Podcasts about Harry Partch

Alec and Nick complete a series of discussions on foundational music discourses — classical music, sound systems, and in this episode: musical temperment. Defining temperement as the organization of the acoustic harmonic series, applied in performance, engineering and musical epistemology, the conversation expands on historical nuances in the aesthetic, technological and cultural implications of this evolving theoretical construction over time. Anchored with a comparison of J.S. Bach's equal tempered proof-of-concept — “Well-Tempered Clavier” (1722) — and LaMonte Young's 1964 rebuttal in just intonation, “The Well-Tuned Piano” (1964), the discussion extends the broad history of temperement into the realm contemporary music and inquires into the affect of digital sound production on this discourse. Topics include: Pythagoras, autotune, Vincenzo Galelei, Harry Partch, John Cage's works for prepared piano, the evolution of the western orchestra, Indian classical music, Noise, and more.

Other Minds's own Devin King joins us to read an excerpt from our first ever OM book, Peter Garland's Ingram Marshall: A Personal and Musical Appreciation. Born in 1952 in Portland, Maine, Peter Garland was one of the original students at CalArts in 1970, where his principal teachers were Harold Budd and James Tenney. From 1971 to 1991 he edited and published Soundings magazine and press, where he printed the work of four generations of mostly American composers. As an editor and essayist he played a pivotal role in the rediscovery and re-evaluation of such composers as Conlon Nancarrow, Silvestre Revueltas, Lou Harrison, Paul Bowles, Dane Rudhyar, Harry Partch, and James Tenney. King gives us a first look at what's in store.Music: Rave by Ingram Marshall (New Albion); Dark Waters by Ingram Marshall, performed by Libby Van Cleve (New Albion); Hymnodic Delays – Low Dutch by Ingram Marshall, performed by Theatre of Voices (Nonesuch)Follow us on Instagram and Facebook.otherminds.orgContact us at otherminds@otherminds.org.This episode of the Other Minds Podcast is hosted and edited by Joseph Bohigian and Devin King. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

You're all going to laugh at me, but that's okay, cuz I'm I'm the one laughing hardest! I had planned an easy-peasy episode for yesterday, one which focused on two great 20th century bass-baritones who were both valued recitalists as well as composers! I'm talking about the faboo basses, Finnish Kim Borg, and Dutch Robert Holl, who also happened to be fantastic recitalists. I had the recordings on my collection; I just had to put them into an episode. But of course I began meditating on the question of the classical music version of the Singer-Songwriter and suddenly the episode had gone down a very different (and much more complicated) path. I came up with some fascinating examples beyond Borg and Holl (both of whom are still heard performing their songs on the episode!), all the way back to the Renaissance era and through to an incredibly impressive array of modern-day avant garde composer/performers. For starters: Barbara Strozzi and Pauline Viardot from days long past, but also figures like the great French baritone Jean-Baptiste Faure (anyone remember “The Palms”?), and those three intrepid tenors Tito Schipa, Richard Tauber, and Jean-Paul Jeannotte, and along the way not forgetting gay icons Jules Bledsoe and Harry Partch. Moving into the present-day, we encounter astonishing women composer/performers including pathbreakers Cathy Berberian, Joan La Barbara, Diamánda Galás, Laurie Anderson, and Meredith Monk, but also those intrepid women who have both taken inspiration from their models while carving out their own paths: Gilda Lyons, Martha Sullivan, Lisa Bielawa, and Caroline Shaw, among others. I'm thrilled that many of the singers, composers, or composer/performers are also friends of mine. Among those not mentioned above, stellar singers Sarah Pillow (singing Strozzi), and Anna Tonna (singing Viardot). Don't tell anyone, but you might even hear me singing something! Exciting news about this episode: There are more women composers heard here than male! Hope you didn't mind waiting for this one a little longer than usual! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

PLAYLIST: Artist ” Song” Album Date Released LabelHarry Partch “Castor & Pollux – A Dance for the Twin Rhythms of Gemini I:” Castor The Music of Harry Partch 1953 CRIU.F.O. “Treacle People” New Moon’s in the Sky – The Brittsh … Continue reading →

A lo largo de la historia de la música el sistema de afinación no siempre ha sido el mismo. En la música occidental la escala actual divide la octava en 12 partes o semitonos iguales. Sin embargo, existen otras realidades de sistematización sonora._____Has escuchadoHyperchromatica. Orbital Resonance (2015) / Kyle Gann. Tres pianos Disklaviers. Other Minds (2018)Just Constellations. I. The Opening Constellation: Summer (2016) / Michael Harrison. Roomful of Teeth. New Amsterdam Records (2020)“Ombak Atarung”. PADMA (Ako and Shiroshima). YouTube Vídeo. Publicado por Padma Balinese Gender Wayang, 24 de marzo de 2017: https://www.youtube.com/watch?v=lqoh4ELiKoQPrisma Interius VIII (2018) / Catherine Lamb. Harmonic Space Orchestra. Sacred Realism (2020)“Superposición de ondas. 2 (batidos o pulsaciones)”. YouTube Vídeo. Publicado por Física-No me salen, 5 de noviembre de 2020: https://www.youtube.com/watch?v=gvlp7Fv9NkMTres danzas para dos pianos preparados. Primera danza / John Cage. Atlantic Piano Duo (Sophia Hase y Eduardo Ponce). Grabación sonora realizada en directo en el tercer concierto del ciclo Matemática Musical en la Fundación Juan March, el 30 de noviembre de 2011_____Selección bibliográficaBOSANQUET, Robert H. M., An Elementary Treatise on Musical Intervals and Temperament. Hansebooks GmbH, 2020FONVILLE, John, “Ben Johnston's Extended Just Intonation: A Guide for Interpreters”. Perspectives of New Music, vol. 29, n.º 2 (1991), pp. 106-137*GANN, Kyle, The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician. University of Illinois Press, 2019*GILMORE, Bob, “Changing the Metaphor: Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston, and James Tenney”. Perspectives of New Music, vol. 33, n.º 1-2 (1995), pp. 458-503*GOLDÁRAZ, J. Javier, Afinación y temperamento en la música occidental. Alianza Editorial, 1992*GRIBENSKI, Fanny, Tuning the World: The Rise of 440 Hertz in Music Science & Politics 1859-1955. University of Chicago Press, 2023JOHNSTON, Ben, “Maximum Clarity” and Other Writings on Music. University of Illinois Press, 2007*KEISLAR, Douglas, “Six American Composers on Nonstandard Tunings”. Perspectives of New Music, vol. 29, n.º 1 (1991), pp. 176-211*NARUSHIMA, Terumi, Microtonality and the Tuning Systems of Erv Wilson. Routledge, 2019*PARTCH, Harry, Genesis of a Music: An Account of a Creative Work Its Roots and Its Fulfillments. Da Capo Press, 1979*SABAT, Marc, “Pantonality Generalised: Ben Johnston's Artistic Researches in Extended Just Intonation”. Tempo, vol. 69, n.º 272 (2015), pp. 24-37*WANNAMAKER, Rob, The Music of James Tenney. University of Illinois Press, 2001*WERNTZ, Julia, “Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music's Forum: Microtonality Today”. Perspectives of New Music, vol. 39, n.º 2 (2001), pp. 159-210*WOOD, James, “Microtonality: Aesthetics and Practicality”. The Musical Times, vol. 127, n.º 1719 (1986), pp. 328-330*YOUNG, Gayle, “The Pitch Organization of Harmonium for James Tenney”. Perspectives of New Music, vol. 26, n.º 2 (1988), pp. 204-212* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Vokiečių ansamblis „MusikFabrik“ kartais imasi visiškai netikėtų idėjų. Prieš keletą metų ansamblio nariai tarsi pakeitė profesijas, išmokdami groti keisčiausiais instrumentais, dainuoti ir netgi šokti. Jie atliko vieną neįprasčiausių operų istorijoje – amerikiečio Harry Partch‘o (1901-1974) muzikinį teatrą „Įniršio iliuzija“ (Delusion of the Fury). Tai tarp 1965 ir 1966 metų kurtas „sapnų ir iliuzijų ritualas“, kuriame kompozitorius panaudoja japonų ir etiopų folklorines istorijas, jas traktuodamas originaliai ir net ekscentriškai. Žanras sujungia tragediją ir farsą, o autorius teigia tokiu būdu „įveikęs savo pyktį pasauliui“.Aut. Šarūnas Nakas ir Mindaugas Urbaitis

