From cianciusi@mac.com Sat Apr 1 00:55:58 2006 From: cianciusi@mac.com (Walter Cianciusi) Date: Sat, 1 Apr 2006 07:55:58 +0200 Subject: [silence] FLUXUS PODCAST UPDATE Message-ID: <424d5ac60932355dc0bc1cf4284d8b49@mac.com> "Music For ___" (Video) by Andrew Bunny added to Fluxus Podcast. To listen you just need to: 1. download and install iTunes 6 (free) for Mac or Windows: www.apple.com/itunes/download/ ; 2. search for "Fluxus" in the Music Store page (podcast directory); 3. sign in "Fluxus" podcast. The xml address for the Fluxus Podcast to feed in any podcast receiver (like Juice, Doppler, iTunes or whatever) is http://homepage.mac.com/cianciusi/podcast.xml If you want to contribute to future episodes of Fluxus podcast send a .m4a, .mp3, .mov, .mp4, .m4v, or .pdf file to my email address. ------------------------------------- Walter Cianciusi Via Montello 80 67051 Avezzano (AQ) ITALIA www.waltercianciusi.com info@waltercianciusi.com From cianciusi@mac.com Sun Apr 2 01:10:32 2006 From: cianciusi@mac.com (Walter Cianciusi) Date: Sun, 2 Apr 2006 08:10:32 +0200 Subject: [silence] FLUXUS ALL-STARS Message-ID: "Pod Mashup" (MP3) by Kiyotei and the Fluxus All-Stars: a mash-up of songs from the Fluxus Podcast. "Airports For Films" (Video) by Brad Brace. To watch and listen you just need to: 1. download and install iTunes 6 (free) for Mac or Windows: www.apple.com/itunes/download/ ; 2. search for "Fluxus" in the Music Store page (podcast directory); 3. sign in "Fluxus" podcast. The xml address for the Fluxus Podcast to feed in any podcast receiver (like Juice, Doppler, iTunes or whatever) is http://homepage.mac.com/cianciusi/podcast.xml If you want to contribute to future episodes of Fluxus podcast send a .m4a, .mp3, .mov, .mp4, .m4v, or .pdf file to my email address. ------------------------------------- Walter Cianciusi Via Montello 80 67051 Avezzano (AQ) ITALIA www.waltercianciusi.com info@waltercianciusi.com From cianciusi@mac.com Thu Apr 6 01:50:55 2006 From: cianciusi@mac.com (Walter Cianciusi) Date: Thu, 6 Apr 2006 07:50:55 +0200 Subject: [silence] FLUXUS PODCAST UPDATE Message-ID: "Tapping my Fingernails While Reading Portrait of the Artist" (MP3) by Allan Revich added to Fluxus Podcast. To listen you just need to: 1. download and install iTunes 6 (free) for Mac or Windows: www.apple.com/itunes/download/ ; 2. search for "Fluxus" in the Music Store page (podcast directory); 3. sign in "Fluxus" podcast. The xml address for the Fluxus Podcast to feed in any podcast receiver (like Juice, Doppler, iTunes or whatever) is http://homepage.mac.com/cianciusi/podcast.xml If you want to contribute to future episodes of Fluxus podcast send a .m4a, .mp3, .mov, .mp4, .m4v, or .pdf file to my email address. ------------------------------------- Walter Cianciusi Via Montello 80 67051 Avezzano (AQ) ITALIA www.waltercianciusi.com info@waltercianciusi.com From Anthony.Gritten@rncm.ac.uk Thu Apr 6 11:26:27 2006 From: Anthony.Gritten@rncm.ac.uk (Anthony Gritten) Date: Thu, 06 Apr 2006 16:26:27 +0100 Subject: [silence] news: Music & Gesture 2, 20-23 July 06: booking form Message-ID: Apologies for cross-posting: The booking form for the Second International Conference on Music and Gesture, to be held at the Royal Northern College of Music, Manchester (UK), 20-23 July 2006, will be available for download from the RNCM website (under 'Research Events') in the next 48 hours or so. The deadline for early registration is Friday 2 June. Best wishes, Anthony. ____________________________________________ Dr Anthony Gritten FRCO Head of Postgraduate Studies and Research Royal Northern College of Music 124 Oxford Road Manchester M13 9RD UK Tel: (44)(0)161-907-5380 Email: anthony [dot] gritten [at] rncm [dot] ac [dot] uk Web: http://www.rncm.ac.uk From Anthony.Gritten@rncm.ac.uk Thu Apr 6 12:07:06 2006 From: Anthony.Gritten@rncm.ac.uk (Anthony Gritten) Date: Thu, 06 Apr 2006 17:07:06 +0100 Subject: [silence] silence Digest, Vol 47, Issue 3 (your email) Message-ID: I'm in Japan until 24-4-06. I'll deal with your email when I'm back. Urgent enquiries regarding postgraduate or research matters at the RNCM: email nicholas.baragwanath@rncm.ac.uk Urgent enquiries regarding the Second International Conference on Music and Gesture: email e.c.king@hull.ac.uk From ruthypegs@gmail.com Sat Apr 8 11:52:28 2006 From: ruthypegs@gmail.com (Ruth Mitchell) Date: Sat, 8 Apr 2006 16:52:28 +0100 Subject: [silence] 9th International Conference on Music Perception and Cognition Message-ID: I was