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On 1 Oct 2009 16:23:39 -0400, Jim Henderson <nos### [at] nospam com> wrote:
>> My upper limit, Benjamin Britain excepted :-)
>
>LOL
>
>John Cage? ;-)
LOL, reminds me of the 1950s/60s jukebox record of 2.5 mins of silence or the
Picasso art where he sold signed blank pieces of paper.
--
Regards
Stephen
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On Thu, 01 Oct 2009 13:36:10 -0700, Kevin Wampler <wam### [at] uwashingtonedu>
wrote:
>Jim Henderson wrote:
>
>> John Cage? ;-)
>
>I'm sure he at least wouldn't mind 4'33" ;-)
>
>Along these lines I was very surprised to find that a professor who was
>sitting in on a computer science seminar with me was actually a pupil of
>Xenakis. He had some amusing stories to tell about how Xenakis once
>cleared out an entire concert hall save for three of his students
>(including the professor) in the front row.
>
>in an actual concert a couple of years ago. My girlfriend who I'd
>dragged to the event was somewhat less enthusiastic.
Thank you for that. May I respond with "Several Species Of Small Furry Animals
Gathered Together In A Cave And Grooving With A Pict"?
--
Regards
Stephen
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Stephen wrote:
> Thank you for that. May I respond with "Several Species Of Small Furry Animals
> Gathered Together In A Cave And Grooving With A Pict"?
Ah, quality...
If it weren't for the price tag, I'd buy this.
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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Stephen wrote:
> Thank you for that. May I respond with "Several Species Of Small Furry Animals
> Gathered Together In A Cave And Grooving With A Pict"?
Sounds like a landmark piece of contemporary music!
In seriousness, I found the process of learning to like modern music
pretty similar to how I learned to enjoy beer. Sure it seemed terrible
at first, but once I got used to it I started to really appreciate it.
Not all of it mind you, I still dislike some beers and find some modern
music (like 4'33" for instance) to be rather silly.
Not trying to convince you to try it out of course -- I totally
understand why many people hate that sort of music.
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Stephen wrote:
> Thank you for that. May I respond with "Several Species Of Small Furry Animals
> Gathered Together In A Cave And Grooving With A Pict"?
Also, now that I've actually listened to this -- hilarious! I didn't
realize it was an actual song at first and instead just thought you'd
made up the name as a parody of contemporary music (instead Pink Floyd
did that I suppose).
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>> Thank you for that. May I respond with "Several Species Of Small Furry
>> Animals
>> Gathered Together In A Cave And Grooving With A Pict"?
>
> Also, now that I've actually listened to this -- hilarious! I didn't
> realize it was an actual song at first and instead just thought you'd
> made up the name as a parody of contemporary music (instead Pink Floyd
> did that I suppose).
Not only is it real, but the title is actually a surprisingly accurate
description of the content. ;-)
--
http://blog.orphi.me.uk/
http://www.zazzle.com/MathematicalOrchid*
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On Thu, 01 Oct 2009 21:47:17 +0100, Stephen wrote:
> On 1 Oct 2009 16:23:39 -0400, Jim Henderson <nos### [at] nospamcom> wrote:
>
>>> My upper limit, Benjamin Britain excepted :-)
>>
>>LOL
>>
>>John Cage? ;-)
>
> LOL, reminds me of the 1950s/60s jukebox record of 2.5 mins of silence
> or the Picasso art where he sold signed blank pieces of paper.
4:33 is one of my favourite Cage pieces. ;-)
Jim
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On Thu, 01 Oct 2009 13:36:10 -0700, Kevin Wampler wrote:
> Jim Henderson wrote:
>
>> John Cage? ;-)
>
> I'm sure he at least wouldn't mind 4'33" ;-)
I think it rather depends on what occurs during that period of time. The
premise of that score is interesting, though. The thing I found funny
about Cage's scores was that they tended to look more like they came off
an EKG machine rather than musical notation. I remember one that had
three graphs - one for pitch, one for amplitude, and one for rate (IIRC).
> Along these lines I was very surprised to find that a professor who was
> sitting in on a computer science seminar with me was actually a pupil of
> Xenakis. He had some amusing stories to tell about how Xenakis once
> cleared out an entire concert hall save for three of his students
> (including the professor) in the front row.
LOL - so how does the story go?
> I was also lucky enough to hear a good reproduction of La Légende d'Eer
> in an actual concert a couple of years ago. My girlfriend who I'd
> dragged to the event was somewhat less enthusiastic.
I'm going to have to look that one up - I don't think I've ever heard of
it before.