Desde antes de nacer vivimos envueltos en un mundo de sonidos, existe una banda sonora que acompaña los momentos y lugares por los que nos movemos. ¿Cómo es la banda sonora de nuestras vidas? ¿qué sonidos que ruidos que voces que efectos sonoros qué música nos rodean? ¿Podemos hacer algo por cambiar nuestra banda sonora? En el programa de hoy queremos reflexionar acerca de estos sonidos, de esta banda sonora de nuestras vidas. Escucharemos obras de John Drever, John Cage, Harry Partch, Pierre Schaffer- Pierre Henry, Laurie Anderson y Barry TruaxEscuchar audio

Episode Summary:California has always attracted outsiders, from the Gold Rush in the 1800s to young actors and filmmakers drawn to Hollywood. California was especially a place of migration during the Great Depression, when tens of thousands came searching for jobs and new beginnings. This is the first of two episodes about writers displaced by the Depression who took different paths to remaking themselves in California and documenting America. Future composer Harry Partch was more comfortable as a migrant than in straight mainstream society. Tillie Olsen found her way from Nebraska to become a reporter-activist who faced long odds to becoming a writer as a woman in the 1930s. With their work on the Federal Writers' Project, Olsen and Partch helped create an expansive picture of California, people in migration, and the day-to-day reality that included deep labor unrest. Tensions that roiled across America boiled over in the California Writers' Project, signaling the struggles to come in the national office. Speakers:David Bradley, novelistMary Gordon, novelistAndrew Granade, musicologist and biographerDavid Kipen, journalist and authorLinks and Resources:California and the Dust Bowl - Oakland Museum of CaliforniaCalifornia Gold: Story Map of 1930s California Folk Music "What Kind of Worker is a Writer" (about Tillie Olsen) by Maggie Doherty in The New Yorker"I Stand Here Ironing" by Tillie Olsen"U.S. Highball," composed by Harry Partch, performed in 2018Harry Partch: The OutsiderReading List:California in the 1930s: The WPA Guide to the Golden State with introduction, by David KipenHarry Partch, Hobo Composer, by S. Andrew GranadeTell Me a Riddle, by Tillie OlsenThe Chaneysville Incident: A Novel, by David BradleyPayback: A Novel, by Mary GordonCredits:Host: Chris HaleyDirector: Andrea KalinProducers: Andrea Kalin, David A. Taylor, James MirabelloWriter: David A. TaylorEditor: Ethan OserAssistant Editor: Amy Young Story Editor: Michael MayAdditional Voices: Karen Simon, Tim Lorenz, Steve Klingbiel, Sarah Supsiri, and Ethan OserFeaturing music and archival from: Joseph VitarelliBradford EllisPond5Library of CongressNational Archives and Records AdministrationBBCFor additional content, visit peoplesrecorder.info or follow us on social media: @peoplesrecorderProduced with support from: National Endowment for the HumanitiesCalifornia Humanities. Hosted on Acast. See acast.com/privacy for more information.

David First “I define immersive as the first time I realized that there was a bigger universe than my daily life.”  David First is a many-sided composer-musician having played in Dead Cheese, a hippie guitar band in his youth, performed with Cecil Taylor in Carnegie Hall, produced many records of minimalist drone music some of which were released on Phill Niblockʼs XI label, he's played in rowdy bar bands, led the no-wavish band the Notekillers, which had a significant influence on Sonic Youth and he has even conducted a Mummerʼs String Band in various Philly parades. The Village Voice once described him as "a bizarre cross between Hendrix and La Monte Young." He's performed at most of the avant garde's hallowed halls including The Kitchen, Bang On A Can, Central Park Summerstage, The Knitting Factory, Tonic, the Deep Listening Institute, CBGBʼs as well as De Ijsbreker in Amsterdam and many festivals throughout Europe.  Other projects include working with the sonification of the atmospheric phenomena known as the Schumann Resonances and human brainwaves and other esoteric projects such as The Western Enisphere, a drone and micro-pulse acoustic-electric ensemble. Samples Playlist Wave Music III - 60 Clarinets & a Boat • Charlie Morrow Tape Letter to Michigan • David First Dead Cheese Twice Daily live @ Cheese Nation 1971 • David First Harmonic Dance • David First The Distant Softening Spirit Wave Pulse Tape Girder Interference Etude • Wreck, First & Morrow  Live at AmbientChaos • David First  Wave Music V - Conch Chorus and Bagpipe • Charlie Morrow Tell Tale • David First Etude 15 • David First Distant Signals • Charlie Morrow Pulse Piece • David First Blossom Dearie Snippet of her Air • Wreck Mix Spirit Voices • Charlie Morrow Subjects touched upon: drones, bar bands, rock & roll bands, Lamonte Young, Dave's Waves, Sunview Luncheonette Greenpoint, psychedelic revolution, poet Jerome Rothenberg, bending notes, Douglas Kahn, minimalist tendencies, free jazz, world music, Meteor Crater AZ, the heavens, the Kitchen, Phill Niblock, guitar, oscillators, signal generators, Muddy Waters, electronic music, Dennis Sandole, Hermann von Helmholtz, ancient voltaic cells, Harry Partch, Charles Ives, the minor third, blues, Gert Stern, new age, pseudo-science, Schumann resonances, improv, Discman, electrical engineer father, heterodyning, pursuit of magic, Canal Street ... 

Tom Waits is not a name most theater kids know, but he still has certainly made a name for himself as a music artist. In the 70s he was the barfly's barfly, making songs for the drunken heartbroken saps he knew. But in the 80s things changed. He met his wife Kathleen Brennan who turned him on to the music of Captain Beefheart, Harry Partch, and many more. In turn, his music turned rapidly experimental and dissonant, to the point where no record company wanted to release this album when it was finished. But it was eventually released and now it's the theater kids' turn to react to it! This is Tom Waits' "Swordfishtrombones"!

It's fair to say 2023 has been a year for Caroline Polachek. Her second solo album soared into our hearts on Valentines Day, and stayed there. It solidified her place as one of the most remarkable musicians operating today; her voice as one of the most incredible of our time, and her output an unflinching celebration of art in all forms. Sonically, visually, and spiritually, Caroline Polachek defies genre and time. She's just a marvel.Desire, I Want To Turn Into You has topped many best of lists this year, and it's Double J's #1 album of 2023. So what an absolute treat to see out this year with the woman herself, and Take 5. Volcano's have featured heavily in her live shows, and capture the energy of what she does in every way. So I asked her to pick “volcano songs” and she really delivered.From wild American composers to glitchy electronic trailblazers, and the mysterious world of Sault... this is a joy for the senses, the heart, and the mind.Harry Partch – Daphne of the Dunes      David Sylvian – Before the BullfightGreetje Bijma & Oceanic – Step Snakes   Pink Floyd – The Great Gig in the SkySault - Air

SynopsisOn today's date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. He began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players' parts at their final dress rehearsal.The commission for Harrison's Fourth Symphony, subtitled The Elegiac, came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century's greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison's mother, which was followed by the death of his close friend, iconoclastic American composer and instrument inventor Harry Partch.The symphony's first movement is titled “Tears of the Angel Israfel” — the angel of music in Islamic lore — and the score also bears two inscriptions. The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”Music Played in Today's ProgramLou Harrison (1917-2003) Symphony No. 2 (Elegiac); American Composers Orchestra; Dennis Russell Davies, cond. MusicMasters 60204

Recording of Off the Shelf Radio Show from WDLR with co-hosts Molly Myers LaBadie and Hannah Simpson. This week we talk music with Warren Hyer from the Central Ohio Symphony. Recommendations include: The Secret History by Donna Tartt, Genesis of a Music by Harry Partch, and Carrie Soto is Back by Taylor Jenkins Reid. Read more about today's episode here Listen live every Friday morning at 9AM https://my967.net/program-schedule/off-the-shelf/ This episode originally aired on October 20, 2023. 