wondering if anyone can help me, A paper that I submitted for the above conference has been accepted, very suprisingly, but I was wondering if anyone knew of any funding so I woudl be able to go, it is in Bologna, Italy, and I am a student at University, so therefore I dont have the funds to go, and also would like my husband to join me??? Ruth Mitchell -- Ruth -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060408/69a7ee32/attachment.html From drohne1@gmx.net Tue Apr 11 08:37:14 2006 From: drohne1@gmx.net (Robert Engelbrecht) Date: Tue, 11 Apr 2006 14:37:14 +0200 Subject: [silence] concert announcement Message-ID: <443BA2FA.8060306@gmx.net> Dear list, for those of you who might be in the area: The Nelly Boyd-Kreis (Robert Engelbrecht, Peter Imig, Jan Feddersen & Jens R?hm) will perform - Four^6 - Variations IV and Variations VI (simultaneously) Friday, April 28, 8 pm Christianskirche am Klopstockplatz Hamburg This concert is part of the festival "Blurred Edges" (April 19 - 30). For more info on the rest of the program visit the page of the Verband f?r aktuelle Musik Hamburg: www.vamh.de best wishes robert From cshultis@unm.edu Thu Apr 13 21:36:41 2006 From: cshultis@unm.edu (Christopher L Shultis) Date: Thu, 13 Apr 2006 19:36:41 -0600 Subject: [silence] suzuki citation please! In-Reply-To: <443BA2FA.8060306@gmx.net> References: <443BA2FA.8060306@gmx.net> Message-ID: Dear Silencers, I've been digging around with no success for a textual source of the story Cage tells about Suzuki. The one where Suzuki is asked what is the most important thing in Zen, Suzuki responds "life" asked again he says "death" asked how it can be one then the other Suzuki says "there's not much difference between the two." Cage told this story a lot, draws on it for his "Alphabet" piece, but for some reason I can't find a written source of the story told in its entirety (either in writing or interview doesn't matter) and need it to cite in an upcoming publication. Any help much appreciated! Chris Shultis From rob_haskins@yahoo.com Fri Apr 14 10:37:29 2006 From: rob_haskins@yahoo.com (Rob Haskins) Date: Fri, 14 Apr 2006 07:37:29 -0700 (PDT) Subject: [silence] suzuki citation please! In-Reply-To: Message-ID: <20060414143729.34561.qmail@web54603.mail.yahoo.com> Maybe this is the one you mean (from the ?Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1970?71,? (1971), in M, 99: Asked what he thought of first lecture, Suzuki said, ?Excellent, but in Zen most important thing?s life.? Asked next day what he thought of second lecture, Suzuki said, ?Excellent, but in Zen most important thing?s death.? ?How can you say life one day and death the next?? ?In Zen there?s not much difference between the two.? Rob Haskins Assistant Professor of Music University of New Hampshire rob_haskins@yahoo.com http://robhaskins.net "Heroism doesn't consist in brilliantly combatting someone else. . . . What is heroic is to accept the situation in which you find yourself." -- John Cage ----- Original Message ---- From: Christopher L Shultis To: silence@list.mail.virginia.edu Sent: Thursday, April 13, 2006 9:36:41 PM Subject: [silence] suzuki citation please! Dear Silencers, I've been digging around with no success for a textual source of the story Cage tells about Suzuki. The one where Suzuki is asked what is the most important thing in Zen, Suzuki responds "life" asked again he says "death" asked how it can be one then the other Suzuki says "there's not much difference between the two." Cage told this story a lot, draws on it for his "Alphabet" piece, but for some reason I can't find a written source of the story told in its entirety (either in writing or interview doesn't matter) and need it to cite in an upcoming publication. Any help much appreciated! Chris Shultis -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060414/2e7a220e/attachment.html From denuded.artist@yahoo.com Fri Apr 14 12:01:11 2006 From: denuded.artist@yahoo.com (warren quinten) Date: Fri, 14 Apr 2006 09:01:11 -0700 (PDT) Subject: [silence] suzuki citation please! zen life In-Reply-To: <20060414143729.34561.qmail@web54603.mail.yahoo.com> Message-ID: <20060414160111.2472.qmail@web38511.mail.mud.yahoo.com> Rob, Thanks for the research... Warren. Rob Haskins wrote: Maybe this is the one you mean (from the ???Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1970???71,??? (1971), in M, 99: Asked what he thought of first lecture, Suzuki said, ???Excellent, but in Zen most important thing???s life.??? Asked next day what he thought of second lecture, Suzuki said, ???Excellent, but in Zen most important thing???s death.??? ???How can you say life one day and death the next???? ???In Zen there???s not much difference between the two.??? Rob Haskins Assistant Professor of Music University of New Hampshire rob_haskins@yahoo.com http://robhaskins.net "Heroism doesn't consist in brilliantly combatting someone else. . . . What is heroic is to accept the situation in which you find yourself." -- John Cage ----- Original Message ---- From: Christopher L Shultis To: silence@list.mail.virginia.edu Sent: Thursday, April 13, 2006 9:36:41 PM Subject: [silence] suzuki citation please! Dear Silencers, I've been digging around with no success for a textual source of the story Cage tells about Suzuki. The one where Suzuki is asked what is the most important thing in Zen, Suzuki responds "life" asked again he says "death" asked how it can be one then the other Suzuki says "there's not much difference between the two." Cage told this story a lot, draws on it for his "Alphabet" piece, but for some reason I can't find a written source of the story told in its entirety (either in writing or interview doesn't matter) and need it to cite in an upcoming publication. Any help much appreciated! Chris Shultis -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ -- To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ Warren Art Quinten Holland Park Road KENSINGTON AND CHELSEA London UK http://art-exhibit.blogspot.com --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060414/f631ae8b/attachment.html From dufallo@yahoo.com Sat Apr 15 13:32:37 2006 From: dufallo@yahoo.com (Cornelius Dufallo) Date: Sat, 15 Apr 2006 10:32:37 -0700 (PDT) Subject: [silence] Confessions of the Woman in the Dunes Message-ID: <20060415173237.78310.qmail@web36201.mail.mud.yahoo.com> Ne(x)tworks presents: Kenji Bunch's Confessions of the Woman in the Dunes a one act opera-in-progress Wednesday, April 19 8:00 ($10) at Issue Project Room 400 Carroll Street between Bond and Nevins http://issueprojectroom.org/ 718-330-0313 Confessions of the Woman in the Dunes is a one-act, one-character opera by Kenji Bunch that suggests a possible account of the events in Kobo Abe's classic surrealist parable from the perspective of the book's enigmatic title character. Portrayed by vocalist Joan La Barbara, this Woman in the Dunes takes the book as a point of departure to express her intimate views on her unusual predicament through arias and musical interludes featuring the unique improvisational techniques of the Ne(x)tworks musicians. Using sparse text and a minimal, semi-staged approach informed by ancient Japanese Noh drama, the musicians provide representational sets, props, and action through their sonic canvasses. Rather than a retelling of Abe's work, this opera is a meditation on the themes of isolation, love, loss, duty, and hope that arise from the experiences that only the Woman herself can share. www.nextworksmusic.net __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From mcbennett@fuse.net Tue Apr 18 13:17:41 2006 From: mcbennett@fuse.net (Myron Bennett) Date: Tue, 18 Apr 2006 13:17:41 -0400 Subject: [silence] Among the uses of silence Message-ID: There is a passage in a book about to reach the paperback racks in stores everywhere that has to do with the subject of this list. And I must admit that I'm rather happy it got into the book, which shows that my son on occasion listened to me. Christopher L. Bennett has been writing books in the Star Trek series for a while now, and is now in another fictional universe known to many, that of Marvel Comics and in particular X-MEN. He is my son. I take the liberty of quoting it here, from the book X-MEN: WATCHERS ON THE WALLS. It is early in what we might call the exposition. Jean and others have been called to come to a meeting by Xavier, "So what did you have to teach me that required flying us all the way up here? she asked. Xavier smiled, turning away from the coontrols. "Are you familiar with the avant-garde composer John Cage?" Jean resisted the impulse to rummage around in his surface thoughts for the answer; that would be cheating. "I cant say I am." "One of his most famous works is a solo piece, usually for piano, entitled Four Minutes and Thirty-Three Seconds. It has three movements, adding up to that total duration, and each one consists of the instruction 'Tacet' -- be quiet. And so, for four minutes and thirty-three seconds, the artist