Download Occasional pieces : writings and interviews, 1952-2013 by Christian Wolff, George E. Lewis PDF
By Christian Wolff, George E. Lewis
As one of many unique pioneering composers of the yank experimental track circulate and a widely known student of classics, Christian Wolff has lengthy been energetic as an important philosopher and stylish author on tune. With Occasional Pieces, Wolff brings jointly a suite of his so much outstanding writings and interviews from 1950 to the current, shining a brand new mild on American tune of the second one 1/2 the 20th century. the gathering opens with a few of his earliest writings on his craft, discussing his personal proto-minimalist compositional techniques and the song and concepts that led him to enhance those innovations. equipped chronologically to provide a feeling of the improvement of Wolff's considering on tune over the process his profession, a number of the items delve into connections of music-making to social and political matters, and the idea that of indeterminacy because it applies to functionality, whereas others supply insights into the paintings of Wolff's outstanding contemporaries together with John Cage, Morton Feldman, Earle Brown, David Tudor, Frederic Rzewski, Cornelius Cardew , Dieter Schnebel, Pauline Oliveros, and Merce Cunningham. a useful source for historians, composers, listeners and scholars alike, Occasional items bargains a deep dive into Christian Wolff's musical international and brings new mild to the background of the yankee experimental movement.
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From the Preface :
This publication illustrates a suite of track manuscripts which was once made lately to profit the root for modern functionality Arts. the gathering was firm by way of conditions instead of any technique of choice. hence it indicates the various instructions during which track notation is now going. The manuscripts usually are not prepared in accordance with varieties of song, yet alphabetically in keeping with the composer's identify. No explanatory details is given.
The textual content for the ebook is the results of a procedure using I-Ching likelihood operations. those decided what number phrases relating to his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specifically written for this publication, they're preceded through a paragraph signal and by means of the author's identify. different feedback have been selected or written through the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all decided accidentally operations. This technique used to be in an effort to reduce the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to jot down approximately notation or some· factor suitable to it. ) A precedent for the absence of knowledge which characterizes this e-book is the modern aquarium (no longer a gloomy hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass residence with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this ebook. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century track notation attainable.
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Extra resources for Occasional pieces : writings and interviews, 1952-2013
Example text
That sound, to be sure, might come at the beginning of the four-second length and 5e could start at the beginning of the following ten-second length marking off four seconds. Articulating all the structural lengths, then, can indicate a minimal order. But even this order is not entirely fixed, and the form, originating as a frame or system of frames, is not necessarily closed. Silence, for one, introduces ambiguities. Within the space of ten seconds, for instance, there may be three and a half seconds of continuous silence.
They just come from one or more loudspeakers. A sound, I think, appears more engaging when the specific actions that produce it are either visible or felt as present, though not necessarily understood at all. ) Someone once remarked that this wasn’t music but prolegomena to music. Well, in many respects it’s not much like earlier music; though can we say that it is less or more music than before? And if it is preparatory only, the makings of music, could one compare it to the preambles once recommended for laws, called preludes to tunes?
And the pitches may have the further notation, by chance, of muting (with the fingers on the pitch’s string) or plucking. How, generally, is the electronic music made? Thus far, in two ways, that may be combined or not. First, synthetically, that is, all sounds are electronically generated and composed from the start. Any sound, from tone to noise, is analyzable into its simplest measurable components, sine wave frequencies (pure tones). Here the Â�reverse process takes place: a sound is made up by scoring its structure, the configuration of all its measurable components.