Solénoïde (09.10.2023) - Cette semaine, nous vous invitons à un voyage musical des plus fascinants en compagnie de Colleen, alias Cécile Schott, compositrice française hors pair, résidant à Barcelone. Elle nous emmène dans un périple aux multiples facettes, oscillant entre les Magnetic Fields, Movietone, Vashti Bunyan, Tiémoko Sissokho, Lee Perry, Bridget St John, Love et Harry Partch... Un éventail musical captivant qui saura ravir les amateurs de mélodies contemplatives. Maîtresse dans l'art de l'oversampling, Colleen manie une multitude d'instruments tels que le violoncelle, la viole de gambe, l'épinette, la clarinette, la guitare classique, les calimbas, les pianos à pouces africains, le ukulélé, l'accordéon... Sa musique, qu'elle qualifie de "minimal acoustic", puise son essence dans des samples acoustiques d'une rare finesse. Elle a sorti plusieurs albums, dont "The Golden Morning Breaks" (2005), "Les Ondes Silencieuses" (2007), et "Captain of None" (2015). En 2023, Colleen nous invite à explorer un nouvel opus intitulé "Le jour et la nuit du réel", un voyage sonore d'une profondeur et d'une complexité exceptionnelles (dont vous trouverez notre chronique ci-dessous). Avec sa programmation éclectique et enchanteresse, ce mix nous transporte des contrées lointaines de l'Indonésie à la Mauritanie, en passant par le Sénégal et l'Angleterre. Préparez-vous pour un périple extrasensoriel et spatiotemporel, où les frontières entre les genres s'estompent pour laisser place à une expérience auditive des plus envoûtantes !

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

On this episode, Marc talks with Bill Perrine, author of “Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego,” published in May of 2023. It's a fascinating look at so much varied experimental music, much of it centered around the University of California at San Diego, whose archives Bill was able to comb through for unheard gems. Bill highlights familiar figures such as Harry Partch, Pauline Oliveros, and Diamanda Galas, but also lesser known characters like Jim French, Warren Burt, Arthur Frick, and tons more.In his introduction, Bill writes, “I take it as a given that the music is not, and should not be, the sole providence of academics, specialists, or art snobs. It is made by professors at universities as well as punks in trailer parks.”We hope you enjoy Marc's conversation with Bill!

Historian Benjamin Hunnicutt has called the push for more free time the “forgotten American dream"; but somewhere along the way the pursuit of that happiness was replaced by the idea that work and wealth are ends in themselves. This week, we're imagining the utopian and dystopian futures of work. • Brooklyn, USA is produced by Emily Boghossian, Shirin Barghi, Charlie Hoxie, Khyriel Palmer, and Mayumi Sato. If you have something to say and want us to share it on the show, here's how you can send us a message: https://bit.ly/2Z3pfaW• Thank you to Alisha Bhagat, Muhammad Floyd, Rob Cameron, Brad Parks, James Earl King, Carlos Luis Delgado, Christopher Lazariuk, and the Kaleidocast podcast.• LINKSAssemblymember Kenny Burgos was born and lives in the Bronx, New York. Assemblymember Burgos graduated from the Bronx High School of Science and received his Bachelor's Degree in Economics from the University at Albany. He has worked as a Deputy Chief of Staff and Budget Director on the New York City Council.Alex Soojung-Kim Pang is the global programs and research manager for 4 Day Week Global, a nonprofit devoted to advancing the 4-day week. He also offers keynotes about deliberate rest through his own company, Strategy and Rest. Alex's work has been written about in the New York Times, the New Yorker, the Financial Times, the Guardian, and other venues. Alex is the author of four books, including SHORTER: WORK BETTER, SMARTER, AND LESS– HERE'S HOW (US | UK); REST: WHY YOU GET MORE DONE WHEN YOU WORK LESS (US | UK); and THE DISTRACTION ADDICTION (US).Together, these books have been translated into more than a dozen languages. His op-eds and articles have appeared in The Wall Street Journal, The Guardian, the South China Morning Post, and many other venues.Ashley Nelson is the Communications Director at the International Coalition of Sites of Conscience, a global network of over 300 historic sites, museums, and memory initiatives in more than 65 countries dedicated to remembering past struggles and addressing their contemporary legacies. In addition, Ashley has written on culture, politics and women for a variety of publications, including The New York Times, The Guardian, The Washington Post, and The Nation.Alisha Bhagat is a futurist focusing on the creative use of futures tools to impact long term positive change, particularly around social justice and equality. She utilizes systems thinking, mapping,and speculative futures to engage with stakeholders on strategic visions and the actions needed to achieve them. She has worked with public sector partners on topics such as the future of feminism, neo-nationalism, and the impact of COVID-19.Carlos Luis Delgado lives with his roommates and a large cat in Brooklyn, New York. He writes speculative fiction early in the morning before the cat wakes up to yowl for breakfast and edits other people's fiction at night after it's eaten dinner. In 2016 he won the People's Telly Award for Outstanding Comedic TV Writing. He holds a BA in English Literature from Rutgers University and wonders when he can let it go. Follow @Delgadowrites.Christopher Lazariuk is a writer, producer, creator, and sound designer seeking representation for his debut cli-fi thriller novel: THE PYRITE VICTORY. Christopher is a member of the Brooklyn speculative Fiction Writers group, and a contributor to the Kaleidocast Podcast.Rob Cameron is a teacher, linguist, and writer. He has poetry in Star*Line Poetry Magazine and The Magazine of Fantasy & Science Fiction. His essays and short fiction have appeared in Foreign Policy Magazine, Tor.com, the New Modality, Solarpunk Magazine, and Clockwork Phoenix Five. His debut middle grade novel Daydreamer is forthcoming from Labyrinth Road, Summer '24. Rob is also lead organizer for the Brooklyn Speculative Fiction Writers, a guest host and curator for the New York Review of Science Fiction Reading Series, and executive producer of Kaleidocast. Follow @cprwords.The Kaleidocast podcast is an audio literary magazine with a mission to showcase new voices in speculative fiction alongside stories from today's top writers. The show was created to improve the writing of active Brooklyn Speculative Fiction Writers members by motivating them towards a tangible goal: Write at a professional level. The show is in its 4th season, and has recently partnered with the Octavia Project to mentor girls and non-binary youth: https://www.kaleidocast.nyc/post/octaviaprojectmentorship. Please support the Kaleidocast's Patreon: https://www.patreon.com/kaleidocastnyc.Muhammad Floyd is an accomplished self-starter with a wide skillset focused on start-to-finish photo/video production from setup to post. Muhammad is adept at photography, camerawork, lighting, and sound, with deep technical knowledge of Canon, Sony, Panasonic, and Blackmagic hardware. He is an end-to-end specialist well-versed in motion graphics, color grading, and other post-production techniques dedicated to delivering under budget and ahead of schedule, while always adhering to the client's vision.• MUSIC and CLIPSThis episode featured clips from the BBC series “Tomorrow's World”, ABC News, Business Insider, and “From the Archives (1966): Issues and Answers with Richard Nixon”. This episode featured music from freesound, setuniman, danjfilms, and podcastac. It also featured Harry Partch's “Delusion of Fury”, used by permission of Innova Recordings and the Harry Partch Foundation.• TRANSCRIPT: ~coming soon~• Follow us on Twitter and Instagram @BRICTV Visit us online at bricartsmedia.org/Brooklyn-USA

