[silence] Cage Reference Sought

[Kraig Grady]

The Music of Laos is a great example. I know in the book Music of the 
Whole Earth there is even a visual diagram of the melody movements in 
just this fashion.  Pardon, I do not have access to the book at the moment.
    The whole notion of 'nuclear melodies' is as wide spread  as Japan , 
China, Burma, Indonesia each with  different application , often more in 
a rhythmic context, but not always.   What we often attribute to the 
myth of western musical "evolution" is often a 'geographical widening' 
of a tribal perspective. Even the misinterpretation has lead to so 
called innovation. The very use of silence is a Japanese concept.


/^_,',',',_ //^ /Kraig Grady_ ^_,',',',_
Mesotonal Music from:
_'''''''_ ^North/Western Hemisphere:  
North American Embassy of Anaphoria Island <http://anaphoria.com/>

_'''''''_ ^South/Eastern Hemisphere:
Austronesian Outpost of Anaphoria <http://anaphoriasouth.blogspot.com/>

',',',',',',',',',',',',',',',',',',',',',',',',',',',',',




Rob Haskins wrote:
> Dear Kraig,
> I wonder if you could point me to some bibliography RE Southeast Asian 
> concepts of "unison of differences."
>
> Generally, Glenn, you might contact Andrew Culver, who was working 
> with Cage when these large pieces were composed and might have some 
> observations.
>
> Thanks,
> Rob
>  
>
> Rob Haskins
> Assistant Professor of Music
> University of New Hampshire
> rob_haskins@yahoo.com <mailto:rob_haskins@yahoo.com>
> http://robhaskins.net
> http://musicandmiscellaneous.blogspot.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
>
>
>
> ------------------------------------------------------------------------
> *From:* Kraig Grady <kraiggrady@anaphoria.com>
> *To:* Glenn Freeman <glenn@ogreogress.com>
> *Cc:* silence@list.mail.virginia.edu
> *Sent:* Wednesday, January 28, 2009 2:56:02 PM
> *Subject:* Re: [silence] Cage Reference Sought
>
> a 'union of differences' is a very South East Asian concept.
>
>
> /^_,',',',_ //^ /Kraig Grady_ ^_,',',',_
> Mesotonal Music from:
> _'''''''_ ^North/Western Hemisphere: 
> North American Embassy of Anaphoria Island <http://anaphoria.com/>
>
> _'''''''_ ^South/Eastern Hemisphere:
> Austronesian Outpost of Anaphoria <http://anaphoriasouth.blogspot.com/>
>
> ',',',',',',',',',',',',',',',',',',',',',',',',',',',',',
>
>
>
>
> Glenn Freeman wrote:
> > thanks caleb.
> >
> > so far it seems the only words cage himself wrote down (not including 
> > the written manuscripts) in regard to "eighty" was to describe what 
> > happens as "a unison of differences". is there anything else in regard 
> > to this work or eighty-three that cage himself wrote about?
> >
> > Caleb Deupree wrote:
> >
> > 
> >> In his last orchestral works, Cage continued in this vein -- a music 
> >> of minute variations -- by having all the players play the same 
> >> music.  In Eighty (1992) and Sixty-eight (1992) the parts for all 
> >> instruments are exactly the same: the same fifteen pitches in the 
> >> same fifteen time brackets.  The result is that, although the 
> >> performers all play the same "melody," each plays it with a slightly 
> >> different rhythm: this is what Cage called "a unison of differences."
> >>   
> >
> > Glenn Freeman
> > OgreOgress productions
> > http://ogreogress.com
> >
> > --
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> >
> > 
>
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