performs silence." Jean's fiery-hued brows angled upward. "Sounds like a very lazy composer." "The point, " Xavier went on politely, "is to encourage the audience to listen to the silence. Rather, to discover that there is no such thing as silence. Even when the performer doesn't play, there's still an abundance of sounds to be heard. The sounds of your own breathing, the rustling of the audience's clothes, the creaking of the floorboards." "The yawns of the audience. The trilling of cell phones they rudely forgot to turn off." "Even those. The audience, the environment, it's all part of the performance. It's the source of the music. And it's a unique performance every time." Jean was starting to see where he was leading. "So we're here . . . to contemplate silence?" "Exactly. In a somewhat different way, of course, since we're not in the midst of an audience. The goal is to get away from the psychic background noise ......." and I'll stop quoting. When he showed me the first draft of the passage, I had only a couple of technical matters to suggest (I won one and lost on one.) So please excuse a proud father for taking up bandwidth and your time to brag a bit. Myron Bennett, who finally shows up in an author's acknowledgements in this one. From jzitt@josephzitt.com Tue Apr 18 20:58:49 2006 From: jzitt@josephzitt.com (Joseph Zitt) Date: Tue, 18 Apr 2006 20:58:49 -0400 Subject: [silence] Among the uses of silence Message-ID: <10956492.352281145408328435.JavaMail.servlet@perfora> Wonderful! I'll keep an eye out for it in the bookstore in which I work and turn people on to it -- there's a pretty good overlap among the avant-garde music fans and comic book buffs among the staff. > >There is a passage in a book about to reach the paperback racks in >stores everywhere that has to do with the subject of this list. And I >must admit that I'm rather happy it got into the book, which shows >that my son on occasion listened to me. >Christopher L. Bennett has been writing books in the Star Trek series >for a while now, and is now in another fictional universe known to >many, that of Marvel Comics and in particular X-MEN. He is my son. >I take the liberty of quoting it here, from the book X-MEN: WATCHERS >ON THE WALLS. It is early in what we might call the exposition. Jean >and others have been called to come to a meeting by Xavier, From flinch@flash.net Wed Apr 19 00:53:00 2006 From: flinch@flash.net (S Rhodes) Date: Tue, 18 Apr 2006 23:53:00 -0500 Subject: [silence] Among the uses of silence In-Reply-To: <10956492.352281145408328435.JavaMail.servlet@perfora> Message-ID: Huh? http://www.religionnewsblog.com/14327 From mcbennett@fuse.net Wed Apr 19 09:56:55 2006 From: mcbennett@fuse.net (Myron Bennett) Date: Wed, 19 Apr 2006 09:56:55 -0400 Subject: [silence] Among the uses of silence Message-ID: S Rhodes flinch@flash.net Wed Apr 19 00:53:00 EDT 2006 Huh? http://www.religionnewsblog.com/14327 The writer of this message, I would assume, is articulating the thought, "What is this message doing on this list? Does it have anything to do with what this list is for?" (My apologies if I mis-translate.) In its long history, the members of the list have on occasion pointed out some reference to Cage, to 4'33", to the things we do discuss here in the media of the wider world (although, methinks, some might consider that this is the wider world. Excuse the aside.) Sometimes the reference is to a glaring misunderstanding, and sometimes to something more positive. I wrote the original message not to brag (but inevitably some of that crept in) but to say, look at this. You might enjoy knowing it. Myron From mirling44@hotmail.com Wed Apr 19 10:07:19 2006 From: mirling44@hotmail.com (susan j.) Date: Wed, 19 Apr 2006 10:07:19 -0400 Subject: [silence] Among the uses of silence In-Reply-To: Message-ID: An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060419/80233df3/attachment.html From flinch@flash.net Wed Apr 19 12:58:27 2006 From: flinch@flash.net (S Rhodes) Date: Wed, 19 Apr 2006 11:58:27 -0500 Subject: [silence] Among the uses of silence In-Reply-To: Message-ID: > From: Myron Bennett > >>> >S Rhodes flinch@flash.net >>> >Wed Apr 19 00:53:00 EDT 2006 >> >>> >Huh? >>> > >>> >http://www.religionnewsblog.com/14327 > >> >The writer of this message, I would assume, is articulating the >> >thought, "What is this message doing on this list? Does it have >> >anything to do with what this list is for?" (My apologies if I >> >mis-translate.)