From marc.thorman@gmail.com Mon Nov 2 17:24:40 2009 From: marc.thorman@gmail.com (Marc Thorman) Date: Mon, 2 Nov 2009 18:24:40 -0400 Subject: [silence] Cage "Circus On" event, Electro-Acoustic Music Festival Message-ID: Dear Silencers, You are invited to attend the world premiere of "On The Road: A Kerouac Musicircus," a realization of John Cage's "Circus On" by Marc Thorman, at the 9th Annual International Electro-Acoustic Music Festival on November 12 at 7 PM, Brooklyn College, Levenson Hall. Videos of Cage will also be screened. For a description of the piece and to hear an excerpt: http://www.acousticlevitation.org/musicircus/html For the Festival site and directions: http://www.brooklyn.cuny.edu/bc/spotlite/news/031103.htm<%20http://www.brooklyn.cuny.edu/bc/spotlite/news/031103.htm> Hope to see you there! Marc Thorman Conservatory of Music Brooklyn College City University of New York -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091102/731e6654/attachment.html From kos@panix.com Mon Nov 2 17:45:53 2009 From: kos@panix.com (kos@panix.com) Date: Mon, 2 Nov 2009 17:45:53 -0500 (EST) Subject: [silence] new blog: John Cage Trust Message-ID: The opening entry of the blog of the John Cage Trust: http://johncagetrust.blogspot.com Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts, Music Division, The New York Public Library for the Performing Arts blog: http://www.nypl.org/blog/21 Listowner: OPERA-L ; SMT-TALK ; SMT-ANNOUNCE ; SoundForge-users --- My opinions do not necessarily represent those of my institutions --- From jzitt@metatronpress.com Tue Nov 3 12:44:18 2009 From: jzitt@metatronpress.com (Joseph Zitt) Date: Tue, 3 Nov 2009 12:44:18 -0500 Subject: [silence] new blog: John Cage Trust In-Reply-To: References: Message-ID: I'll be reading this avidly. It looks like the Trust has been doing some exciting things. On Mon, Nov 2, 2009 at 5:45 PM, wrote: > The opening entry of the blog of the John Cage Trust: > > http://johncagetrust.blogspot.com > > > Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts, > Music Division, The New York Public Library for the Performing Arts > blog: http://www.nypl.org/blog/21 > Listowner: OPERA-L ; SMT-TALK ; SMT-ANNOUNCE ; SoundForge-users > --- My opinions do not necessarily represent those of my institutions --- > > > -- > 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/ > -- Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091103/5e52d5e6/attachment.html From amount@umail.ucsb.edu Thu Nov 5 18:46:47 2009 From: amount@umail.ucsb.edu (Andre Mount) Date: Thu, 5 Nov 2009 15:46:47 -0800 Subject: [silence] Zappa's Cage concert? Message-ID: <3ae3d7260911051546h277f39cp7435c717bd3ef8b3@mail.gmail.com> Hello All, I'm a grad student at UC Santa Barbara, currently writing a dissertation looking at the music of Frank Zappa. I'm in the midst of a chapter on Zappa's interactions with John Cage (at least, his music and writing) and was wondering if I could trouble this list for some advice. I recently came across a 1989 interview (available here: http://www.afka.net/Articles/1989-10_Tmershi_Duween.htm) in which Zappa describes a Cage performance he attended: "Once upon a time, when I was an impressionable young composer, somebody gave me a John Cage record and I listened to it, and went ?What the f--- is this?? But since I didn?t know what the f--- anything was, I thought ?Maybe this is really good.? A short time after that, John Cage came to Claremont College and he was giving one of his ... he does these performances with a throat microphone. He?d put this thing on his throat and drink a quart of carrot juice, or read something to you while he was drinking the carrot juice. In a way, this ties in with my over-all feeling towards colleges. In this instance, there was a college audience watching John Cage drink the carrot juice and do these things, and they were pondering it like it had this large significance. It occurred to me that if he could do that, then certainly, SURELY there were other things equally ridiculous that a person such as myself could do in the music business. And so I decided that I would try, not necessarily to gargle with the carrot juice, but that I?d do other things that come awfully close." According to the John Cage Compendium (http://www.xs4all.nl/~cagecomp/), it seems like Zappa is probably referring to Cage's March 7, 1962 performance at Pomona College in Claremont, CA. He performed his *Where Are We Going? And What Are We Doing?* (Cage) and *Variations II* (with David Tudor). As far as I'm aware, neither of these piece involves throat microphones or carrot juice! Unfortunately, I'm not completely familiar with Cage's oeuvre. Does anyone know what piece's Zappa might be talking about? Any information/advice would be greatly appreciated. Thanks! --Andre -- Andre Mount University of California, Santa Barbara email: amount@umail.ucsb.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091105/6c12c638/attachment.html From fowlermd@hotmail.com Thu Nov 5 20:14:30 2009 From: fowlermd@hotmail.com (michael fowler) Date: Fri, 6 Nov 2009 01:14:30 +0000 Subject: [silence] Electronic Music for Piano Message-ID: Hi all, I am wondering if anybody has any information on Tudor's first performance of "Electronic Music for Piano." I know that the score was written September 2, and the first performance was on September 10 at Fylkingen Stockholm, 1964. I know that Schleiermacher recorded it in '98, but would be keen to know how Tudor (and I presume Cage) developed their version(s). cheers mdf _________________________________________________________________ Windows 7: Unclutter your desktop. http://go.microsoft.com/?linkid=9690331&ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_evergreen:112009 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091106/de3da696/attachment.html From dpmiller@world.std.com Thu Nov 5 20:38:12 2009 From: dpmiller@world.std.com (David P Miller) Date: Thu, 5 Nov 2009 20:38:12 -0500 Subject: [silence] Zappa's Cage concert? In-Reply-To: <3ae3d7260911051546h277f39cp7435c717bd3ef8b3@mail.gmail.com> References: <3ae3d7260911051546h277f39cp7435c717bd3ef8b3@mail.gmail.com> Message-ID: Hello, Andre - The one piece that comes right to mind, in terms of Cage using that kind of close amplification, is 0'0" (also known as 4'33" #2). The brief textual score doesn't specifically call for that kind of action, but does call for close miking of ordinary personal actions. Cage would sometimes perform this piece while writing, and drinking water or some other liquid for refreshment. I can't be sure that this is it, of course, but that would be a plausible candidate for something performed during the time period. As a side note, Zappa recorded 4'33" itself near the end of his life - it's on the tribute album "A Chance Operation." I don't know if this will help at all, but perhaps. Best wishes, David On Thu, 5 Nov 2009, Andre Mount wrote: > Hello All, > > I'm a grad student at UC Santa Barbara, currently writing a dissertation > looking at the music of Frank Zappa. I'm in the midst of a chapter on > Zappa's interactions with John Cage (at least, his music and writing) and > was wondering if I could trouble this list for some advice. > > I recently came across a 1989 interview (available here: > http://www.afka.net/Articles/1989-10_Tmershi_Duween.htm) in which Zappa > describes a Cage performance he attended: > > "Once upon a time, when I was an impressionable young composer, somebody > gave me a John Cage record and I listened to it, and went ?What the f--- is > this?? But since I didn?t know what the f--- anything was, I thought ?Maybe > this is really good.? A short time after that, John Cage came to Claremont > College and he was giving one of his ... he does these performances with a > throat microphone. He?d put this thing on his throat and drink a quart of > carrot juice, or read something to you while he was drinking the carrot > juice. In a way, this ties in with my over-all feeling towards colleges. In > this instance, there was a college audience watching John Cage drink the > carrot juice and do these things, and they were pondering it like it had > this large significance. It occurred to me that if he could do that, then > certainly, SURELY there were other things equally ridiculous that a person > such as myself could do in the music business. And so I decided that I would > try, not necessarily to gargle with the carrot juice, but that I?d do other > things that come awfully close." > > According to the John Cage Compendium (http://www.xs4all.nl/~cagecomp/), it > seems like Zappa is probably referring to Cage's March 7, 1962 performance > at Pomona College in Claremont, CA. He performed his *Where Are We Going? > And What Are We Doing?