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Love music? Go for it! Meet Paul Winter! A fabulous musician who toured South America for the State Department. Performed in the Grand Canyon. Celebrated Charles Ives. And a lot more.
Also an environmentalist. Sing with the whales and howl with the wolves.
And every year he creates a Solstice Spectacle at the Cathedral of St. John the Divine in New York City for thousands of people. Look and listen. Go here!
Ramón Sender Barayón, composer, lives in San Francisco. He was born in Madrid during Red October in 1934 as the Spanish Civil War was unfolding. During the next years his father fought briefly with the Republican army against Franco’s Falangists and his mother returned to her home in Zamora.
The question Ramon asked was: What happened with my mother? Following his father’s death in 1982, he returned to Spain to find the answer.
This is a gripping, wonderful, and profound story. It takes us through the Spanish Civil War. We meet Ramon’s family. We meet people who lived through the war. And Ramon finds the answer.
There’s a lot more … Go here!
Ideas! This book is about ideas! A remarkable group of artists in Brisbane wrote ten lively and diverse articles, here in the world and now at this time.
What’s in the book? Sounds you’ve never heard before in a listening museum, a cadenza for Beethoven’s Fourth Piano Concerto, an environmental issue in India, an updated prepared piano, music bearing witness to life, rethinking Bach’s Goldberg Variations, Carnatic rhythm and jazz, structuring a festival, performing at Tanglewood, and staying home.
If you’re a student, know your possibilities! A teacher, make ideas available! A composer, look around! This book is lively, original, important. Go here!
If you’re a composer, here’s a mix of music and technology. Go here!
Eduardo Miranda shares with us his ideas about using a computer to work with him in composing music. He writes: “I figured out that I could program a computer to be musically creative and by recombining ideas generate musical materials for my compositions … “
Here is Iannis Xenakis in 1971 in Persepolis, Iran, at the third Shiraz Arts Festival, to present his Polytope de Persépolis.
We’re working on a group of books about Iannis Xenakis, in Joel Chadabe’s words “one of the most original and important of the post-World War II composers.” Read Chadabe’s article titled Who is he? Go here!
Yes, we offer wonderful books. Music, ideas, images, people. We’re telling you about the music world. Then. And now.
We also offer special ibooks on special subjects. Corey Bearak, for example, thinks you ought to know how New York functions. Or any city. We agree.
And we want the world to know about your music. Now! These days. Concerts? Events? Ideas? For one thing, we’re creating global galleries. Around us!
This book is a history of early vocal art based in the 1970s. As Kostelanetz introduces it, “The art is text-sound, rather than sound-text, to acknowledge the initial presence of a text, which is subject to aural enhancements more typical of music. To be precise, it is by non-melodic auditory structures that language or verbal sounds are poetically charged with meanings or resonances they would not otherwise have.”
In other words (and sounds), you may view this book, and all of the artists it describes, as the opening up of a new artistic medium.
And there’s more to it than meets the ear! Go here!
It’s really a question of how we listen. Our voice is the ultimate synthesizer, capable of a wide range of sound.
Wait! Before you go any further, listen to Jaap Blonk’s performance of Kurt Schwitter’s Ursonate.
When you listen to speech not for the meaning of the spoken words but for the nature and shape of the sounds, for their pitch, rhythm, and timbre, it’s easy to hear their expressive potential. And when you create rhythms for the sounds of a voice, or listen to many voices speaking together, or transform the sounds of a voice with electronics, or come up with other ideas, you have a universe of sound potential available to you.
To get started in composing your words, here are some ideas!
And send us your own word compositions!
For more information about this book, go here!
“Counting the number of composers and musicians that learned from him, understanding the importance of the new musical ideas that he pioneered, and being aware of the public that was scandalized by his music, I’d elect John Cage as the most influential and revolutionary of 20th century composers …”
The introductory essay was written by Joel Chadabe. To read the entire essay, go here!
As Richard Kostelanetz puts it, “Though many American advanced composers have been great conversationalists, few could say as much about so many subjects as Nicolas Slonimsky and Lou Harrison.” He’s right.
Slonimsky conducted orchestras, performed pianos, composed music, and wrote books from the profound, as in his Thesaurus of Scales and Melodic Patterns, to the hilarious, as in his Lexicon of Musical Invective.
Harrison worked with orchestras, percussion, Cantonese opera, native American music, gamelon instruments, poetry, visual art, puppet operas, and—can you imagine—more.
Fascinating. Go here.
Based on interviews, personal knowledge, and friendships, Richard Kostelanetz has made the twentieth century live again. He talks about Glenn Gould, Charles Ives, Milton Babbitt, John Cage, Merce Cunningham, Elliott Carter, Alan Hovhaness, Paul Zukofsky, Philip Glass, La Monte Young, Joao Carlos Martins, Peter Schickele, B. B. King, and Robert Moog. He explains what they did, how they did it, and how they thought about it.
There’s a lot more to say about this. It’s a great book. Go here!
© 2019 Intelligent Arts Inc.