... > Click on the link I sent, you?ll see what I meant. Though unfortunately tabloid in source, it concerns the use of silence in a different forum: human birth. It?s fringe psychology to be sure, but certainly worthy of contemplation. To me its about the archaic and primary experiences of intrauterine sound... most assuredly un-mediated by culture and language. I am very interested in the violation of sound by language. If emotion requires some kind of object relation then our pre-natal experiences of sound might be considered un provocative since those sounds are non-differentiated. If there is simple identification with sound in the womb then the event of separation from that pre-natal sound world might be more shocking than any other sensations during birth. The post natal experience of sound might then be the birth of emotion. Reminds me of the kind of archaic introspection that the Ancient Stoics recommended in order to differentiate between stimulus and judgment. They wanted to point out that we can separate internal emotion from external stimuli. If we are able to make those distinctions in stressful moments we are in a way in constant re-birth, checking our infantile tendency to identify with the phenomena of sensation. Sorry for the misunderstanding, I used your subject line and the parental material as a point of departure. My sincere congratulations to you and your son. Also my congratulations to Suri, Katie and Tom. S. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060419/2db0b062/attachment.html From hongyijiang@hotmail.com Fri Apr 21 14:29:07 2006 From: hongyijiang@hotmail.com (Hongyi Jiang) Date: Fri, 21 Apr 2006 11:29:07 -0700 Subject: [silence] where can I find all the charts used for "Music of Changes"? Message-ID: Hi, does anyone know where or in which book I can find all the charts Cage used to compose "Music of Changes"? Thanks a lot. _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ From pksem@semensemble.org Fri Apr 21 17:30:20 2006 From: pksem@semensemble.org (PK SEM) Date: Fri, 21 Apr 2006 17:30:20 -0400 Subject: [silence] The Orchestra of the S.E.M. Ensemble at Ron Feldman Gallery Message-ID: For Immediate Release April 17, 2006 Contact: Donel Young Phone 732/295-2406 80TH ANNIVERSARY CELEBRATION OF MORTON FELDMAN'S BIRTH THE ORCHESTRA OF THE S.E.M. ENSEMBLE CONCERT APRIL 24TH, NYC WORKS BY FELDMAN, STEFAN WOLPE AND IANNIS XENAKIS U.S. RELEASE OF MORTON FELDMAN SAYS: SELECTED INTERVIEWS AND LECTURES 1954-1987 (HYPHEN PRESS, DISTRIBUTED BY PRINCETON ARCHITECTURAL PRESS) Monday, April 24, 8 pm Ronald Feldman Fine Arts 31 Mercer St, NYC The Orchestra of the S.E.M. Ensemble Petr Kotik, Conductor Stefan Wolpe: Chamber Piece No. 1 (1964) Iannis Xenakis: Palimpsest (1979) Morton Feldman: For Samuel Beckett (1987) Tickets $15, $10 s/s Concert information and reservations: 718-488-7659, info@semensemble.org Feldman book information: Princeton Architectural Press 212/995-9620 ext. 214 Not recognized as a major figure during his lifetime, Morton Feldman (b. 1926 in New York City, d. 1987 in Buffalo, NY) is now one of the most celebrated, performed and recorded composers of the late 20th Century. The S.E.M. Ensemble is proud to join in celebrating the 80th anniversary of Feldman's birth in collaboration with Hyphen Press, London, and Princeton Architectural Press, New York, publisher and distributor of a major publication of texts by Feldman: Morton Feldman Says (Edited by Chris Villars, 320 pages, 60 illustrations). The SEM concert includes Feldman's last composition for orchestra, For Samuel Beckett, and music by Feldman's composition teacher, Stefan Wolpe, and Iannis Xenakis, whose music Feldman admired most in his later years. Music by Morton Feldman constitutes a major part of the S.E.M. Ensemble's current repertoire. Petr Kotik, founder of SEM, met Feldman in 1966 in London, thanks to their mutual friend Cornelius Cardew who brought Kotik to Feldman's lecture. Kotik arrived in the U.S. in November 1969, and he conducted a mini-retrospective of Feldman's music in Buffalo, NY in January 1970, a program which Feldman suggested. In 1973, Feldman composed Instruments I for the S.E.M. Ensemble. He worked closely with SEM and traveled with the group when his piece was performed. In the summer of 1987, Kotik commissioned Feldman to compose a new piece for SEM. Feldman agreed, but could not complete the task. He died in September of the same year. A major event for Feldman was his meeting with John Cage: At the first meeting [between John Cage and