* (Cage) and *Variations II* (with David Tudor). > > As far as I'm aware, neither of these piece involves throat microphones or > carrot juice! Unfortunately, I'm not completely familiar with Cage's > oeuvre. Does anyone know what piece's Zappa might be talking about? Any > information/advice would be greatly appreciated. > > Thanks! > > --Andre > -- > Andre Mount > University of California, Santa Barbara > email: amount@umail.ucsb.edu > From apc@bendofbay.org Thu Nov 5 21:58:50 2009 From: apc@bendofbay.org (A. P. Crumlish) Date: Thu, 5 Nov 2009 21:58:50 -0500 Subject: [silence] Zappa's Cage concert? In-Reply-To: References: <3ae3d7260911051546h277f39cp7435c717bd3ef8b3@mail.gmail.com> Message-ID: Zappa also appears on a recent film bio of Cage, The Revenge of Dead Indians, which was released as a mode records dvd. Zappa is one of the artists commenting on Cage's contribution. Off topic, but the Zappa reference brought to mind an absolutely wonderful performance of The Wonderful Widow of Eighteen Springs by Joey Ramone. It's on a "cage/uncaged," a tribute album that came out shortly after Cage's death. My copy seems to be missing, but the rendition has stayed with me. On Thu, Nov 5, 2009 at 8:38 PM, David P Miller wrote: > Hello, Andre - > > The one piece that comes right to mind, in terms of Cage using that kind of > close amplification, is 0'0" (also known as 4'33" #2). The brief textual > score doesn't specifically call for that kind of action, but does call for > close miking of ordinary personal actions. Cage would sometimes perform this > piece while writing, and drinking water or some other liquid for > refreshment. I can't be sure that this is it, of course, but that would be a > plausible candidate for something performed during the time period. > > As a side note, Zappa recorded 4'33" itself near the end of his life - it's > on the tribute album "A Chance Operation." > > I don't know if this will help at all, but perhaps. > > Best wishes, > > David > > > On Thu, 5 Nov 2009, Andre Mount wrote: > > Hello All, >> >> I'm a grad student at UC Santa Barbara, currently writing a dissertation >> looking at the music of Frank Zappa. I'm in the midst of a chapter on >> Zappa's interactions with John Cage (at least, his music and writing) and >> was wondering if I could trouble this list for some advice. >> >> I recently came across a 1989 interview (available here: >> http://www.afka.net/Articles/1989-10_Tmershi_Duween.htm) in which Zappa >> describes a Cage performance he attended: >> >> "Once upon a time, when I was an impressionable young composer, somebody >> gave me a John Cage record and I listened to it, and went ?What the f--- >> is >> this?? But since I didn?t know what the f--- anything was, I thought >> ?Maybe >> this is really good.? A short time after that, John Cage came to Claremont >> College and he was giving one of his ... he does these performances with a >> throat microphone. He?d put this thing on his throat and drink a quart of >> carrot juice, or read something to you while he was drinking the carrot >> juice. In a way, this ties in with my over-all feeling towards colleges. >> In >> this instance, there was a college audience watching John Cage drink the >> carrot juice and do these things, and they were pondering it like it had >> this large significance. It occurred to me that if he could do that, then >> certainly, SURELY there were other things equally ridiculous that a person >> such as myself could do in the music business. And so I decided that I >> would >> try, not necessarily to gargle with the carrot juice, but that I?d do >> other >> things that come awfully close." >> >> According to the John Cage Compendium (http://www.xs4all.nl/~cagecomp/), >> it >> seems like Zappa is probably referring to Cage's March 7, 1962 performance >> at Pomona College in Claremont, CA. He performed his *Where Are We Going? >> And What Are We Doing?* (Cage) and *Variations II* (with David Tudor). >> >> As far as I'm aware, neither of these piece involves throat microphones or >> carrot juice! Unfortunately, I'm not completely familiar with Cage's >> oeuvre. Does anyone know what piece's Zappa might be talking about? Any >> information/advice would be greatly appreciated. >> >> Thanks! >> >> --Andre >> -- >> Andre Mount >> University of California, Santa Barbara >> email: amount@umail.ucsb.edu >> > > > -- > 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/20091105/3171fb10/attachment-0001.html From malty1@gmail.com Fri Nov 6 12:53:02 2009 From: malty1@gmail.com (Malty) Date: Fri, 06 Nov 2009 11:53:02 -0600 Subject: [silence] Cage "KNOBS" Premiere, November 18th, Southern Illinois University at Carbondale Message-ID: <4AF4627E.5010003@gmail.com> Silence readers-- You are invited to the world premiere of Cage's "KNOBS", this November 18th, at Southern Illinois University's Student Center Auditorium. "KNOBS" begins at 6 p.m., there is no cost for admission. The performance will be part of the three-day "All Together Now" inter-arts festival, ending on the 20th. --DaveX http://www.siucstudentcenter.org/events.php http://www.siucstudentcenter.org/about_maps.html#SecondSouth From marc.thorman@gmail.com Fri Nov 6 22:40:23 2009 From: marc.thorman@gmail.com (Marc Thorman) Date: Fri, 6 Nov 2009 23:40:23 -0400 Subject: [silence] Cage "Circus On" Premiere in NYC Message-ID: Hello Silencers, You are invited to attend the world premiere of my realization of Cage's "Circus On," "Kerouac, A Beat MusiCirus *On The Road*" Thursday, November 12, at 7:00 PM The 35-minute performance is the centerpiece of "An Evening With Cage," the opening night concert of the 20th Bi-Annual Electro-Acoustic Music Festival at Brooklyn College. Marc Thorman For further information about the festival, and directions: http://146.245.216.120/ To preview a stereo version of Part I of the Kerouac Musicircus: http://acousticlevitation.org/musicircus.html -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091106/2a65b741/attachment.html From lauralovatel@gmail.com Sat Nov 7 10:33:19 2009 From: lauralovatel@gmail.com (Laura Lovatel) Date: Sat, 7 Nov 2009 16:33:19 +0100 Subject: [silence] experience 4'33'' Message-ID: Hi all, I'm a student working in my graduation thesis, that focused on John Cage's silent piece. I would like to collect impressions, sensations and ideas regarding the experience of 4'33''. I would be very glad if you could send me a few words concerning your experience and if you could specifie the date and the occasion in which you participated. I send you my best regards, Yours sincerly Laura Lovatel -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091107/040abb9c/attachment.html From 082027062@fudan.edu.cn Sat Nov 7 10:41:39 2009 From: 082027062@fudan.edu.cn (=?gb2312?B?Ire9y7zUvSI=?=) Date: Sat, 07 Nov 2009 23:41:39 +0800 Subject: [silence] Melody Fang Message-ID: Hi all, I'm a Chinese student studying the US copyright law. And I have come across a question about John Cage's silent piece. I would be very glad if you could send me a few words concerning your thinking of the issue and give me some suggestions.thank you very much! following is the question. In 1952 the famous composer John Cage performed his piece Silent Piano 4?33? in which a pianist walks onto stage, sits at a piano and plays nothing for four minutes and thirty three seconds. The title of the piece was listed on the printed program of the concert, but Cage never wrote down the (blank) musical score or any stage instructions for his composition, his concert was not recorded and Cage never personally performed this piec e again. However, the next day a music critic wrote a very short description of Cage?s performance in his newspaper article about the concert. John Cage died about ten years ago. His daughter now owns his copyrights. In 1960 the American pianist Liberace recorded a CD album of John Cage?s piano works. The album included a track titled Tribute to John Cage?s Silent Piano, which included sounds of Liberace walking and moving a piano bench, followed by about fifteen seconds of silence. Liberace latter assigned all of his copyrights to a charitable foundation. Your client, Molly M. is a music student. In 2005 Molly saw another student perform Silent Piano 4?33? at a live piano concert and was inspired to make a ring tone for her mobile telephone. Her ring tone is the sound of running footsteps followed by noise of a person moving around in a chair and then about fifteen seconds of silence. Molly recorded her own footsteps and chair noise at home to make her ring tone. Friends have accomplished Mo lly about her ring tone and she thinks that she would like to offer it for sale so other people can download it onto their own telephones. She plans to give the ring tone the title ?Tribute to John Cage?s Silent Piano? Question-advise Molly whether she will need a license from John Cage?s daughter and/or from Liberace?s charitable foundation in order to sell her ring tone. I send you my best regards, Yours sincerly Melody?how about giving happiness to the others? Melody, why not try your utmost to understand and respect the others? Melody Fang P Please, print this email ONLY if necessary... Save the trees -------------- next part -------------- A non-text attachment was scrubbed... Name: 082027062.vcf Type: text/x-vcard Size: 251 bytes Desc: Card for =?gb2312?B?Ire9y7zUvSI=?