“One-Footed” is a piece written by Taylor Brook named after Harry Partch's “The One-Footed Bride'' Just-Intonation diagram. We discuss the aforementioned piece with Taylor Brook and John Schnieder, diving into the ins and outs of writing idiomatically for the Partch ensemble, using Partch as inspiration, notation, and extended techniques on these instruments. The Del Sol quartet played the string parts! Come join us in exploring this vast sound world inside this justly tuned alternative orchestra!   Music [Intro] Taylor Brook - One-Footed (III - Approach) Harry Partch - Delusion of the Fury (I - Exordium) [7/5 to 11/8] Taylor Brook - One-Footed (VII - Power) [naming foot parts] Taylor Brook - One-Footed (V - Power) Taylor Brook - One-Footed (II - Suspense) Taylor Brook - One-Footed (VI - Emotion) Taylor Brook - One-Footed (III - Approach) [opening 9/8 tonality] Taylor Brook - One-Footed (I - Approach) [large 5/4 tonality section] Taylor Brook - One-Footed (III - Approach) Ben Johnston - String Quartet n. 10  Ben Johnston - String Quartet n. 4 [bowl matching section] Taylor Brook - One-Footed (VII - Power) [opening 9/8 tonality] Taylor Brook - One-Footed (I - Approach) [bass line] Taylor Brook - One-Footed (I - Approach) [bowl matching section] Taylor Brook - One-Footed (VII - Power) [singing canon section] Taylor Brook - One-Footed (VII - Power) [low drone section] Taylor Brook - One-Footed (VII - Power) [7/5 to 11/8] Taylor Brook - One-Footed (VII - Power) Ben Johnston - String Quartet n. 7 Bob Dylan - Knockin' on Heaven's Door [I V IV progression on 1/1] Taylor Brook - One-Footed (VII - Power) [large 5/4 tonality section] Taylor Brook - One-Footed (III - Approach) [bass line John sings] Taylor Brook - One-Footed (I - Approach) [bass line] Taylor Brook - One-Footed (I - Approach) [I V IV progression on 9/8] Taylor Brook - One-Footed (I - Approach) [Outro] Taylor Brook - One-Footed (VII - Power)   The piece, written by Taylor Brook: https://www.youtube.com/watch?v=pgR2wONYH9c https://drive.google.com/file/d/1SEZRr3RUOzLun7wz1oS8SDw8UhKKVDJL/view?usp=sharing   Support us on Patreon! (If we get 60 patrons, episodes will be released regularly instead of sporadically) https://www.patreon.com/nowandxen Follow http://nowandxen.libsyn.com https://twitter.com/now_xen https://www.facebook.com/nowxen/   Subscribe RSS: http://nowandxen.libsyn.com/rss iTunes: https://itunes.apple.com/us/podcast/n… Spotify: https://open.spotify.com/show/1mhnGsH… Stitcher: https://www.stitcher.com/podcast/nowxen Twitter: https://twitter.com/now_xen Facebook: https://www.facebook.com/nowxen/ YouTube: https://www.youtube.com/channel/UCnmYNMpemAIq8DnK5HJ9gsA

Partch wrote his dance satire The Bewitched to explore how civilization can move forward by rediscovering our ancient past. It showcases the composer's pioneering writing for the female voice, unfolding across ten scenes based on everyday American life plus a prologue and epilogue. The witch appears in each of the scenes, using her magic to provide help and context to each real-life situation. This recording is a remastering of the original mono master tapes from The Harry Partch Collection Volume 4 The Bewitched – A Dance Satire (1955).The Anthology of Recorded Music commissioned composer Taylor Brook to write Block in 2022 to accompany this re-release of the CRI recording of Harry Partch's The Bewitched.Purchase the music (without talk) at:The Bewitched (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Katy Salomon representing Primo Artists.

When you were a kid, did your parents ever ask you to do your Wiggler practice? How about getting to your room and playing your Vibrowheels? Surely there were repercussions if you didn't practice your Melocipede???? Welcome to episode 98 of See Hear Podcast. Neil Feather is a creator of musical instruments (such as the ones listed above), and a firm believer in playing experimental music. He doesn't play with the existing 12-tone system predominant in Western music. Film maker and friend of the show Skizz Cyzyk has created a documentary about Neil showing his creative process in building his instruments, how he uses them, the connection between science, engineering and art, and how he collaborates with other musicians. This is no dry history doc with talking heads describing how Neil “changed their lives”. This is about what Neil has actually done and what he further wants to achieve, and is absorbing. Bernie and I were joined by Mike White of The Projection Booth (and a gazillion other shows) to talk with Skizz about Neil and his creative process. We learned lots, and we hope you will too. Skizz is currently doing individual screenings of the film, so keep your eyes posted, but here's the trailer: https://vimeo.com/520019005 You can keep up with Skizz' activities at http://www.skizz.net/ Mike is always adding new podcasts to his swag, but the flagship show, The Projection Booth has details here: https://www.projectionboothpodcast.com/ If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com. Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour.

Synopsis Today's date marks the shared birthday of two of America's most famous “maverick” composers, both hailing from California. June 24, 1901, is the birth date of Harry Partch, an Oakland native. Partch devoted his life to developing an alternate system of tuning. Instead of the conventional Western system of equal temperament, in Partch's harmonic world, microtones were welcomed. To play his expanded scales, Partch designed and built new instruments with colorful names like “marimba eroica” and “cloud chamber bowls.” For Partch, music was a synthesis of theory and theater, ritual and dance -- intensely physical in nature and best experienced live. Harry Partch died in San Diego in 1974. Another Californian, born on this date in 1935, is Colfax native Terry Riley. It was in San Francisco in 1964 that Riley's most famous piece, entitled “In C”, received its premiere. The score consists of 53 phrases, or modules, with each player freely repeating each phrase as many times as desired before proceeding to the next. The result is an unpredictable, unique music work of canonic textures and polyrhythms, capable of being performed by any group of instruments ranging from a marimba ensemble to a full symphony orchestra, and now regarded as one of the seminal works of the so-called “minimalist” movement in music. Music Played in Today's Program Harry Partch (1901 – 1974) –Delusion of the Fury (Ensemble of Unique Instruments; Danlee Mitchell, cond.) innova 406 Terry Riley (b. 1935) –In C (SUNY at Buffalo Ensemble; Terry Riley, cond.) CBS 7178

John Schneider, radio personality and music director of the Los Angeles-based Partch Ensemble introduces us to the wild and wooly world of American maverick composer Harry Partch (1901-1974). The ensemble's latest album includes some of Partch's greatest hits (including a heretofore unheard recording of Partch himself performing his hobo song cycle Barstow). Also heard: some lesser-known gems including the title track, Partch's Sonata Dementia (a fascinating musical romp through psychoanalysis).

Welcome to Episode 19 of "Well, That's New" with Andrew and Aaron. We hit the "random article" button on Wikipedia to help find interesting articles to discuss and tangent about. We talk about the microtonal music of Harry Partch, the controversial 80's horror movie Sleepaway Camp, and so much more. Mixed/Edited by Aaron Hochman.