Morton Feldman] I brought John a string quartet. He looked at it a long time and then said, "How did you make this?" I thought of my constant quarrels with Wolpe and also that, just a week before, after showing a composition of mine to Milton Babbitt and answering his questions as intelligently as I could, he said to me, "Morton, I don't understand a word you're saying." And so, in a very weak voice, I answered John, "I don't know how I made it." The response to this was startling. John jumped up and down and, with a kind of high monkey squeal, screeched, "Isn't that marvelous. Isn't that wonderful. It's so beautiful, and he doesn't know how he made it." Quite frankly, I sometimes wonder how my music would have turned out if John had not given me those early permissions to have confidence in my instincts. - Morton Feldman - 1962 (liner note to an LP - Time Records S/8007) When Kotik formed The Orchestra of the S.E.M. Ensemble, he conducted the rarely performed The Turfan Fragments, a piece known for its complex musical texture. The hour-long For Samuel Beckett was first performed by the S.E.M. Orchestra in 1997 at the Music of Extended Duration festival in Prague. It was been released (along with The Turfan Fragments) on Dog w/a Bone CD DWAB04, available at Other Music in Manhattan or by calling ROIR at 212-477-0563. For Samuel Beckett (1987) was commissioned by the Sch?nberg Ensemble (Amsterdam), hence the use of single string instruments instead of a full string section. Samuel Beckett was a writer Feldman greatly admired. He found in Beckett's writings a parallel to his own music. The following quote most eloquently suggests what was on Feldman's mind when composing For Samuel Beckett: ?here's something peculiar about it [Beckett's text]. I can't catch it. Finally I see that every line is really the same thought said in another way. And yet the continuity acts as if something else is happening. Nothing else is happening. What you're doing, in an almost Proustian way, is getting deeper and deeper saturated into the thought. In 1943, at the age of 18, Feldman began studying with Stefan Wolpe (1902-1972) and met several important figures who were students of Wolpe, including Ralph Shapey and David Tudor (it was Feldman who introduced Tudor in 1950 to John Cage). Wolpe was an important mid-century figure in New York and his uncompromising artistic and civic attitude undoubtedly exuded considerable influence on his students. Wolpe was born in Berlin in 1902, and entered the Berlin Conservatory at the age of 14. Later, he studied with Ferruccio Busoni and Anton v. Webern. In 1933, he left Berlin for Palestine, where he headed the composition department at the Conservatory in Jerusalem (1934-38). In 1938 he came to the United States, becoming the head of composition at the Settlement Music School in Philadelphia. Wolpe founded the Contemporary Music School in New York City in 1948, and he became musical director at the Black Mountain College in North Carolina in 1952. >From 1955 to 1967, he was the chairman of the music department at C.W. Post College at Long Island University. Among the composers Feldman most admired in his later years was the Greek composer Iannis Xenakis (1922-2001). In the early 1980s during one of Feldman's public lectures at the Buffalo University, Feldman named the three most important living composers: John Cage, Iannis Xenakis and himself. Feldman and Xenakis co-conducted a composition seminar in 1986 in Middelburg, Holland. Xenakis studied engineering at the Athens Polytechnic, and in 1947, he moved to Paris (where he lived for the rest of his life). Trained as an architect, he worked on Le Corbusier's architectural team. The two collaborated on the design of the Philips pavilion for the Brussels Exposition of 1958. Xenakis often based his compositions, especially his early pieces, on architectural designs. In his compositional method, Xenakis used different mathematical principles to generate mass musical textures, including Gaussian Distribution, the Markov chain, game theory, and probability theory. The S.E.M. Ensemble is dedicated to the performance and advancement of new music, with a focus on works that can best be described as post-Cagean. Since its inception in 1970, SEM has collaborated with composers who also often perform with the group. They have included, among others, Earle Brown, John Cage, Alvin Lucier, Morton Feldman, Pauline Oliveros, Roscoe Mitchell, and a score of other younger composers. In 