= <082027062@fudan.edu.cn> Url : http://list.mail.virginia.edu/pipermail/silence/attachments/20091107/4048797d/attachment.vcf From john@sfnm.com Sat Nov 7 12:40:51 2009 From: john@sfnm.com (John Kennedy) Date: Sat, 7 Nov 2009 10:40:51 -0700 Subject: [silence] 4'33" In-Reply-To: References: Message-ID: <9025913F-A93F-4B0F-A1DE-DB1D7CFBFF61@sfnm.com> To those interested in the silent piece, you will want to check out Kyle Gann's book "No Such Thing as Silence: John Cage's 4'33" ", forthcoming in March, 2010, from Yale University Press. On Nov 7, 2009, at 10:04 AM, silence-request@list.mail.virginia.edu wrote: > Send silence mailing list submissions to > silence@list.mail.virginia.edu > > To subscribe or unsubscribe via the World Wide Web, visit > https://list.mail.virginia.edu/mailman/listinfo/silence > or, via email, send a message with subject or body 'help' to > silence-request@list.mail.virginia.edu > > You can reach the person managing the list at > silence-owner@list.mail.virginia.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of silence digest..." > > > Today's Topics: > > 1. Cage "KNOBS" Premiere, November 18th, Southern Illinois > University at Carbondale (Malty) > 2. Cage "Circus On" Premiere in NYC (Marc Thorman) > 3. experience 4'33'' (Laura Lovatel) > 4. Melody Fang (???) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Fri, 06 Nov 2009 11:53:02 -0600 > From: Malty > Subject: [silence] Cage "KNOBS" Premiere, November 18th, Southern > Illinois University at Carbondale > To: Silence > Message-ID: <4AF4627E.5010003@gmail.com> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > Silence readers-- > > You are invited to the world premiere of Cage's "KNOBS", this November > 18th, at Southern Illinois University's Student Center Auditorium. > "KNOBS" begins at 6 p.m., there is no cost for admission. > > The performance will be part of the three-day "All Together Now" > inter-arts festival, ending on the 20th. > > --DaveX > > http://www.siucstudentcenter.org/events.php > http://www.siucstudentcenter.org/about_maps.html#SecondSouth > > > ------------------------------ > > Message: 2 > Date: Fri, 6 Nov 2009 23:40:23 -0400 > From: Marc Thorman > Subject: [silence] Cage "Circus On" Premiere in NYC > To: silence@list.mail.virginia.edu > Cc: gbrunner@brooklyn.cuny.edu > Message-ID: > > Content-Type: text/plain; charset="iso-8859-1" > > Hello Silencers, > > You are invited to attend the world premiere of my realization of > Cage's > "Circus On," > > "Kerouac, A Beat MusiCirus *On The Road*" > > Thursday, November 12, at 7:00 PM > > The 35-minute performance is the centerpiece of "An Evening With > Cage," the > opening night concert of the 20th Bi-Annual Electro-Acoustic Music > Festival > at Brooklyn College. > > Marc Thorman > > > For further information about the festival, and directions: > > http://146.245.216.120/ > > To preview a stereo version of Part I of the Kerouac Musicircus: > http://acousticlevitation.org/musicircus.html > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091106/2a65b741/attachment-0001.html > > ------------------------------ > > Message: 3 > Date: Sat, 7 Nov 2009 16:33:19 +0100 > From: Laura Lovatel > Subject: [silence] experience 4'33'' > To: silence@list.mail.virginia.edu > Message-ID: > > Content-Type: text/plain; charset="iso-8859-1" > > Hi all, > > I'm a student working in my graduation thesis, that focused on John > Cage's > silent piece. > I would like to collect impressions, sensations and ideas regarding > the > experience of 4'33''. > I would be very glad if you could send me a few words concerning your > experience and if you could specifie the date and the occasion in > which you > participated. > > > I send you my best regards, > Yours sincerly > > Laura Lovatel > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091107/040abb9c/attachment-0001.html > > ------------------------------ > > Message: 4 > Date: Sat, 07 Nov 2009 23:41:39 +0800 > From: "???" <082027062@fudan.edu.cn> > Subject: [silence] Melody Fang > To: silence@list.mail.virginia.edu > Message-ID: > Content-Type: text/plain; charset="utf-8" > > Hi all, > I'm a Chinese student studying the US copyright law. And I > have come across a question about John Cage's silent piece. > I would be very glad if you could send me a few words > concerning your thinking of the issue and give me some > suggestions.thank you very much! > following is the question. > > In 1952 the famous composer John Cage performed his piece > Silent Piano 4?33? in which a pianist walks onto stage, sits at a > piano and plays nothing for four minutes and thirty three seconds. > The title of the piece was listed on the printed program of the > concert, but Cage never wrote down the (blank) musical score or any > stage instructions for his composition, his concert was not recorded > and Cage never personally performed this piec > e again. However, the next day a music critic wrote a very short > description of Cage?s performance in his newspaper article about the > concert. John Cage died about ten years ago. His daughter now owns > his copyrights. > In 1960 the American pianist Liberace recorded a CD album of John > Cage?s piano works. The album included a track titled Tribute to > John Cage?s Silent Piano, which included sounds of Liberace walking > and moving a piano bench, followed by about fifteen seconds of > silence. Liberace latter assigned all of his copyrights to a > charitable foundation. > Your client, Molly M. is a music student. In 2005 Molly saw another > student perform Silent Piano 4?33? at a live piano concert and was > inspired to make a ring tone for her mobile telephone. Her ring tone > is the sound of running footsteps followed by noise of a person > moving around in a chair and then about fifteen seconds of silence. > Molly recorded her own footsteps and chair noise at home to make her > ring tone. Friends have accomplished Mo > lly about her ring tone and she thinks that she would like to offer > it for sale so other people can download it onto their own > telephones. She plans to give the ring tone the title ?Tribute to > John Cage?s Silent Piano? > > Question-advise Molly whether she will need a license from John Cage? > s daughter and/or from Liberace?s charitable foundation in order to > sell her ring tone. > > > I send you my best regards, > Yours sincerly > > > > Melody?how about giving happiness to the others? > Melody, why not try your utmost to understand and respect the others? > Melody Fang > > > P Please, print this email ONLY if necessary... Save the trees > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: 082027062.vcf > Type: text/x-vcard > Size: 251 bytes > Desc: Card for =?gb2312?B?Ire9y7zUvSI=?= > <082027062@fudan.edu.cn> > Url : http://list.mail.virginia.edu/pipermail/silence/attachments/20091107/4048797d/attachment-0001.vcf > > End of silence Digest, Vol 90, Issue 4 > ************************************** From jzitt@metatronpress.com Sat Nov 7 16:23:45 2009 From: jzitt@metatronpress.com (Joseph Zitt) Date: Sat, 7 Nov 2009 16:23:45 -0500 Subject: [silence] Melody Fang In-Reply-To: References: Message-ID: Well, the supposed background to the question contains so many errors that it would be difficult to consider as a serious academic question. Among them: - The score to 4'33" was indeed written down several times in several different ways. - To the best of my knowledge, Cage did not have a daughter. - I believe the copyright is held by the John Cage Trust. - Cage died about 17 years ago, not 10. - To the best of my knowledge, Liberace never recorded Cage works. I would be curious as to how you came to the information that you included. 