The Book of Probes contains a assortment of aphorisms and maxims from the work of the Canadian media theorist Marshall McLuhan, each one set to evocative imagery by American graphic designer David Carson. McLuhan called the utterances collected in this book "probes," that is, pieces of conceptual gadgetry designed not to disclose facts about the world so much as blaze new pathways leading to the invisible background of our time. In this episode, Phil and JF use an online number generator to discuss a random yet uncannily cohesive selection of of McLuhanian probes. REFERENCES Marshall Mcluhan and David Carson, The Book of Probes (https://bookshop.org/books/the-book-of-probes/9781584232520) Virginia Woolf, To the Lighthouse (https://bookshop.org/books/to-the-lighthouse-9780156907392/9780156907392) Marshall Mcluhan, The Mechanical Bride (https://bookshop.org/books/the-mechanical-bride-folklore-of-industrial-man/9781584232438) Aristotle, System of causation (https://en.wikipedia.org/wiki/Four_causes) G. K. Chesterton, Orthodoxy (https://bookshop.org/books/orthodoxy-chesterton/9781511903608) Eric A. Havelock, Preface to Plato (https://bookshop.org/books/preface-to-plato/9780674699069) Weird Studies, Episode 71 on Marshall Mcluhan (https://www.weirdstudies.com/71) Walter Ong, Orality and Literacy (https://bookshop.org/books/orality-and-literacy-30th-anniversary-edition/9780415538381) Christiaan Wouter Custers, A Philosophy of Madness (https://bookshop.org/books/a-philosophy-of-madness-the-experience-of-psychotic-thinking/9780262044288) Gilles Deleuze, The Logic of Sense (https://bookshop.org/books/the-logic-of-sense-revised/9780231059831) Marshall Mcluhan, The Gutenberg Galaxy (https://bookshop.org/books/the-gutenberg-galaxy/9781442612693) Harry Partch (https://www.harrypartch.com), American composer Marc Augé, Non-Places (https://bookshop.org/books/non-places-an-introduction-to-supermodernity/9781844673117) Sapir-Whorf Hypothesis (https://www.sciencedirect.com/topics/psychology/sapir-whorf-hypothesis) Denis Villeneuve (dir.), Arrival (https://www.imdb.com/title/tt254316/) Gilles Deleuze and Felix Guattari, A Thousand Plateaus (https://bookshop.org/books/a-thousand-plateaus-capitalism-and-schizophrenia/9780816614028) Harry G. Frankfurt, On Bullshit (https://bookshop.org/books/on-bullshit/9780691122946)

Mexican American who grew up in the Mission District of SF and became a phenomenal middle eastern percussionist working with Harry Partch and Mickey Hart among others.

I think I’ve always wanted to be a more anal person than I actually am. I’ve tried to be the person who puts every task immediately into an app, schedules it, and adds the perfect emoji (the important part.) I allowed myself to obsess over minimalism and Marie Kondo, trying to transform my home into the clean white soulless void of an Apple store. I feel in love with the ideas of Zettlekasten and Roam Research where every fart and hiccup in my brain is meticulously connected to all the others like a perfect meth-smoking spider’s web. I wanna meditate every day, take clod showers, get in my reps, nail my macros, and hustle hustle hustle. I want to use footnotes. But honestly, I just don’t give that much of a fuck about any of it. My real life is a maelstrom of monotony and chaos. I spend my days reading books, scribbly sloppy notes on paper, and hoping I can read them when I sit down to right one of these posts. I count days by how many clean pairs of underwear I have left until I’m forced to do laundry. My living space leans more towards piles than it does toward organization. My analytical mind is easily distracted by emotion, novelty, cartoons, and hormones.Oh well. That’s who I am. I improve what I can, and move along with the rest.As I write this I’m watching the screen saver on my Apple TV as it shows slow-motion drone footage of people on a beach and carnival rides on a pier (likely Santa Monica.) I hate the way it makes me feel. I look at it and I don’t see tomorrow. I don’t think “I can’t wait to go to the beach again.” I look at it and I see the past. I see something lost. I see a world that feels like something we may never make our way back to. I’m sure you feel it too. It’s not every day, but it’s there: the part of our brain that wonders if hugging, and crowded festivals, and movie theaters will ever feel normal again. Or will the trepidation and caution forever follow us?Oh well. That’s life. Improve what we can, and move along with the rest.“there’s a gun in the room”I’m sure you noticed the audio file above. I’m sure some of you thought it was a podcast. I wonder how many of you were unable to scroll onward without clicking it first. I would have.I’ve been playing my guitar a lot recently, and have been sending 1-2 minute little pieces to my friend Johnny (who will probably be the first person to open this and read it. Hi Jon.) I went down a rabbit hole for an hour the other day looking at looping pedals until it hit me: “I have an iPhone.” So I’ve been screwing around with laying guitar pieces in Garageband for iOS.The audio above is one of those pieces. I like playing with dissonance—which can come across as jazz. I think to some degree it does here, which is why I tried to play with the timing in each guitar line (of which there are five,) and make it feel a little broken and discombobulating. In the lead line, I even threw in a bend (which is more blues than jazz.) And the keys for each line are different. I wanted to see how they would weave together, going in and out of harmony.All of this was going through my head but don’t get the idea that I was sitting and planning out every note. I’ve always been more instinctual than technical. I think the reason I’ve never been the kind of guitar player who can sit down and strum an Eagles song or solo like Slash is that music is more of an experiment for me. “What happens is if do this and do this?” This often leads to awful results (the song above might be an example of that to you.) It’s not about writing songs, it’s about exploration. It’s curiosity not product. Charlie Kaufman not Aaron Sorkin.Almost everybody knows by now how much I love the Rolling Stones, but I’ve never been interested in making music that sounds like the Stones (in fact I’ve never even bothered to learn how to play any of their songs.) My own music always veers more towards Sonic Youth, John Cage, Captain Beefheart, Harry Partch, everything post-punk, and The Velvet Underground. Somehow, even I forgot about that.I intend to explore my weirdo nature more. Expect more broken music.the velvet undergroundSpeaking of music, I finally sat down and watched the Apple TV+ documentary on The Velvet Underground. I loved it. It’s exactly what I needed. I’m glad Todd Haynes was the one who directed this. The standard music documentary format would have been very un-Velvet Underground. I can think of no better director than Haynes whose first film was the Karen Carpenter story told via Barbie dolls. His use of split-screen here makes sure that nothing ever feels standard or boring (especially at the beginning where he uses Warhol’s copious footage of the band members staring non-stop into the camera.)La Monte Young & John Cale were creating drones (referring to long musical notes, not the flying quad-copters that watch you when you’re naked in the swimming pool.)We found that the most stable thing we could tune to was the 60 cycle hum of the refrigerator because 60 cycle hum was, to us, the drone of western civilization. — John CaleI’ve long been fascinated by the drone of the microwave often harmonizing my voice to it as I waited for something to cook.I looked up La Monte Young but couldn’t find any recordings of him. I did find Noël Akchoté playing guitar arrangements of some of his compositions.The bass line for “The Ostrich” by The Primitives (basically Lou Reed, John Cale, and some friends) sounded really familiar.Then I placed it. It seems Sebadoh borrowed it for “Flame.”christineI read Christine by Stephen King. I’m a latecomer when it comes to King. Before this year the only thing by him I had ever read was On Writing. Having read The Shining earlier this year and now having read Christine, I think I’ve discovered what makes King such a tremendous writer. He does the work. Stephen King comes up with the most ridiculous concepts (teenage nerd falls in love with a dilapidated car which over time possesses him,) yet rather than descending into camp, he accepts the concepts. He doesn’t criticize the ideas, he embraces them and embodies them. “If this was real, what would it look like.” He fills the books with so much character and detail that even the most absurd concepts become legitimate.the righteous mindI read The Righteous Mind by Jonathan Haidt. Here are some key points:People bind themselves into political teams that share moral narratives. Once they accept a particular narrative, they become blind to alternative moral worlds.We have intuition (the elephant) and reasoning (the rider.) The rider is not in control like a pilot is over a plane; the rider serves mostly to understand the actions of the elephant. Our reason writes the story of our intuitive action. Rather than appealing to someone’s reasoning (as we normally do,) we should find a way to appeal to their intuition. Lead the elephant and the rider comes along.The foundations of morality:care/harmliberty/oppressionfairness/cheatingloyalty/betrayalauthority/subversionsanctity/degradationThe liberal foundation favors care, liberty, and fairness with care being the most favored. The libertarian foundation favors liberty & fairness with liberty being the most favored. The conservative foundation favors all six equally.Nonetheless, if you are trying to change an organization or a society and you do not consider the effects of your changes on moral capital, you’re asking for trouble. This, I believe, is the fundamental blind spot of the left. It explains why liberal reforms so often backfire, and why communist revolutions usually end up in despotism. It is the reason I believe that liberalism—which has done so much to bring about freedom and equal opportunity—is not sufficient as a governing philosophy. It tends to overreach, change too many things too quickly, and reduce the stock of moral capital inadvertently. Conversely, while conservatives do a better job of preserving moral capital, they often fail to notice certain classes of victims, fail to limit the predations of certain powerful interests, and fail to see the need to change or update institutions as times change.media biasAfter reading all of these political books I’ve been thinking a lot about the inherent biases of our media sources. In the process, I discovered this tremendous website called Media Bias / Fact Check. You can look up any media source and it will show you it fits on the left/right spectrum as well as the factual/not factual spectrum.Personally, I like to get differing perspectives (without dipping into extremism and outright falsehoods.) Some of my favorite media sources are: Reuters: least biased / very high factualThe Economist: least biased / high factualThe Christian Science Monitor: least biased / high factual Newsweek: left-center / high factual Business Insider: left-center / high factual Texas Monthly: left-center / high factual The Wall Street Journal: right-center / mostly factualThe Spectator World: right-center / mostly factualReason: right-center (libertarian) / high factualbtwI had intended to write a bunch more but this is so long already. I think I will post a supplemental in a few days. If I continue writing as much as I have been lately, then this may become ongoing (no promises.)debatable ideasDebatable Ideas is a weekly curation of the ideas that stand out to me from the week. That can mean something I see truth in, something worth contemplating, something questionable, something I'm bothered by, something ridiculous, something that I think is false, or something that will make you shake your phone like you caught a snake while waiting in line at Starbucks. It's up to you to decide what you think—and politely discuss in the comments.The ideas are numbered for easy reference. addition, if you run across any fascinating, horrifying, insane, bonkers, and entertaining ideas, please direct me to them in the comments.Judaism was the foundation of my childhood. As a child, I attended Jewish day school and Jewish summer camp and regularly celebrated Shabbat and the Jewish holidays. Some of my most enduring childhood memories are at the Shabbat dinner table, where my parents and their friends would discuss world affairs and important societal issues. There were always multiple viewpoints expressed. My mother is a rabbi, and my parents always taught us that such disagreements were the essence of living Jewishly—to argue, as the rabbis taught, for the sake of heaven. Jew vs. JewInformation vacuums are common in breaking-news events in the social-media era. In the early moments after a mass shooting or a natural disaster, or in the unknown moments after the polls close but before votes are tabulated in an election, there is a higher demand for definitive information than there is supply. These moments offer propagandists, trolls, pundits, politicians, journalists, and anyone else with an internet connection the opportunity to fill that vacuum with … something. It’s a treacherous situation, where rumor, speculation, and disinformation have the power to outpace verified information. Traditional breaking-news events tend to have a short half-life but, as we’ve found with COVID coverage, information gaps can last weeks or months. Sometimes, the definitive information we want (when will the pandemic end?) is basically unknowable, or too hard to pin down. The Omicron Information VacuumThe collapse is inevitable: Virtually every world power that ever existed has eventually declined, failed, and disappeared. The Soviet Union had survived for nearly 70 years, the British Empire for more than 400, and ancient Egypt for almost 30 centuries. But even though the land of the pharaohs was long crowned with success, its decline and destruction were unstoppable. History tells us it’s not a question of whether a world power will eventually be destroyed but rather a question of when. Secrets and Lies That Brought Down Empires // Ideas and Discovery Magazine - Dec 2021In other words, pretty minimal changes to get a tractor working on Mars. So if you want to imagine the future in ten years, picture a big Martian construction site busy with people in spacesuits driving John Deere tractors around. It is, in other words, frontier work. The aesthetics of human space colonization is Firefly, or the grit of the original Star Wars, not the sleek bureaucratic competence of Star Trek. NASA and SpaceX are establishing the first Martian city by 2030 Get full access to Graphorrhea at cahall.substack.com/subscribe