Jim
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Jim Henderson wrote:
> On Thu, 01 Oct 2009 13:36:10 -0700, Kevin Wampler wrote:
>
>> Jim Henderson wrote:
>>
>>> John Cage? ;-)
>> I'm sure he at least wouldn't mind 4'33" ;-)
>
> I think it rather depends on what occurs during that period of time. The
> premise of that score is interesting, though. The thing I found funny
> about Cage's scores was that they tended to look more like they came off
> an EKG machine rather than musical notation. I remember one that had
> three graphs - one for pitch, one for amplitude, and one for rate (IIRC).
Nonstandard notation of this sort is not uncommon in a lot of
contemporary music and cage is certainly not the only person to use it.
It is pretty strange to look at coming from traditional western notion
though. Once you start getting into Aleatoric music (as Cage did) you
get even more bizarre notations.
>> Along these lines I was very surprised to find that a professor who was
>> sitting in on a computer science seminar with me was actually a pupil of
>> Xenakis. He had some amusing stories to tell about how Xenakis once
>> cleared out an entire concert hall save for three of his students
>> (including the professor) in the front row.
>
> LOL - so how does the story go?
About like it sounds. I was giving a sort presentation on some computer
music topics and I played an example of Xenakis' Myceane Alpha. The
professor then related how Xenakis had given a concert at some music
conference and played this or a similar piece at about 120dB.
Apparently the audience did not last long and by the end only his
students were left. I'll need to remember to ask him next time I see
him if this was Xenakis' intent from the beginning (and if Xenakis
thought it was humorous).
>> I was also lucky enough to hear a good reproduction of La Légende d'Eer
>> in an actual concert a couple of years ago. My girlfriend who I'd
>> dragged to the event was somewhat less enthusiastic.
>
> I'm going to have to look that one up - I don't think I've ever heard of
> it before.
Unfortunately none of the recordings do it justice. The piece was
initially composed for seven tracks each playing from a speaker in a
different part of the concert hall (actually, it was composed for a
particular concert space which Xenakis himself designed). This allowed
Xenakis to make heavy use of the three-dimensional placement of the
sound, and this is more or less totally lost in the available
recordings. This was one of the reasons why it was so cool to hear a
proper reproduction in a concert hall.
My girlfriend was amused that he was able to create an entirely new form
of musical suspense when she realized that a really loud sound somewhat
like a rocket taking off was slowly moving over to our side of the theater.
Side note: This piece was written to celebrate the opening of Pompidou.
Another side note: It's not easy listening.
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On Thu, 01 Oct 2009 15:39:37 -0700, Kevin Wampler wrote:
>> came off an EKG machine rather than musical notation. I remember one
>> that had three graphs - one for pitch, one for amplitude, and one for
>> rate (IIRC).
>
> Nonstandard notation of this sort is not uncommon in a lot of
> contemporary music and cage is certainly not the only person to use it.
> It is pretty strange to look at coming from traditional western notion
> though. Once you start getting into Aleatoric music (as Cage did) you
> get even more bizarre notations.
That doesn't surprise me. At the time it did, but I was in my mid-teens
at the time and had only seen western style music notation.
>> LOL - so how does the story go?
>
> About like it sounds. I was giving a sort presentation on some computer
> music topics and I played an example of Xenakis' Myceane Alpha. The
> professor then related how Xenakis had given a concert at some music
> conference and played this or a similar piece at about 120dB. Apparently
> the audience did not last long and by the end only his students were
> left. I'll need to remember to ask him next time I see him if this was
> Xenakis' intent from the beginning (and if Xenakis thought it was
> humorous).
Interesting. That is certainly loud - did the students have any sort of
ear protection?
>> I'm going to have to look that one up - I don't think I've ever heard
>> of it before.
>
> Unfortunately none of the recordings do it justice. The piece was
> initially composed for seven tracks each playing from a speaker in a
> different part of the concert hall (actually, it was composed for a
> particular concert space which Xenakis himself designed). This allowed
> Xenakis to make heavy use of the three-dimensional placement of the
> sound, and this is more or less totally lost in the available
> recordings. This was one of the reasons why it was so cool to hear a
> proper reproduction in a concert hall.
That does sound cool. I have always liked sound reproduction that
involves the space as part of the performance, but it's so rare because
it requires a lot of planning and setup work.
> My girlfriend was amused that he was able to create an entirely new form
> of musical suspense when she realized that a really loud sound somewhat
> like a rocket taking off was slowly moving over to our side of the
> theater.
>
> Side note: This piece was written to celebrate the opening of Pompidou.
> Another side note: It's not easy listening.
Cool. :-)
Jim
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