2009/11/7 "???" <082027062@fudan.edu.cn> > Hi all, > I'm a Chinese student studying the US copyright law. And I have come > across a question about John Cage's silent piece. > I would be very glad if you could send me a few words concerning your > thinking of the issue and give me some suggestions.thank you very much! > following is the question. > > In 1952 the famous composer John Cage performed his piece Silent > Piano 4?33? in which a pianist walks onto stage, sits at a piano and plays > nothing for four minutes and thirty three seconds. The title of the piece > was listed on the printed program of the concert, but Cage never wrote down > the (blank) musical score or any stage instructions for his composition, his > concert was not recorded and Cage never personally performed this piec > e again. However, the next day a music critic wrote a very short > description of Cage?s performance in his newspaper article about the > concert. John Cage died about ten years ago. His daughter now owns his > copyrights. > In 1960 the American pianist Liberace recorded a CD album of John Cage?s > piano works. The album included a track titled Tribute to John Cage?s Silent > Piano, which included sounds of Liberace walking and moving a piano bench, > followed by about fifteen seconds of silence. Liberace latter assigned all > of his copyrights to a charitable foundation. > Your client, Molly M. is a music student. In 2005 Molly saw another student > perform Silent Piano 4?33? at a live piano concert and was inspired to make > a ring tone for her mobile telephone. Her ring tone is the sound of running > footsteps followed by noise of a person moving around in a chair and then > about fifteen seconds of silence. Molly recorded her own footsteps and chair > noise at home to make her ring tone. Friends have accomplished Mo > lly about her ring tone and she thinks that she would like to offer it for > sale so other people can download it onto their own telephones. She plans to > give the ring tone the title ?Tribute to John Cage?s Silent Piano? > > Question-advise Molly whether she will need a license from John Cage?s > daughter and/or from Liberace?s charitable foundation in order to sell her > ring tone. > > > I send you my best regards, > Yours sincerly > > > > Melody?how about giving happiness to the others? > Melody, why not try your utmost to understand and respect the others? > Melody Fang > > > P Please, print this email ONLY if necessary... Save the trees > > > -- > 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/ > -- Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091107/3f2bf685/attachment.html From vitor.rua@netcabo.pt Sat Nov 7 17:10:39 2009 From: vitor.rua@netcabo.pt (Vitor Rua) Date: Sat, 7 Nov 2009 22:10:39 +0000 Subject: [silence] silence Message-ID: hello: i am a portuguese composer and i am doing my thesis on "Silence". there is little information about this subject and what existes is very fragile sometimes. i need (to use with quotation: the name of the author) definitions of silence. so i need this answer: "What is silence for you?"... i have already answers from musicians like john tilbury, eddie prev?st, elliott sharp, chris cutler, gerry hemingway, giancarlo schiaffini... but i want more to explore and to analyse... i have also of course my oppinion on that subject... if someone have or think can give me your oppinion of "what is silence" i appreciate. Note: i will use OF COURSE with the name of the person who send me the answer... and i will use only the ones that interested me.can be only one phrase answer or more long. or even if anybody can give me some bibliography about the subject. THANK YOU. V?TOR RUA From louieg@wfu.edu Sat Nov 7 17:35:08 2009 From: louieg@wfu.edu (Louis Goldstein) Date: Sat, 07 Nov 2009 17:35:08 -0500 Subject: [silence] silence In-Reply-To: References: Message-ID: <4AF5F61C.9080308@wfu.edu> Vitor, Can you share the definitions you already have, from the musicians you mentioned? Louie On 11/7/2009 5:10 PM, Vitor Rua wrote: > hello: i am a portuguese composer and i am doing my thesis on > "Silence". there is little information about this subject and what > existes is very fragile sometimes. i need (to use with quotation: the > name of the author) definitions of silence. so i need this answer: > "What is silence for you?"... i have already answers from musicians > like john tilbury, eddie prev?st, elliott sharp, chris cutler, gerry > hemingway, giancarlo schiaffini... but i want more to explore and to > analyse... i have also of course my oppinion on that subject... if > someone have or think can give me your oppinion of "what is silence" > i appreciate. > Note: i will use OF COURSE with the name of the person who send me > the answer... and i will use only the ones that interested me.can be > only one phrase answer or more long. or even if anybody can give me > some bibliography about the subject. THANK YOU. V?TOR RUA > > -- > 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/20091107/b899c237/attachment.html From rod@stasick.org Sat Nov 7 17:43:48 2009 From: rod@stasick.org (Rod Stasick) Date: Sat, 7 Nov 2009 16:43:48 -0600 Subject: [silence] silence In-Reply-To: References: Message-ID: <91E3E8A7-31A7-4A6F-9768-1633480431C2@stasick.org> Silence is what your ear hears when you're not listening. ??? ----- Ketchup is excellent for cleaning brass, especially tarnished or corroded brass. From firatergene@hotmail.com Sun Nov 8 03:40:26 2009 From: firatergene@hotmail.com (firat ergene) Date: Sun, 8 Nov 2009 08:40:26 +0000 Subject: [silence] silence In-Reply-To: References: Message-ID: There are some guitar craft aphorisms about silence, most of them frequently used by robert fripp. These are the ones I know: Silence is not silent.Silence is a bridge between worlds. Music is silence, singing. Music is the architecture of silence. Silence is an invisible glue. Quiet is the absence of sound, silence the presence of silence. Silence is the field of creative musical intelligence that dwells in the space between notes, and holds them in place. Silence is a distant echo of the approach of the Muse. > To: silence@list.mail.virginia.edu > From: vitor.rua@netcabo.pt > Date: Sat, 7 Nov 2009 22:10:39 +0000 > Subject: [silence] silence > > hello: i am a portuguese composer and i am doing my thesis on > "Silence". there is little information about this subject and what > existes is very fragile sometimes. i need (to use with quotation: the > name of the author) definitions of silence. so i need this answer: > "What is silence for you?"... i have already answers from musicians > like john tilbury, eddie prev?st, elliott sharp, chris cutler, gerry > hemingway, giancarlo schiaffini... but i want more to explore and to > analyse... i have also of course my oppinion on that subject... if > someone have or think can give me your oppinion of "what is silence" > i appreciate. > Note: i will use OF COURSE with the name of the person who send me > the answer... and i will use only the ones that interested me.can be > only one phrase answer or more long. or even if anybody can give me > some bibliography about the subject. THANK YOU. V?TOR RUA > > -- > 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/ _________________________________________________________________ Bing brings you maps, menus, and reviews organized in one place. http://www.bing.com/search?q=restaurants&form=MFESRP&publ=WLHMTAG&crea=TEXT_MFESRP_Local_MapsMenu_Resturants_1x1 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091108/0bedd6a2/attachment.html From lichtconlon@t-online.de Sun Nov 8 04:13:39 2009 From: lichtconlon@t-online.de (Ralph Lichtensteiger) Date: Sun, 8 Nov 2009 10:13:39 +0100 Subject: [silence] silence Message-ID: silence "As the truest society approaches always nearer to solitude, so the most excellent speech finally falls into Silence. Silence is audible to all men, at all times, and in all places. She is when we hear inwardly, sound when we hear outwardly. Creation has not displaced her, but is her visible framework and foil. All sounds are her servants, and purveyors, proclaiming not only that their mistress is, but is a rare mistress, and earnestly to be sought after. They are so far akin to Silence that they are but bubbles on her surface (...)." ? Henry D. Thoreau, A Week on the Concord and Merrimack Rivers, The Portable Thoreau, p. 225 Best, Ralph Lichtensteiger http://www.lichtensteiger.de http://www.onclickberlin.com http://twitter.com/lichtconlon -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091108/d9de45c4/attachment.html From tyamamot@kt.rim.or.jp Sun Nov 8 06:18:37 2009 From: tyamamot@kt.rim.or.jp (Taro Yamamoto) Date: Sun, 8 Nov 2009 20:18:37 +0900 Subject: [silence] silence In-Reply-To: References: Message-ID: <000901ca6065$3791dcf0$a6b596d0$@rim.or.jp> Silence: 1.a. The fact of abstaining or forbearing from speech or utterance (sometimes with reference to a particular matter) . . . . (from: Oxford English Dictionary 2nd Edition) I feel this simple definition in the dictionary very profound today. Taro Yamamoto -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091108/4e13ea60/attachment.html From stefanodoug76@gmail.com Sun Nov 8 07:59:50 2009 From: stefanodoug76@gmail.com (Stefano Pocci) Date: Sun, 08 Nov 2009 13:59:50 +0100 Subject: [silence] silence In-Reply-To: References: Message-ID: <4AF6C0C6.1080405@gmail.com> "Silence is lack of intentions", that's how Cage described it... if I'm not mistaken. Thanks to Vitor for making all these quotes shared among us. -- Stefano Meister Duchamp or living on water to reach the iMpossibility in thE presence of two lIke objectS To makE the memoRy imprint follow your principlEs and keep straight on you will Come to the right place Keep emptiness in view not wondering am I rigHt or am I doing something wrong thAt is the way to foRge ahead wiThout a qualm (John Cage - April 1991) From mode@moderecords.com Sun Nov 8 08:20:51 2009 From: mode@moderecords.com (Brian Brandt) Date: Sun, 08 Nov 2009 08:20:51 -0500 Subject: [silence] Cage's "Concert for