David Robert Jones (8 January 1947 – 10 January 2016), known professionally as David Bowie, was an English singer-songwriter and actor. A leading figure in the music industry, Bowie is regarded as one of the most influential musicians of the 20th century. He was acclaimed by critics and musicians, particularly for his innovative work during the 1970s. His career was marked by reinvention and visual presentation, and his music and stagecraft had a significant impact on popular music. In this episode we selected two tracks from each of the 25 records Bowie revealed were his favorite to Vanity Fair, for their November 2003 issue. Lineup: The Last Poets, Robert Wyatt, Little Richard, Steve Reich, The Velvet Underground, Nico, John Lee Hooker, Ray Koerner & Glover, James Brown, Linton Kwesi Johnson, The Red Flower Of Tachai Blossoms Everywhere, Daevid Allen, Scott Walker, Tom Dissevelt, Kid Baltan, The Incredible String Band, Tucker Zimmerman, Richard Strauss, Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan, Glenn Branca, Syd Barrett, George Crumb, Kronos Quartet, Toots & The Maytals, Harry Partch, John Stannard, Victoria Bond, Paul Bergen, Ensemble of Unique Instruments, Danlee Mitchell, Charles Mingus, Igor Stravinsky, Columbia Symphony Orchestra, The Fugs, Anatoly Lyadov, Florence Foster Jenkins, Cosme McMoon

Hosts Joe and Dave reveal that's there's more to Beck than meets the eye, especially when it comes to his pre-Mellow Gold output, none of which is available on streaming services (we've included some key links below). All of Beck's releases are discussed, dissected and rated, and Joe and Dave reveal their picks for the top three must-own Beck titles, as well as his overall worst release to date. - official Discograffiti-curated Beck playlist on Spotify - The pre-fame, limited release Golden Feelings LP in its entirety. Discograffiti-approved songs include "Fucked Up Blues," "Totally Confused" and especially the excellent "Gettin' Home" - 1994's Stereopathic Soulmanure in its entirety. Check out the excellent jams "Rowboat," "Crystal Clear (Beer)," "Today Has Been A Fucked Up Day" and "Puttin' It Down" - Avant-garde Beck clicking on all cylinders on the most excellent 10-minute "Harry Partch" single - Beck re-imagines some of the works of Phillip Glass with compelling results in this 20-minute remix tour de force - Lovely cover of "I Only Have Eyes For You" that holds its own with the otherworldly canonical version by The Flamingos - 15-minute version of the single "I Won't Be Long" that is strangely hypnotic --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/discograffiti/message

Bli kjent med den filosofisk anlagte musikkmannen Harry Partch. Hans helhetlige musikksyn er både kontroversielt og åpenbart.

Il 3 settembre 1974 muore a San Diego Harry Partch. Federico Capitoni lo racconta a WikiMusic.

