reputation is very, very long. Regrettably, many of these world-class composers and performers are not included in this collection. This is due to limitations of space or circumstances of logistics and time and not to any evaluative, editorial judgements. We hope, however, that this collection will comprise an important historical and archival document and will help continue Mills' long-standing contribution to the evolution of American music.
The composers and performers represented on this album have donated their efforts and their music for this limited edition project. To them we express our deepest gratitude. Without their generosity and assistance this album would never have been possible. We also wish to acknowledge past Heads of the Mills Music Department whose tireless efforts and careful support were required to keep Mills in the forefront of contemporary music. In particular, many of the composers represented in this anthology came to Mills during the tenure of Margaret Lyon, who served as Head from 1955 to 1979. This tradition was continued by Susan Summerfield (1979-1984) and David Rosenboom (1984-present) and remains vital today."
- Mutant Sounds
Phil Niblock - G2, 44+/X2
- "G2, 44+/x2 (check the song titles for an explanation of the album's title) consists of two versions of a single piece, "Guitar too, for four." The first is a solo performance by the Spanish guitarist Rafael Toral. The instructions for the piece appear to be quite simple but require an enormous amount of concentration and physical tension. Using an E-Bow (a small electronic device capable of magnetically vibrating the guitar's strings), he must hold it as close as possible to the strings without touching them, while manipulating his tremolo arm in an extremely subtle manner so as to educe the maximum amount of richness and volume from his instrument with a minimum of means. For the listener, this results in a deep, resonant, and multi-layered drone that oscillates from speaker to speaker, filling the aural space like a horde of chanting Tibetan monks. It's hypnotic, ravishing, and endlessly fascinating. The second rendition ups the ante considerably, taking samples from Toral, Robert Poss, Susan Stengler, and David First and adding in performances of the piece by Kevin Drumm, Lee Ranaldo, Thurston Moore, and Alan Licht, all mixed by Jim O'Rourke."
On Ubuweb it's CD 59 (track 443 - 446) of History of Electronic / Electroacoustic Music (1937-2001)
Really excellent old school computer / electronic music.
- "Lyrical and sophisticated FM synthesis computer music with mysterious and surprising psychoacoustic illusions, like in Turenas, the first piece to create the impression of sound sources moving in a 360-degree space."
AMG
[url=]
John M. Chowning;
- "Born August 22, 1934 in Salem, New Jersey) is an American composer, musician, inventor, and professor best known for his work at Stanford University and his invention of FM synthesis while there.
Chowning is known for having discovered the FM synthesis algorithm in 1967. In FM (frequency modulation) synthesis, both the carrier frequency and the modulation frequency are within the audio band. In essence, the amplitude and frequency of one waveform modulates the frequency of another waveform producing a resultant waveform that can be periodic or non-periodic depending upon the ratio of the two frequencies.
Chowning's breakthrough allowed for simplein terms of processyet rich sounding timbres, which synthesized 'metal striking' or 'bell like' sounds, and which seemed incredibly similar to real percussion. (Chowning was also a skilled percussionist.) He spent six years turning his breakthrough into a system of musical importance and eventually was able to simulate a large number of musical sounds, including the singing voice. In 1974 Stanford University licensed the discovery to Yamaha in Japan (Mattis 2001), with whom Chowning worked in developing a family of synthesizers and electronic organs. This patent was Stanford's most lucrative patent at one time[citation needed], eclipsing many in electronics, computer science, and biotechnology.
The first product to incorporate the FM algorithm was Yamaha's GS1, a digital synthesizer that first shipped in 1981. Some thought it too expensive at the time, Chowning included. Soon after, in 1983, Yamaha made their first commercially successful digital FM synthesizer, the DX7.
Another important aspect of Chowning's work is the simulated motion of sound through physical space. In 1972 he was first able to create the illusion of a continuous 360-degree space using only four speakers, in his composition Turenas (Mattis 2001). . . . .
Artists' Books and Multiples
The Mystery Tapes that Amclark2 posted back in 2010 seems to have gone. (how time flies)
Kenneth White & Lionel Marchetti - Le chemin du chaman
:-)
http://www.discogs.com/Joseph-Beuys-Ja-Ja-Ja-Ja-Ja-Nee-Nee-Nee-Nee-Nee-1968/release/747961
This one is fairly new on Ubu (recently brought to my attention by an Ubu Tweet)
"The earliest Japanese musique concrete & tape music (1953-1956), Mayazumi, Hasegawa, Moroi, Takemitsu"
(The cover is from the CD release from 2000.)
"Concert series of Japanese contemporary music after WWII at Kioi Hall in Tokyo. This issue includes unreleased and rare tape music. Toshiro Mayuzumi "Works for musique concrete X. Y. Z (1953, earliest musique concrete in Japan)" Makoto Moroi / Toshiro Mayuzumi "Variations on numerical principle of 7 (1956)" - same source of Hiroshi Shiotani's CD "Oto no Hajimari wo Motomete" - Toru Takemitsu "Vocalism A.I", "Ki. Sora. Tori (Tree. Sky. Bird)", "Clap Vocalism" (1956) Yoshio Hasegawa "A musical tale for radio "The World in the Jar (1956)"
"Toshiro Mayuzumi (黛敏郎, 20 February 1929, in Yokohama – 10 April 1997, in Kawasaki) was a Japanese composer of classical music, soundtracks, and traditional Japanese music. Mayuzumi was a student at the Tokyo National University of Fine Arts and Music immediately following the Second World War, before going to Europe where he attended the Paris Conservatoire national supérieur de musique. He was initially enthusiastic about avant-garde Western music but in the course of the 1950s he gradually became more interested in traditional Japanese music as well as esoteric Buddhism."
Pre-Residents private tape. All recordings from August to November 1971.
- "Baby Sex is another experimental reel-to-reel tape which has never been release (in its entirely) in any form. Portions of this 37 minute album were recorded live at the Boarding House in San Francisco on October 18, 1971, and also at radio station KHSC-FM (Arcata, California) during a live interview. The shocking and herewith censored front cover illustration for the tape box was taken from a kiddie-porn advertisement from Denmark; the back design is pictured here."
Albrecht/d. - Abstract Energy
Recorded at Chappell Studios, London, on February 15/16 1971. Composed in 1969.
- "The Scratch Orchestra was an experimental musical ensemble founded in the spring of 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton. The Orchestra reflected Cardew's musical philosophy at that time. This meant that anyone could join, graphic scores were used (rather than traditional sheet music), and there was an emphasis on improvisation. The Scratch Orchestra arose from Cardew's 'Experimental Music' class at Morley College, London, which served as a venue for extra rehearsals for Scratch Orchestra concerts, but Scratch Orchestra rehearsals were also held separately.
The first meeting of the Scratch Orchestra was at St. Katharine's Dock, 1 July 1969. It was announced by means of a 'Draft Constitution', published in "The Musical Times" in June 1969. The Draft Constitution set out categories of musical activity: Improvisation Rites, Popular Classics, Compositions, and Research Projects. Cardew also proposed that the responsibility of programming of concerts be assigned in reverse seniority, so that the first concert, on 1 November 1969 at Hampstead Town Hall, was designed by Christopher Hobbs, an eighteen-year-old student of Cardew's at the Royal Academy of Music. Despite the emphasis on free improvisation, the varying experience of the members, and the 'do your own thing' free aesthetic of the time, the Scratch Orchestra was a disciplined ensemble. Eventually the strains of Cardew's "reverse seniority", tensions between musically-trained and non-musically-trained members, and an increasing interest in political aesthetics led to a gradual change in the activities, and then the outlook of the ensemble. It was effectively inoperative by 1974."