Piano and Orchestra" with "Aria" at Mode Benefit in NYC - Nov.21 In-Reply-To: <000901ca6065$3791dcf0$a6b596d0$@rim.or.jp> References: <000901ca6065$3791dcf0$a6b596d0$@rim.or.jp> Message-ID: <4AF6C5B3.40505@moderecords.com> The readers of the Silence list may be interested in the upcoming *"MARATHON CONCERT TO BENEFIT MODE RECORDS"* in New York City on November 21 at the Abrons Arts Center, 466 Grand St. NYC. It will feature Cage solo sets by Stephen Drury and Margaret Leng Tan as well as ending with a rare performance of the "Concert for Piano and Orchestra" simultaneously with Isabelle Ganz's performance of "Aria". The "Concert" will have almost full instrumentation, Drury will be the piano soloist, the orchestra comprised of musicians from the evening will be conducted by jazz percussionist Andrea Centazzo. After 25 years, in part dedicated to the Complete Cage Edition (now over 40 volumes), Mode has suffered from the double whammy from a floundering CD business combined with a poor global economy, necessitating this Benefit. We hope that some of you can join us for an evening of music from an incredible, eclectic group of musicians. The program is divided into an Early and Late show, all hosted by WNYC's David Garland. *EARLY SHOW 6 pm Philip Glass *performs his solo piano works *John Zorn's "Cobra"* Sylvie Courvoiser-piano Annie Gosfield-keyboard Ikue Mori-electronics Eyal Maoz and David Watson-guitars Zeena Parkins-harp Okkyung Lee and Fred Sherry-cellos Shanir Blumenkranz-bass Cyro Baptista-percussion Kenny Wollesen-drums John Zorn-prompter* **LATE SHOW 7:30 pm *(approx. 4 hours of music) including performances by: Robert Ashley David Behrman Marco Cappelli Andrea Centazzo Andrew Culver Tom Chiu Stephen Drury Isabelle Ganz Joe Giardullo John Heward JACK Quartet Margaret Leng Tan Joe McPhee Respect Sextet Roger Reynolds plus a rare performance of: John Cage's "Concert for Piano and Orchestra"with "Aria" Isabelle Ganz, voice, Stephen Drury, piano soloist with an orchestra comprised of performers from the evening conducted by Andrea Centazzo *Music will include* Cage, Crumb, Glass, Scelsi, Sciarrino, Stockhausen, Sun Ra, Twining, Xenakis, Zorn and more. *Tickets* Early & Late Shows $50 Late Show only $30 Benefactor's Balcony (with special bonuses) $125 Advance tickets available from Mode Records: 212-979-1027 or mode@moderecords.com and the Abrons Arts Center www.abronsartscenter.org or at the box office the day of the performance Updates on the event will be posted on the Benefit webpage: http://www.moderecords.com/benefit.html Many thanks for your support, Brian Brandt -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091108/9f270782/attachment.html From loco.nordin@mbox200.swipnet.se Sun Nov 8 10:53:49 2009 From: loco.nordin@mbox200.swipnet.se (Ingvar Loco Nordin) Date: Sun, 8 Nov 2009 16:53:49 +0100 Subject: [silence] silence In-Reply-To: References: Message-ID: <31FE388F-07F4-4C63-A865-7A78E0D06B20@mbox200.swipnet.se> 7 nov 2009 kl. 23.10 skrev Vitor Rua: > hello: i am a portuguese composer and i am doing my thesis on > "Silence". there is little information about this subject and what > existes is very fragile sometimes. i need (to use with quotation: the > name of the author) definitions of silence. so i need this answer: > "What is silence for you?"... i have already answers from musicians > like john tilbury, eddie prev?st, elliott sharp, chris cutler, gerry > hemingway, giancarlo schiaffini... but i want more to explore and to > analyse... i have also of course my oppinion on that subject... if > someone have or think can give me your oppinion of "what is silence" > i appreciate. > Note: i will use OF COURSE with the name of the person who send me > the answer... and i will use only the ones that interested me.can be > only one phrase answer or more long. or even if anybody can give me > some bibliography about the subject. THANK YOU. V?TOR RUA > > -- > 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/ ---------------------------------------------- Time is a place. Matter is a journey. Man, animals, plants and minerals are the Universe's way of approaching itself. From glenn@ogreogress.com Sun Nov 8 12:52:05 2009 From: glenn@ogreogress.com (Glenn Freeman) Date: Sun, 8 Nov 2009 12:52:05 -0500 Subject: [silence] Mode Benefit in NYC In-Reply-To: References: Message-ID: <57D1EC8D-D1C3-4FD9-AE4E-F6EF241FF787@ogreogress.com> Similar to a government bailout, albeit a much better solution! Those who've done things more responsibly these past 10-15 years never get any bailouts, Aaron Copland grants, mass distribution agreements or Gramophone reviews. Am not criticizing the event itself, or MODE ... just observing the whole phenomena, quite similar to the bailouts, from the perspective of this rather ordinary, simple, non- corporate, non-NYC-based record label. Our culture helps monsters remain monsters and monsters generally only help other monsters. There are lots of similarities between the dying physical record distribution system, big record labels and the Wall Street/Banking Industry/Auto Industry bailouts. All destroyed their respective industries in similar fashions and now cling to survival in similar ways. Glass and Zorn bailing out MODE ... its a funny thought indeed. This aside, I hope the event raises a lot of funds. MODE is a very important label and its current monster status was not sought but rather an issue of geography and timing, just as our current situation is an issue of geography and timing. The land of monsters remains in NYC. OgreOgress has yet to have a single of our recordings by John Cage, Morton Feldman or any other composer aired on WNYC and the local media here in Grand Rapids (Grand Rapids Press) has never written about any of our recordings, or our label. The local Barnes & Noble will not carry any of our titles because there is no system which allows the stocking, or special ordering, of our titles which is determined by RedDotNet. But, we have no need for a benefit concert and we are doing fine ... hmm. > The program is divided into an Early and Late show, all hosted by > WNYC's > David Garland. > > *EARLY SHOW 6 pm > Philip Glass *performs his solo piano works Glenn Freeman OgreOgress productions http://ogreogress.com From scalesb@latitude45arts.com Sun Nov 8 14:41:09 2009 From: scalesb@latitude45arts.com (barbara) Date: Sun, 8 Nov 2009 14:41:09 -0500 Subject: [silence] =?iso-8859-1?q?Joelle_L=E9andre_-_=22Homage_=E0_John=22?= Message-ID: <31FE4510-A633-4883-8BB2-06E6F0FFDCAF@latitude45arts.com> Hi to Silence, Silence list subscribers may want to know about the homage to John Cage that Joelle L?andre is presenting with performances in Europe later this month with Fred Frith, Alvin Curan, and other musical friends as well as choreogrpaher Dominique Boivin - Metz (Lorraine) France, Arsenal ? Musiaue - Grande Salle, Friday, November 20 at 7:00 PM http://www.arsenal-metz.fr - Gradisca d'Isonzo (GO) Italy, Nuovo Teatro comunale, Sunday , November 22 at 6:00 PM http://www.moremusic.it/ In North America in November 2010, a slightly different version of the program will tour. Please see the 2010 program below. "Hommage ? John" is a tribute to John Cage by composer/improviser/ bassist Jo?lle L?andre and choreographer/dancer Dominique Boivin. Jo?lle L?andre, the remarakable French bass player, composer and improviser, was mentored by John Cage early on in her musical life and became one of his most inventive and talented "disciples". He, in turn, wrote many works for her. THe program includes some of those works, written for Jo?lle by John Cage and a second half of music and dance entitled OAXACA, improvised with French choreographer Dominique Boivin, who was deeply inspired by the Cage-Cunnigham aesthetic and his collaborations with them. This initiative is supported by funds administered by the Cultural Services of the French Embassy. JO?LLE LEANDRE ? JOHN CAGE Guest artist: Dominique Boivin ? Hommage ? John ? Programme John Cage : A Flower The wonderfull Widow... Fontana Mix et Aria (voix et bande) Ryoanji Doublebass solo and ensemble (ad libitum) 15 musicians (Ryoanji for doublebass is dedicated by John Cage to Jo?lle L?andre) Intermission Oaxaca Jo?lle L?andre, bass and Dominique Boivin, dance Choreography by Dominique Boivin Music and sounds, Jo?lle L?andre and Jean-Marc Foussat Many of these existing works can be heard on our website: www.latitude45arts.com Barbara Scales Latitude45 Arts 107-109 boulevard St-Joseph W. Montreal, QC Canada H2T 2P7 tel: 514 276 2694 fax: 514 673 0054 mobile: 514 241 1363 scalesb@latitude45arts.com www.latitude45arts.com P.S.: Want to stay informed? Subscribe to Latitude45News, our monthly newsletter, to regularly receive news and updates from our artists. Read the current issue and sign up at latitude45.thinkwritewin.com. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091108/413bf10c/attachment.html From loco.nordin@mbox200.swipnet.se Sun Nov 8 15:38:38 2009 From: loco.nordin@mbox200.swipnet.se (Ingvar Loco Nordin) Date: Sun, 8 Nov 2009 21:38:38 +0100 Subject: [silence] sorry 'bout that! Message-ID: Sorry, Silencers, Even though it might have looked like a thought, it wasn't. I did comment on the question, but for some reason, it didn't get there... I had said something to the effect that Silence is the place where the sounds go, or come from - and that sound simply is a discrepancy of Silence. I hope this is not excluded this time... Loco --------------------------------------------------- All places are here! All times are now! Sonoloco Record Reviews: http://www.sonoloco.com/rev/reviewframes.html Ingvar Loco Nordin's hompage: http://www.sonoloco.com Loco's MySpace: http://myspace.com/ingvarloconordin Loco on NetNewMusic: http://netnewmusic.ning.com/profile/IngvarLocoNordin Sonoloco Records on lastFM: http://www.lastfm.se/label/Sonoloco+Records/ From glenn@ogreogress.com Sun Nov 8 19:35:22 2009 From: glenn@ogreogress.com (Glenn Freeman) Date: Sun, 8 Nov 2009 19:35:22 -0500 Subject: [silence] silent music Message-ID: silent music exists when we're able to understand the below four sentences. sound can be experienced as sound silence can be experienced as silence sound can be experienced as silence silence can be experienced as sound From vaniaybarra@gmail.com Mon Nov 9 09:04:20 2009 From: vaniaybarra@gmail.com (Vania Ybarra) Date: Mon, 9 Nov 2009 15:04:20 +0100 Subject: [silence] (no subject) Message-ID: <828924d50911090604p7babc29bh9628beb54f4eae5b@mail.gmail.com> vaniaybarra@gmail.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091109/7bdb47e4/attachment.html From pksem@semensemble.org Mon Nov 9 17:30:24 2009 From: pksem@semensemble.org (S.E.M. Ensemble) Date: Mon, 09 Nov 2009 17:30:24 -0500 Subject: [silence] S.E.M. Call for Scores Message-ID: S.E.M. Ensemble Petr Kotik Director *CALL FOR SCORES* 2010 READINGS WILL INCLUDE CHAMBER ENSEMBLE PIECES ONLY. The S.E.M. Ensemble is calling for submissions to its annual Workshop/ Readings/ Performance of New Works of Chamber Orchestra/Small Ensembles. Selected scores will be rehearsed and critiqued during the week of February 8-12, 2010 (exact days TBD). Composers will have the opportunity to work with the musicians who will read his/her work. The workshop will conclude in a public performance at Willow Place Auditorium in Brooklyn Heights. Due to severe restrictions on funds, only scores for small ensembles can be considered (those interested in having works for full orchestra read, please note our European project at www.newmusicostrava.cz) SUBMISSION GUIDELINES: Your Package should include: 1. 1 performance-ready copy of your score 2. Statement about your work 3. Biography 4. Self-addressed, stamped envelope for return of materials 5. Check for $25 processing fee made out to S.E.M. Ensemble, Inc. Please submit new scores to: S.E.M. Ensemble 25 Columbia Place Brooklyn, NY 11201 Materials should be POSTMARKED or hand-delivered NO LATER THAN JANUARY 14, 2010. For questions please email pksem@semensemble.org. You can also visit our website at www.semensemble.org for more information about SEM. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091109/25967994/attachment.html From lichtconlon@t-online.de Wed Nov 11 06:02:18 2009 From: lichtconlon@t-online.de (Ralph Lichtensteiger) Date: Wed, 11 Nov 2009 12:02:18 +0100 Subject: [silence] Cage in Barcelona: Unquiet Thoughts : The New Yorker Message-ID: "John Cage, the arch-magus of the musical avant-garde, always found a warmer reception in Europe than he did in America. So it is sadly no surprise that the first major museum exhibition devoted to Cage in recent years is appearing not in New York or Los Angeles but at the Barcelona Museum of Contemporary Art (MACBA). 'The Anarchy of Silence,' which runs through January 10th, examines Cage?s work in various media and his impact on all forms of contemporary art. Early next year it will travel to the Henie Onstad Art Centre, outside Oslo, Norway. There seem to be no plans for an American incarnation. Why not MOMA, the Whitney, or the Guggenheim?" ? ALEX ROSS Cage in Barcelona: Unquiet Thoughts : The New Yorker http://www.newyorker.com/online/blogs/alexross/2009/11/cage-in- barcelona.html Best, Ralph Lichtensteiger http://www.lichtensteiger.de http://twitter.com/lichtconlon -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091111/bb9d086e/attachment.html From glenn@ogreogress.com Wed Nov 11 12:25:08 2009 From: glenn@ogreogress.com (Glenn Freeman) Date: Wed, 11 Nov 2009 12:25:08 -0500 Subject: [silence] Cage in Barcelona: Unquiet Thoughts In-Reply-To: References: Message-ID: I find it highly ironic that Alex Ross, an American-based music critic, seems so upset about all this. Alex is not much different in that he has never reviewed or mentioned any of our 8 John Cage releases in the New Yorker or anywhere else, instead only briefly mentioning our lone Arnold Schoenberg recording (the most conservative release on our label) on his blog. Why not Alex Ross? Ralph Lichtensteiger wrote: > "John Cage, the arch-magus of the musical avant-garde, always found a > warmer reception in Europe than he did in America. So it is sadly no > surprise that the first major museum exhibition devoted to Cage in > recent years is appearing not in New York or Los Angeles but at the > Barcelona Museum of Contemporary Art (MACBA). 'The Anarchy of > Silence,' which runs through January 10th, examines Cage?s work in > various media and his impact on all forms of contemporary art. Early > next year it will travel to the Henie Onstad Art Centre, outside > Oslo, Norway. There seem to be no plans for an American incarnation. > Why not MOMA, the Whitney, or the Guggenheim?"? ALEX ROSS Glenn Freeman OgreOgress productions http://ogreogress.com From lichtconlon@t-online.de Thu Nov 12 11:54:13 2009 From: lichtconlon@t-online.de (Ralph Lichtensteiger) Date: Thu, 12 Nov 2009 17:54:13 +0100 Subject: [silence] Artist Rachel Rosenthal thrives on chance -- latimes.com Message-ID: Artist Rachel Rosenthal thrives on chance -- latimes.com http://www.latimes.com/entertainment/news/arts/la-et- rosenthal7-2009nov07,0,499239.story Best, Ralph Lichtensteiger http://www.lichtensteiger.de http://twitter.com/lichtconlon -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091112/3cf01681/attachment.html From saddiss@richmond.edu Thu Nov 12 13:55:32 2009 From: saddiss@richmond.edu (saddiss) Date: Thu, 12 Nov 2009 13:55:32 -0500 Subject: [silence] Cage exhibition in Virginia Message-ID: > The exhibition "John Cage: Zen Ox-Herding Pictures," previously > mentioned on this list, is now on view until April at the University > of Richmond's Harnett Museum. Hopefully the show will then travel to > other venues. The accompanying book is now published by George > Braziller. > > Stephen Addiss and Ray Kass From paistinpotamia@hotmail.com Fri Nov 13 04:05:07 2009 From: paistinpotamia@hotmail.com (Dionisis Boukouvalas) Date: Fri, 13 Nov 2009 11:05:07 +0200 Subject: [silence] [Silence] Four^6 excerpt Message-ID: Hello to all. I just uploaded in my web site an mp3 excerpt of a performance of Cage's Four^6 (first four minutes). The sound is acoustic, roughly half melodic half noise. By the way, at the same section you can find the whole of a performance I gave of Feldman's Palais de Mari. Some Skempton selections will soon follow. The link: http://boukouvalas.weebly.com/repertory.html All the best, Dionysis Boukouvalas. _________________________________________________________________ Keep your friends updated?even when you?re not signed in. http://www.microsoft.com/middleeast/windows/windowslive/see-it-in-action/social-network-basics.aspx?ocid=PID23461::T:WLMTAGL:ON:WL:en-xm:SI_SB_5:092010 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091113/0d45525a/attachment.html From cshultis@unm.edu Mon Nov 16 10:07:50 2009 From: cshultis@unm.edu (Christopher L Shultis) Date: Mon, 16 Nov 2009 09:07:50 -0600 Subject: [silence] Cage Research at AMS In-Reply-To: References: Message-ID: Dear Silencers, The American Musicological Society held its annual meeting in Philadelphia this past week and closed with an excellent session on John Cage. David Bernstein, author of so many essential theoretical-historical articles on John Cage, chaired the session made up of young scholars who are in the midst of significant new research on Cage, Cunningham, Berberian and Fischinger. In the case of the latter, for example, Richard H. Brown has looked at documentation in various archives in Los Angeles (Fischinger, Scheyer etc) and provided a wealth of information on Cage's relationship with Fischinger as well as Fischinger's influence. We also learned more about the influence of Cage's father. As a by-product of his research, Brown was able to shed additional light on the dating of Cage's percussion quartet. He showed a clear Fischinger influence (comparing Fischinger's notations with those found in Cage's quartet) which in