It was great to talk with drummer / percussionist, Michael Beck. In this conversation, Michael talks about his time with the iconic progressive rock band, Happy The Man. Great information, education, and stories! ENJOY! Michael Beck: My initial interest in drums began when I was in the sixth grade in Bloomington, Indiana. I started with metal rods as drum sticks on cardboard boxes and played to the music on the radio. Then in Junior High, I bought my first drum set, a 1950 model, and joined my first group playing 60's tunes, like “Louie Louie”. Our family then moved to Fort Wayne, Indiana, where I met Rick Kennell (current bass player for Happy The Man). We formed a group together playing covers and original music. After High School I studied music at Indiana University for a short time, and began branching out playing many other styles of music, as much as possible, wherever I could, in clubs and concerts, with whoever I could find to work with. Rick Kennell, now back from the Army, called me to go with him to Harrisonburg, Virginia, to join a newly forming band, called Happy The Man, doing all original music. During this time frame, I increasingly became very dissatisfied with the confines of the ordinary drum set-up and began on a path of experimenting with adding on cowbells, woodblocks, and as many percussion instruments that I could find to add to my drum kit. I read everything I could find on old vaudeville, big band, and wacky drummers of the past. I built scaffolding to suspend wind chimes and various odd instruments I had found or made. I began discovering sounds in everything from toys to junk, to just about whatever would make an interesting sound. I was very influenced by Harry Partch and his idea of what a musician should be. He began a musical company that built his instruments from found objects, and in combination with dance, pantomime, and musicianship, was one of the first people I knew of that was presenting a multi-media performance show. Because of my rather large drum/percussion set up, I began to experiment with dance and movement myself…. mostly out of necessity, with having to move from one instrument to another when scoring my drums parts in Happy The Man. With this new art form in hand, I slowly (with the incredible music the HTM guys were writing) developed my own unique style. I always felt HTM music lent itself to a percussionist who should not confine scoring his parts to just a drum kit. The music was incredibly symphonic; it needed the proper ambient sounds to accompany the drum kit to bring out all the emotion the songs entailed. The HTM time period in my life was one of the most unique and amazing experiences I've ever had. We worked as a unit, everyone had huge respect for one another, and together we created incredible music. After leaving HTM, I played with various groups of all sizes, shapes, and styles. I did many recording projects, some small touring, and eventually moved back to Fort Wayne, Indiana to work at a drum/percussion music store, “The Percussion Center”. I became the in-house drummer for Marty Bleifield's state-of-the-art new recording studio doing all the jingle and demo work. I continued to put together original music groups, and played in anything of quality that came my way. I began writing music more seriously at this time, and eventually discovered that making a living as a sideman had its shortcomings - joining a band to eventually watch it break up would put you back on the street again, looking for work. The roller coaster instability became a factor, especially with a family to support. My wife, Annie, of 24 years, has always supported my artistry in every way, which has allowed me to continue my passion for music.

Svend and David welcome very special guest Dr. Charles Corey (Chuck), curator of the Harry Partch Instrumentarium, to discuss the brilliance of 'hobo composer' Harry Partch.   Music in Episode: All music in Episode scored by Harry Partch, with thanks to New World Records. Drinks in Episode: Chuck: Lagunitas Maximus IPA Svend: Headful of Dynamite / Fremont David: Blue Moon

Alec and Nick discuss Blighttown, a notoriously punishing level in the video game Dark Souls where everything wants to poison you, or give you toxic status. The discussion uses the level as way of talking about “condemned structures” in contemporary music & discourse. Subversions of ascent and reward, the curatorial platform Blank Forms, anarchy, impermanent structures, cartography, reverb and more are all discussed—as well as the microtonal music of Pascale Criton and Harry Partch.  Opening skit audio: A collection of Dark Souls "rage quits" overlaid with "Toxicity" by System of a Down Opening theme music: Xander Seren Closing Music: "Don't Wanna Go Down To Blight Town," Written and Arranged by TheGoodShipGWP team; Produced and recorded by JonnyAtma!

Today's guest is Christine Chapman, an eclectic American horn player, and a member of the innovative and explosive Ensemble Musikfabrik. I will read her bio now for those listeners who might not be familiar with her work. Raised in the coastline woods of western Michigan, Christine Chapman has traveled far and wide to pursue her passion for music. In 1990, after finishing her musical studies at the University of Michigan and Indiana University, she broke out of the rural heartland of America for an orchestra job on the still fresh border between East and West Germany. The desire to gain a bit of work experience before returning to the States has since turned into a quarter of a century of exploration and adventure. As a member of Ensemble Musikfabrik, Christine Chapman has had the opportunity to collaborate directly with many of today's greatest composers, premiering and performing works by Karlheinz Stockhausen, Wolfgang Rihm, Peter Eötvös, Rebecca Saunders and Georg Friedrich Haas, among others. The experience of performing "outside of the box", such as with the music of Harry Partch, La Monte Young, Sun Ra, or Mouse on Mars, is the main impetus of her work. "Trying to see through the technicalities of playing to bring out the soul of the music; that is what's so exciting for me.” --- Support this podcast: https://anchor.fm/artssalon/support

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Casey Cangelosi, Ben Charles, Karli Viña, and Ksenija Komljenović Intro music by Reese Maultsby https://www.reesemaultsby.com/  Watch here  Listen below 0:11 intro 2:22 today in history: Beyoncé released 4, vlogger leaked Guns N' Roses, A Spaniard in the Works, Terry Riley birthday, Harry Partch birthday 7:59 Welcome Donnie Johns! 9:10 The DMV Percussion Academy 10:38 How Donnie adapted to the COVID-19 pandemic 15:02 creating access for all students 19:02 June 24 registration for DMV Percussion Academy 19:45 promoting wellness 23:19 Instagram question: what has been the hardest part of your career? 27:23 food and music 32:28 Gourmet Symphony 36:25 Donnie's performance career highlights 39:14 freelancing advice 42:14 the state of racism and social justice in percussion and classical music 47:23 How can we help bridge the knowledge gap for non-percussionist band directors? 51:48 PASIC is $60! 52:42 patterns in successful grant proposals 58:09 Michiko Takahashi and the contrabass marimba

Intro - 0:00Part I, Works and Philosophies of Harry Partch  - 01:10Delusion of the Fury: Exordium: The Beginning of a Web - 03:13Harry Partch - Music Studio - Part 1 of 2 - 05:04Harry Partch - The World of Harry Partch (1969) - 28:10Harry Partch - Chorus of Shadows - 32:12Part II, Works and Philosophies of Henry Cowell - 32:33Henry Cowell - Anger Dance (Schleiermacher) (1914) - 37:12Henry Cowell - “The Banshee” for piano strings - 38:43Henry Cowell: Hymn and Fuguing Tune No. 1 - 53:09Outro - 53:35Full Playlist for EP 13VVMC Book ClubVVMC: Friends & Voices, a Collaborative PlaylistVoices from the Vernacular Music Center

Alec and Nick present a “Theory of the Byoing Sound,” exploring the primacy of the dynamic, paradigmatic “byoing,” “boing,” and “bya-yoing” sound in experimental music. What exactly is it about this sound that makes it so prevalent? This episode accounts for a narrative of sound originating in primordial phonetic language formation, to scientific studies in physics and sound spatialization, to contemporary and post-industrial music. The conversation loosely situates the byoing as challenge to consistency as its seen in the world through the work of Karlheinz Stockhausen, Harry Partch, John Cage, Iannis Xenakis, Arnold Schoenberg, SOPHIE, Maryanne Amacher, and more.  Opening theme music by Xander Seren. Closing music by Max Eilbacher & Duncan Moore live at Green House, Cleveland 12/07/19

In our first liner notes episode we unravel the story behind the album cover, and listen to some of the instruments used, comparing two very similar guitars that were built 100 years apart.  Then, we explore the history of invented instruments and microtonal music through the work of composer Harry Partch and the imaginative productions of Hal Willner - and how they influenced Heaven Get Behind Me.