1992, the ensemble expanded into The Orchestra of the S.E.M. Ensemble with a debut concert in Carnegie Hall, ?Tribute to John Cage,? premiering the complete Atlas Eclipticalis with an 86-piece orchestra, Petr Kotik conducting, David Tudor at the piano. Since then, the SEM Orchestra has toured Europe five times and performed in Japan. SEM holds a yearly series of concerts in New York at the Paula Cooper Gallery and other venues such as Merkin Concert Hall, Alice Tully Hall at Lincoln Center, Carnegie Hall, Zankel Hall at Carnegie Hall, Tonic and the World Financial Center. For more information on: S.E.M. Ensemble: www.semensemble.org Princeton Architectural Press: www.papress.com Chris Villars: www.cnvill.demon.co.uk/index.htm Hyphen Press: www.hyphenpress.co.uk ################ This performance is supported by the New York State Council on the Arts, the New York City Department of Cultural Affairs, Mary Flagler Cary Charitable Trust, The Aaron Copland Fund for Music, the Phaedrus Foundation, and private donations. Special thanks to the Brooklyn Borough President, Marty Markowitz, for his support. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060421/55856a5c/attachment.html From paul.e.beaudoin@comcast.net Sat Apr 22 12:20:04 2006 From: paul.e.beaudoin@comcast.net (Paul Beaudoin) Date: Sat, 22 Apr 2006 12:20:04 -0400 Subject: [silence] charts for MOC In-Reply-To: Message-ID: <000701c66628$9db66860$6401a8c0@Beaudoin> Hi all: I'm certain someone here will know better than I as to where the charts are but my understanding was that they were in the possession of David Tudor. When Tudor passed, his materials went to the Getty Museum. There are some charts displayed at the Getty website, but some are also available in James Pritchett's excellent "The Music of John Cage" and in David Bernstein's excellent essay that appears in "The Cambridge Companion to John Cage" (edited by David Nicholls). It's a start - if you have started yet. Best, Paul Beaudoin, PhD Composer/Theorist Boston, MA From zacharygrangermoldof@gmail.com Sun Apr 23 00:36:35 2006 From: zacharygrangermoldof@gmail.com (zachary moldof) Date: Sun, 23 Apr 2006 00:36:35 -0400 Subject: [silence] Charts for Music of Changes Message-ID: <310764020604222136o36eb2cefr2d893ee53082819d@mail.gmail.com> If you are referring tot he charts from the I-ching (the sixty four hexagrams) then you need only consult a copy of the I-ching. If you are referring to Cage's actual charts derived from the I-ching then I do not know. Zachary. -- The Earth is big, but the Earth is bigger, thus we can only hope to expand at a relative rate. From shank.46@osu.edu Thu Apr 27 11:38:04 2006 From: shank.46@osu.edu (Barry Shank) Date: Thu, 27 Apr 2006 11:38:04 -0400 Subject: [silence] La Monte Young Message-ID: <4450E55C.8060505@osu.edu> An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060427/9240eeab/attachment.html From tsusam@chello.nl Thu Apr 27 11:52:13 2006 From: tsusam@chello.nl (Taylan Susam) Date: Thu, 27 Apr 2006 17:52:13 +0200 Subject: [silence] La Monte Young In-Reply-To: <4450E55C.8060505@osu.edu> References: <4450E55C.8060505@osu.edu> Message-ID: <4450E8AD.70903@chello.nl> Barry Shank schreef: > But could someone please tell me how to pronounce La Monte Young's name? It is pronounced [la'mont]. To the best of my knowledge, Lamont is the name of an ancient Scottish clan, I remember reading somewhere that it is derived from Old Norse "logmadr", meaning something similar to "law man". Probably more than you wanted to know :-) Best, Taylan Susam. From shank.46@osu.edu Thu Apr 27 12:03:50 2006 From: shank.46@osu.edu (Barry Shank) Date: Thu, 27 Apr 2006 12:03:50 -0400 Subject: [silence] La Monte Young In-Reply-To: <4450E8AD.70903@chello.nl> References: <4450E55C.8060505@osu.edu> <4450E8AD.70903@chello.nl> Message-ID: <4450EB66.6000302@osu.edu> An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20060427/c63fd2f6/attachment.html From djwolf@snafu.de Thu Apr 27 14:21:13 2006 From: djwolf@snafu.de (Daniel Wolf) Date: Thu, 27 Apr 2006 20:21:13 +0200 Subject: [silence] La Monte Young In-Reply-To: References: Message-ID: <44510B99.9040606@snafu.de> But could someone please tell me how to pronounce La Monte Young's name? > > It is pronounced [la'mont]. To the best of my knowledge, Lamont is the > name of an ancient Scottish clan, I remember reading somewhere that it > is derived from Old Norse "logmadr", meaning something similar to "law > man". Probably more than you wanted to know :-) > > Best, > > Taylan