turn further helps place the work's completion later than 1935, the date found in the score, since Fischinger didn't arrive in Los Angeles until 1936. Benjamin Piekut's paper addressed a very important issue in Cage scholarship concerning the relationship between the composed score and how one realizes it, using an (in)famous example of Charlotte Moorman's performance of the "10,000 things" piece Cage wrote for cello in the mid-50s. What role should a composer's intent play outside of what is actually notated? In other words, where there are liberties that can be taken by the performer what happens when those liberties make it possible to create an interpretation that does not satisfy the composer even if it does satisfy the requirements of the score? I've been thinking about this question for some time and Piekut's recent work adds significantly to any further discussion in this regard. Francesca Placanica's paper on Cathy Berberian and Cage's Aria explored the significance of this piece for both performer and composer, using materials she studied at the Berberian archive located in the home of Berberian's daughter. She also spoke convincingly of the value of Berberian's role during the years when composers were coming to the electronic music studio in Milan. Cage's composing of Aria was, as is already well known, shaped by Berberian and her fantastic abilities. But this paper fleshed that out in ways that went beyond the obvious with many, many details I was unaware of before and that pointed to the piece as having been a turning point for Berberian as well. Finally, Daniel Callahan showed how "Second Hand" (Cunningham's title for the dance that was made using Cage's "Cheap Imitation") had a long and personal history for both Cage and Cunningham dating back to the 1940s with the first use of Satie's Socrate in a Cunningham-choreographed piece. Rooting the discussion of sexuality and personal history in its role in the making of an essential work by both artists, it is in my opinion the best Cage scholarship (I'm not familiar enough with Cunningham scholarship to make a similar claim) on this subject I've seen. In truth, all of these papers are proof that recent Cage scholarship in English is at a very high level. Using increasingly available archival evidence, these scholars really added to this scholar's (me) knowledge of the creations of Cage and Cunningham, and the performances of Berberian and Moorman. It was a fantastic session, I congratulate all of them on their valuable work, and I encourage all those on this list to keep an eye out for what I'm sure will be the eventual publication of this research by these fine young scholars. The actual session, with authors and paper titles, is listed below: Cage and Company (Liberty A) David Bernstein (Mills College), Chair Richard H. Brown (University of Southern California), ??The Spirit Inside Each Object?: John Cage, Oskar Fischinger, and ?The Future of Music?? Benjamin Piekut (University of Southampton), ?Murder by Cello: John Cage meets Char- lotte Moorman? Francesca Placanica (University of Southampton), ??Unwrapping? the Voice: Cathy Berberian?s and John Cage?s Aria? Daniel Callahan (Columbia University), ?Choreomusical Relationships in Merce Cunning- ham?s Second Hand and the Aesthetic of Indifference? Christopher Shultis, Ph.D. Regents' Professor of Music University of New Mexico MSC04 2570 Center for the Arts Albuquerque, NM 87131 PH:(505) 277-4449 FAX: (505) 277-0708 email: cshultis@unm.edu website: www.chrisshultis.com Note: Please use chris.shultis@gmail.com address for all non-UNM business related matters as well as for any correspondence regarded as private rather than public. Thanks! cs From thomasgommel@orange.fr Tue Nov 17 07:42:58 2009 From: thomasgommel@orange.fr (thomasgommel) Date: Tue, 17 Nov 2009 13:42:58 +0100 Subject: [silence] John Cage and Michael Bach Bachtischa, ONE13 (1992) for Cello with Curved Bow Message-ID: <00da01ca6783$88dc5c00$d936fac1@aptiva-computer> +++++++++++++++++++++++++++++++++++++++++++++++++++++ PUBLICATION RELEASE NOTICE C.F. Peters Corporation 70-30 80th Street 2nd Floor Glendale, NY 11385 USA November 10, 2009 Catalog No.: EP 68265 Composer: John Cage & Michael Bach Bachtischa Title: One13 Series: n/a Instrumentation: Cello (played with curved bow) Format: Sheet Music Project manager: Gene Caprioglio ISMN-10: M-3007-5618-9 ISMN-13: 979-0-3007-5618-9 Extent: 40 pp. Trim Size: 11" wide x 8.5" tall Number of Parts: n/a Duration: n/a Retail price: $14.95 Publication date: October 15, 2009 ? "The metamorphosis from RYOANJI to ONE13 occurred during a collaboration between John Cage and myself in July 1992 in New York City. In determining a total of eight intervals for a planned version of RYOANJI for cello, a chance operation produced the result that the third interval should be a unison prime, the interval F#? - F#?. John Cage had not anticipated a unison prime as the result of the chance operation and wanted to pass it over as useless and simply ignore it. That unpredictable prime immediately cast its spell over me. In the two following days I had the opportunity then to convince John Cage of this chance by demonstrating to him twenty different and multiphonic F#? sounds on the cello....On 20 July 1992, John Cage told me that he wanted to transfer the unison prime idea, which now also fascinated him, to further pitches, with the words: "...and this will be One13." - Michael Bach Bachtischa - ? This work was incomplete at the time of Cage?s death; the first part of the score reflects Cage?s drafted notation, and the second part reflects Bach Bachtischa?s notation. ? Performance and program notes in English/German/French. JOHN CAGE MICHAEL BACH BACHTISCHA No. 68265 ONE13 Cello with Curved Bow Violoncello mit Rundbogen Violoncelle avec archet courbe (1992) +++++++++++++++++++++++++++++++++++++++++++++++++++++ For further information: http://bach.bogen.pros.orange.fr/html/one13.htm http://pagespro-orange.fr/bach.bogen/html/18-7-92.htm Thomas Gommel, Atelier BACH.Bogen Atelier BACH.Bogen 7, rue de la Laine ___67160 Wissembourg ___France Im Schellenk?nig 56 b ___70184 Stuttgart ___Germany bach.bow2007@orange.fr http://bach.bogen.pros.orange.fr/index.htm From glenn@ogreogress.com Tue Nov 17 12:23:52 2009 From: glenn@ogreogress.com (Glenn Freeman) Date: Tue, 17 Nov 2009 12:23:52 -0500 Subject: [silence] John Cage and Michael Bach Bachtischa, ONE13 (1992) In-Reply-To: References: Message-ID: This is great news! It should also be known that Cage's incomplete material for One13 can be used for the sounds of One7, which are chosen by the performer. This alternative method allows Cage (rather than Bach) to "complete" One13. One result can be heard on the below recording: http://www.cdbaby.com/cd/johncage4 > This work was incomplete at the time of Cage's death; the first part > of > the score reflects Cage's drafted notation, and the second part > reflects > Bach Bachtischa's notation. Glenn Freeman OgreOgress productions http://ogreogress.com From thomasgommel@orange.fr Tue Nov 17 14:13:48 2009 From: thomasgommel@orange.fr (thomasgommel) Date: Tue, 17 Nov 2009 20:13:48 +0100 Subject: [silence] ONE13 material by Michael Bach Bachtischa Message-ID: <003a01ca67ba$22ce3dc0$7905f8c1@aptiva-computer> Glenn The sounds which are used in ONE13 are the material of Michael Bach Bachtischa provided for ONE13. This becomes clear by studying the book which is published right now. The f# list in the handwriting of John Cage, by the way, is a copy he made from a list of f# notations by Michael Bach Bachtischa. John Cage has just written out a fair copy for himself. But ONE13 is actually based on 7 different pitches. Thomas For further information: http://bach.bogen.pros.orange.fr/html/one13.htm http://pagespro-orange.fr/bach.bogen/html/18-7-92.htm -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091117/590965a6/attachment.html From vitor.rua@netcabo.pt Tue Nov 17 16:11:22 2009 From: vitor.rua@netcabo.pt (Vitor Rua) Date: Tue, 17 Nov 2009 21:11:22 +0000 Subject: [silence] Near Silence Message-ID: <4A691B79-BDDB-47BB-B312-4D7861864BFF@netcabo.pt> Hello again, i told in my previous e-mail that I am doing my thesis on SILENCE. Now I arrive at a moment of my studies to speack about this musical tipologie called "Near Silence" used by musicians like john butcher or radu malaffati. I need your help on this matter: What can you say about near silence?... what is near silence? what are the methods? what thecnhics they use for achive this kind of music? any help is welcome... i have so little... i am wating for answers from some musicians but i appreciate your collaboration. Many thanks V?tor Rua From rod@stasick.org Tue Nov 17 16:20:47 2009 From: rod@stasick.org (Rod Stasick) Date: Tue, 17 Nov 2009 15:20:47 -0600 Subject: [silence] Near Silence In-Reply-To: <4A691B79-BDDB-47BB-B312-4D7861864BFF@netcabo.pt> References: <4A691B79-BDDB-47BB-B312-4D7861864BFF@netcabo.pt> Message-ID: <0A5D889E-24C8-4172-AD16-D1D2D866B792@stasick.org> I think it was Caleb who mentioned a couple of months ago the fine Michael Pisaro text on the Wandelweiser folks. You may want to begin there/here: http://tinyurl.com/yd4hlvl ??? --- Now playing: Lucky Thompson Trio - The World Awakes All over the US there are people whose lives are being destroyed for lack of proper health care provision, and there is no sight more odious than the rich, powerful, and arrogant trying to keep it that way. - Simon Hoggart; Why the American Right Make Me Sick; The Guardian (London, UK); Aug 15, 2009 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091117/307a7acb/attachment.html From glenn@ogreogress.com Wed Nov 18 12:33:47 2009 From: glenn@ogreogress.com (Glenn Freeman) Date: Wed, 18 Nov 2009 12:33:47 -0500 Subject: [silence] ONE13 material by Michael Bach Bachtischa Message-ID: We can now refer to two different versions of One13 as follows. 