Pianist/composer/improviser Vicki Ray's musicality has spanned the gamut of many new musical worlds - genre-be-damned. Vicki's expressive reach is just incredible. We explore her work with The California Ear Unit, the music of Morton Feldman, Mel Powell, Wadada Leo Smith, and the micro-tonal music of Harry Partch. All of that, and Vicki's current dive into the solo piano music of Cecil Taylor, on The ProgCast right now.

..Con i brani con protagonisti James Taylor e Ringo Starr con Herb Alpert si conclude Stay Awake. Quattro anni dopo, nel '92, Willner realizza un altro album tributo, questa volta dedicato a Charles Mingus. La fisionomia di questo lavoro è piuttosto diversa da quella dei precedenti omaggi di Willner: invece di una grande varietà di artisti, qui c'è un gruppo base (fra gli altri Francis Thumm, Bill Frisell, Gary Lucas, Marc Ribot, Don Alias, percussionista in Bitches Brew di Miles, Greg Cohen, il contrabbassista la cui fama è legata alla sua collaborazione con John Zorn e Tom Waits) e una serie di ospiti: fra quelli che ascoltiamo in questa puntata Henry Threadgill, Robbie Robertson, Elvis Costello, Vernon Reid, Henry Rollins, Charlie Watts. Inoltre Willner sceglie di impiegare alcuni dei particolarissimi strumenti ideati dal compositore Harry Partch. Rispetto ai suoi precedenti album-tributo, qui Willner non è solo il regista dell'insieme dell'operazione ma è anche molto più direttamente responsabile del risultato complessivo, in termini di impronta musicale e di sound: e l'ambito pop-rock è rappresentato da alcuni suoi illustri protagonisti, ma non altrettanto come estetica. Nei brani che ci rimangono da ascoltare nella prossima puntata, anche un altro degli Stones, Keith Richards.

On this episode of the podcast, environmental sound-artist Philip Blackburn talks about early exposure to an artist that inspired him to build his own instruments. He also talks about how getting to study under Kenneth Gaburo further opened up Philip's ideas about what his art could be. Plus, Philip talks about the lovely unpredictable nature of work that changes based on human interaction. Philip Blackburn was born in Cambridge, England, and studied music there as a Choral Scholar at Clare College (BA, MA). He earned his Ph.D. in Composition from the University of Iowa where he studied with Kenneth Gaburo and began work on publishing the Harry Partch archives. Blackburn's book, Enclosure Three: Harry Partch, won an ASCAP Deems Taylor Award. He has worked at the American Composers Forum since 1991, running the innova Recordings label (which has been called “the nation's premiere label for American new music”) while developing re-granting programs (notably the Jerome commissioning program, McKnight Fellowships) and opportunities for composers (such as the Sonic Circuits International Electronic Music Festival, Continental Harmony, and Bamboofest).   He is also a public artist specializing in sound — a composer/environmental sound-artist — and has served as teaching artist for school residencies connected with the Flint Hills International Children's Festival, creating multi-media performances using home-made instruments.  He composed the soundtrack for the Wild Music: Sounds and Songs of Life exhibition initiated by the Science Museum of Minnesota now traveling the nation.  His Car Horn Fanfare for 8 ArtCars opened the Northern Spark Festival, and his Duluth Harbor Serenade was heard by thousands of people during Duluth Superior Pride. His concert work, Sonata Homophobia, for Flute and Brainwave-Triggered Right Wing Hate Speech was also premiered in Duluth. Blackburn's works have been heard in ships' harbors, state fairs, forests, and coming out of storm sewers, as well as in galleries and on concert stages. He has incorporated brainwave sensors and dowsing rods in performance as well as balloon flutes, car horns, smart phones, and wind-powered harps. He created a multi-media hyperopera about Cragmor Tuberculosis Sanatorium in Colorado Springs. That work, The Sun Palace became a 60-minute indie film that premiered at the New York's Anthology Film Archives.  

Paul Simon's 13th solo studio album, Stranger to Stranger, is out on Friday. It has apparently been gestating for going on four years, and it's full of Harry Partch's microtonal instruments like cloud chamber bowls and the chromelodeon. Dean Drummond's zoomoozophome even makes an appearance. At the same time, the album is pretty rockin' and fun.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

An interview with Kipp Normand and Michael Kaufmann, the creative visionaries behind the new Museum of Psychphonics in Fountain Square. Kipp and Michael will be sharing music and stories that inspired the museum. Tonight's playlist includes some of my favorite musicians: Sun Ra, Harry Partch, Parliament, Sedcairn Archives and more.

In this 19-minute episode, we take a look at some of 2015's best stories, reflections and outtakes. We have (in the following order):  Dave Alvin's first songwriting lesson (at 13 years old) from Big Joe Turner Susan Shillinglaw on why John Steinbeck is still so read today Friends of the LA River's Lewis MacAdams on the river's state in the 1980s and how he became involved in restoring it Chelsea Sexton on electric mobility about how the walkman was the precursor to the smartphone (and how consumers would never have asked for the technology if companies didn't invest in innovation) UC Berkeley's Gray Brechin on how mining technology contributed to the development of San Francisco Architectural critic Alan Hess on Palm Springs as a mecca of the emerging recreational economy.  EPIC's Rob DiPerna on his "best place on earth” UCLA's Ehrhard Bahr on why many of Germany's intellectuals chose Los Angeles over New York during World War II  Architect Donald MacDonald on the "bridge aesthetic" of the Golden Gate and Bay Bridges Peter Case reflecting on his early days in San Francisco and his thanking Lawrence Ferlinghetti for his contribution to Case's education UC Berkeley's Richard Walker on the development and use of pesticides on citrus trees in the 1870s Thomas Oesterdiekhoff on composer Harry Partch's early influences which led to Partch's very atypical musical journey Photographer Kim Stringfellow on the alternative history of California's water wars as one drives up the picturesque Highway 395.  This is just a taster of the many eye-opening stories and reflections of the Soul of California's guests over the course of 2015.  Enjoy them and feel free to download the complete interviews. Have a good 2016.

Harry Partch - who created musical instruments from scrap and completely dismantled the 12-tone system that Western music is based on - was not your average mid-twentieth century composer wandering around the Golden State.  To discuss Partch's influence, impact and his own instruments, we are pleased to have as the SoC's guest Thomas Oesterdiekhoff, the Director of the Musik Ensemble in Cologne, Germany, whose company produced Partch's Delusion of the Fury in Cologne and at New York's Lincoln Centre for two sold-out performances.  In this 15-minute interview, Oesterdiekhoff sheds light on Partch's atypical upbringing, and his obsession with tone that led to creating his own tonal system. Creating an entire array of instruments using hubcaps, bottles and shell casings, Partch penned a number of brilliantly chaotic noise ensembles that push the boundaries of music that has been termed “unclassifiable”. Oesterdiekhoff describes how he and his team meticulously rebuilt a new set of instruments and how a trained musician threw out all of his/her knowledge to relearn Partch's system. With 52 players and instruments on stage, half of which are moving around, no conductor, and a cast dressed up as hobos, Delusion of the Fury is one rare blend of music and theatre and demonstrates the genius that welds them together in ways unimaginable.  www.musikfabrik.eu

This episode of The White Whale returns looks at how one develops an openness with creativity and thinking outside the box of art. Where do we get our ideas? How do we accept our voice and interpretation if the surrounding thoughts counter it as correct? Why does it matter that you find your own road?