Susam. > > La Monte's parents would have been unaware of such a derivation. Several people have suggested that the name came from Lamont Cranston, radio's "The Shadow" ("Who knows what evil lurks in the hearts of men? The Shadow does."), which began broadcasting in 1931 as part of the Blue Coal Radio Review on CBS, moving to NBC in '32 and Mutual in '37. If this is the case, La Monte's parents probably only have learned of the name second-hand, as their Idaho log cabin did not have a radio. When I asked La Monte's parents, they couldn't remember where they heard it first, just that they had liked (and still liked) the name. As with many Mormon families of that era, they favored imaginative or unusual names (La Monte's sisters also have somewhat unusual names). Daniel Wolf From john@whitings-writings.com Thu Apr 27 17:16:07 2006 From: john@whitings-writings.com (John Whiting) Date: Thu, 27 Apr 2006 22:16:07 +0100 Subject: [silence] La Monte Young In-Reply-To: <4450E8AD.70903@chello.nl> References: <4450E55C.8060505@osu.edu> <4450E8AD.70903@chello.nl> Message-ID: <44513497.80909@whitings-writings.com> When I used to hang out with him and Terry Reily at Cal Berkeley in the early '60s, he pronounced it La-mont', with the accent on the second syllable. I never heard him speak Old Norse. :-) John Whiting Mary and I are just back from ten days spent haunting the fishpots of Palermo. Read all about it in Eating Up Sicily: http://www.whitings-writings.com/Travel/sicily.htm Taylan Susam wrote: > Barry Shank schreef: > > >>But could someone please tell me how to pronounce La Monte Young's name? > > > It is pronounced [la'mont]. To the best of my knowledge, Lamont is the > name of an ancient Scottish clan, I remember reading somewhere that it > is derived from Old Norse "logmadr", meaning something similar to "law > man". Probably more than you wanted to know :-) > > Best, > > Taylan Susam. > > > > -- > To join or leave the Silence mailing list, please go to https://list.mail.virginia.edu/mailman/listinfo/silence. > You can find searchable list archives at http://list.mail.virginia.edu/pipermail/silence/ > > From john@whitings-writings.com Thu Apr 27 17:24:36 2006 From: john@whitings-writings.com (John Whiting) Date: Thu, 27 Apr 2006 22:24:36 +0100 Subject: [silence] La Monte Young In-Reply-To: <44510B99.9040606@snafu.de> References: <44510B99.9040606@snafu.de> Message-ID: <44513694.1010506@whitings-writings.com> Daniel Wolf wrote: > ("Who knows what evil lurks in the hearts of men? The > Shadow does."), "The Shadow knows!" as I heard it for more years that I'd care to remember. John Whiting Mary and I are just back from ten days spent haunting the fishpots of Palermo. Read all about it in Eating Up Sicily: http://www.whitings-writings.com/Travel/sicily.htm From tsusam@chello.nl Thu Apr 27 17:26:15 2006 From: tsusam@chello.nl (Taylan Susam) Date: Thu, 27 Apr 2006 23:26:15 +0200 Subject: [silence] La Monte Young In-Reply-To: <44513497.80909@whitings-writings.com> References: <4450E55C.8060505@osu.edu> <4450E8AD.70903@chello.nl> <44513497.80909@whitings-writings.com> Message-ID: <445136F7.6010600@chello.nl> John Whiting wrote: > When I used to hang out with him and Terry Reily at Cal Berkeley in the early '60s, > he pronounced it La-mont', with the accent on the second syllable. I never heard him > speak Old Norse. :-) Perhaps you wouldn't be surprised though? :-)) My point was to explain what kind of name "La Monte" is, for that is really what Barry's question was about (seeing that Young's pronunciation is no different from the standard pronunciation...) Nice pictures by the way, the fish plates look delicious! Best, Taylan Susam From glennf@christinafong.com Sun Apr 30 10:45:35 2006 From: glennf@christinafong.com (Glenn Freeman) Date: Sun, 30 Apr 2006 10:45:35 -0400 Subject: [silence] Christina Fong Story Message-ID: If able to visit the below site today (Sunday) there is an extended story on Christina Fong. http://www.mlive.com/grpress Only about 10 factual errors, which is not bad for the Grand Rapids Press. The Press refused to let Christina proof the story for technical accuracy before publication. If unable to view today (Sunday), you can view the report in 3 parts below. http://www.mlive.com/news/grpress/index.ssf?/base/ news-0/114606630825890.xml&coll=6 http://www.mlive.com/news/grpress/index.ssf?base/ news-0/114606631125890.xml&coll=6 http://www.mlive.com/grgallery/galleries/gallery.ssf?cgi-bin/ view_gallery.cgi/mlive/view_gallery.ata?g_id=2885