Monday, November 28, 2016
AI Methods in Algorithmic Composition:
A Comprehensive Survey
Fernandez & Vico
Compositional Obstructionist Theories of Otto Werner (1927-2008), Professor of Music at Colorado State University.
Werner shared a profound theoretical manifesto only to his students (and never to external practitioners) based on Sebastiano Timpanaro and Jeremy Benthem's Panopticon writings. I studied with him for two years.
His outstanding gifts of textual criticism took the form of adversaria and punctual annotations that eventually yielded over a thousand pages of meticulous dissection of musical passages.
Werner cites a “plurally fraught metaphysical universe,” and a refusal of an authoritative “panoptic vision” of the world, spoiled both his own attempts at composition and the efforts of music critics looking for a tidy interpretive framework through which to engage and explain him. But as students of Werner, we echo his intent of a loose definition of young composers, the so-called “speculative realists.”
From Professor Werner... "the Panopticon is not merely, as Foucault thought, “a vicious, ingenious cage” (Werner misquoted this), in which subjects collaborate in their own subjection, but much more—constructing the Panopticon produces not only a prison, but also a god within it. The Panopticon is a machine which on assembly is already inhabited by a ghost."
Werner's Redactionist approach to composition and performance was revolutionary and an absolute inspiration to a small, intimate group of composers.
Here is my response to my teacher/mentor...a purely Wernerian work employing all of his compositional coordinates.
This work of mine, "Organization Interpenetrate" for Obstructionist Solo Organ (Duration 1:43:34"), has been reviewed as "vexatious, galling, maddening, impossible, antagonistic, mundane, irritating, plagued, pestiferous :: subversive, insurrectionist, profound, political, extremist, 'provocateurian', hilarious, brilliant and untouched."
"Organization Interpenetrate" for Obstructionist Solo Organ on Soundcloud.
Saturday, November 26, 2016
Wednesday, November 23, 2016
Sunday, November 20, 2016
Saturday, November 19, 2016
The score was finished on 20th February 1985. The cooperation of Luigi Nono with flutists Roberto Fabbriciani and clarinettist Ciro Scarponi and their consulting in the field of instrumentation played a major role in Nono’s late output.
The two musicians’ congenial concert performances, with the richness of harmonics of the contrabass flute and contrabass clarinet, determined the specific timbral aura of the work: it is difficult to distinguish which sounds are played by acoustic instruments and which are generated live in the electronics part.
The composer was seeking precisely that perfect union between two types of sonority, because only then could he create that uninterrupted tissue, continuously fluctuating, characterized by an extremely subtle but insistent inner mobility. It is a sonority deployed in space and written for space, that actualizes on the threshold between sound and the “blue silence”.
Mobility and spatiality are the two principal characteristics of the work.
Luigi Nono did use the indication “a piú cori” on purpose in this work written for just two instruments, adopting the nomenclature of Venetian polychoral music of the Gabrielis – an indication that he used often, by the way: e.g. he called his seven instrumental groups “choirs” in 2° No hay caminos, hay que caminar… … Andrej Tarkowskij. Nono thus wrote in the short liner note to that composition:
A few choirs ever changing Formants of the voice – timbres – interdynamised spaces and some possibilities of transformation through live electronics.
It is the formula “a few choirs ever changing” that draws our attention. In both solo parts, whose dynamics oscillate between p and ppppp with rare incursions of mezzo forte, a continuous variability of sound emission is required, from the standard technique up to a hiss, with different participation (or lack thereof) of determined pitches, sharp “Aeolian“ tones, whistles, clusters, harmonics, occasionally with the presence of an interrupted basic “shadow tone“.
(liner notes by Paolo Petazzi, Luigi Nono e il suono
elettronico. 10° Festival di Milano Musica,
Teatro Studio, 9 October 2000)
The electronic part, determining the spatial effect of the work, helps to perceive the at times incorporeally light timbre of the instruments, transforms it and reclaims it through the use of delay, making the taped sound become an element of the natural sound.
The delay, in fact, makes the instrumental sound perceivable even after the soloist has become silent. The fusion between acoustic instruments and electronics that is the hallmark of this work is expressed in this continuity, too.
Thursday, November 17, 2016
"Blue Carpet Frenzy Pared From The Edges"
For Three String Quartets
Bil Smith Composer
LISTEN ON SOUNDCLOUD:
Commissioned for Three String Quartets by Addeco S.A.
"His Sacral Entertainments".
Score For Piano, Bass Clarinet and Bass Flute
Commissioned by Kirin Holdings
Wednesday, November 16, 2016
Sunday, November 13, 2016
Repurposed Composition Commissioned by Mediobanca S.p.A.