1) A version started by John Cage and completed Michael Bach Bachtischa, published by C.F. Peters. 2) An 'unfinished' version of a 'work in progress' by John Cage, unpublished. It is wonderful to see this new publication and to see Michael Bach's work on One13 finally come to fruition. Thomas wrote: > The sounds which are used in ONE13 are the material of Michael Bach Bachtischa provided for ONE13. > The f# list in the handwriting of John Cage, by the way, is a copy he made from a list of f# notations by Michael Bach Bachtischa. > John Cage has just written out a fair copy for himself. Glenn Freeman OgreOgress productions http://ogreogress.com From gorwelowen@btinternet.com Thu Nov 19 11:07:35 2009 From: gorwelowen@btinternet.com (Gorwel Owen) Date: Thu, 19 Nov 2009 16:07:35 -0000 Subject: [silence] Early Warning System Message-ID: <74541535FD9644988E45E1D81E922726@acer5520> At several points during John Cage As Sam Richards refers to Cage's views about art being a kind of harbringer e.g. p.39 'Cage often referred to art, and certainly the experimental wing of it, as an early warning system for the social organisation of the future'. I'm not entirely clear about which Cage writigs he's referring to here. Any ideas? Thanks Gorwel PS. Is anyone here in contact with Sam Richards Gorwel Owen http://www.myspace.com/gorwelowen -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091119/00f2ccdf/attachment.html From gorwelowen@btinternet.com Thu Nov 19 14:24:49 2009 From: gorwelowen@btinternet.com (Gorwel Owen) Date: Thu, 19 Nov 2009 19:24:49 -0000 Subject: [silence] Early Warning System References: <74541535FD9644988E45E1D81E922726@acer5520> <4B059202.6040804@gmail.com> Message-ID: <53AF506EF9EB463AB9389385CEDF1AA7@acer5520> Thanks Stefano, No, it's not off-topic; I'm sure you are right to link this to McLuhan. I should probably search the archive of this list for him. Also, I should probably go to the library and pick up Attali's noise too as he will probably have something to say about this, possibly in relation to Cage. I was just curious as to where Cage may have specifically made such claims. Best Gorwel Gorwel Owen http://www.myspace.com/gorwelowen Hi there, this might sound a little bit off topic but once I red your words my mind flew immediately to Marshall McLuhan's thoughts on the artist's role, which consists in (and I think John Cage agreed) experiencing new ways, new social models, new patterns. According to McLuhan's reflections artists were always fifty years ahead of their time in terms of perception patterns. That's why he used to teach arts to higher-ups, managers and businessmen. Unfortunately I don't have the McLuhan's book I finished reading some weeks ago otherwise I would have quoted his words exactly. Cheers -- Stefano Letting the days go by, let the water hold me down Letting the days go by, water flowing underground Into the blue again, into the silent water Under the rocks and stones, there is water underground. Letting the days go by, let the water hold me down Letting the days go by, water flowing underground Into the blue again, after the money's gone Once in a lifetime, water flowing underground. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091119/ca89f398/attachment.html From jzitt@metatronpress.com Thu Nov 19 15:31:25 2009 From: jzitt@metatronpress.com (Joseph Zitt) Date: Thu, 19 Nov 2009 15:31:25 -0500 Subject: [silence] Early Warning System In-Reply-To: <53AF506EF9EB463AB9389385CEDF1AA7@acer5520> References: <74541535FD9644988E45E1D81E922726@acer5520> <4B059202.6040804@gmail.com> <53AF506EF9EB463AB9389385CEDF1AA7@acer5520> Message-ID: Might this quote from I-VI (quoted in my book "Surprise Me With Beauty: the Music of Human Systems") be relevant? ?I think one of the things that distinguishes music from the other arts is that music often requires other people. The performance of music is a public occasion or a social occasion. This brings it about that the performance of a piece of music can be a metaphor of society, of how we want society to be. Though we are not now living in a society which we consider good, we could make a piece of music in which we are willing to live. I don?t mean that literally; I mean it metaphorically. You can think of the piece of music as a representation of a society in which you would be willing to live.? On Thu, Nov 19, 2009 at 2:24 PM, Gorwel Owen wrote: > Thanks Stefano, > No, it's not off-topic; I'm sure you are right to link this to McLuhan. I > should probably search the archive of this list for him. > Also, I should probably go to the library and pick up Attali's noise too as > he will probably have something to say about this, possibly in relation to > Cage. > I was just curious as to where Cage may have specifically made such claims. > Best > Gorwel > > Gorwel Owen > http://www.myspace.com/gorwelowen > > > > > > Hi there, this might sound a little bit off topic but once I red your words > my mind flew immediately to Marshall McLuhan's thoughts on the artist's > role, which consists in (and I think John Cage agreed) experiencing new > ways, new social models, new patterns. According to McLuhan's reflections > artists were always fifty years ahead of their time in terms of perception > patterns. That's why he used to teach arts to higher-ups, managers and > businessmen. Unfortunately I don't have the McLuhan's book I finished > reading some weeks ago otherwise I would have quoted his words exactly. > > Cheers > > -- > > Stefano > > > > Letting the days go by, let the water hold me down > Letting the days go by, water flowing underground > Into the blue again, into the silent water > Under the rocks and stones, there is water underground. > > Letting the days go by, let the water hold me down > Letting the days go by, water flowing underground > Into the blue again, after the money's gone > Once in a lifetime, water flowing underground. > > > > -- > 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/ > -- Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091119/dd5af7ee/attachment.html From gorwelowen@btinternet.com Thu Nov 19 15:44:26 2009 From: gorwelowen@btinternet.com (Gorwel Owen) Date: Thu, 19 Nov 2009 20:44:26 -0000 Subject: [silence] Early Warning System References: <74541535FD9644988E45E1D81E922726@acer5520> <4B059202.6040804@gmail.com> <53AF506EF9EB463AB9389385CEDF1AA7@acer5520> Message-ID: <85A41FDEBF874509B2BA1A3CE47419BA@acer5520> Yes, Joseph. That's exactly the kind of thing that I was looking for. Thank very much. I'll check out your book too! Best Gorwel Gorwel Owen http://www.myspace.com/gorwelowen ----- Original Message ----- From: Joseph Zitt To: Gorwel Owen Cc: silence@list.mail.virginia.edu Sent: Thursday, November 19, 2009 8:31 PM Subject: Re: [silence] Early Warning System Might this quote from I-VI (quoted in my book "Surprise Me With Beauty: the Music of Human Systems") be relevant? ?I think one of the things that distinguishes music from the other arts is that music often requires other people. The performance of music is a public occasion or a social occasion. This brings it about that the performance of a piece of music can be a metaphor of society, of how we want society to be. Though we are not now living in a society which we consider good, we could make a piece of music in which we are willing to live. I don?t mean that literally; I mean it metaphorically. You can think of the piece of music as a representation of a society in which you would be willing to live.? On Thu, Nov 19, 2009 at 2:24 PM, Gorwel Owen wrote: Thanks Stefano, No, it's not off-topic; I'm sure you are right to link this to McLuhan. I should probably search the archive of this list for him. Also, I should probably go to the library and pick up Attali's noise too as he will probably have something to say about this, possibly in relation to Cage. I was just curious as to where Cage may have specifically made such claims. Best Gorwel Gorwel Owen http://www.myspace.com/gorwelowen Hi there, this might sound a little bit off topic but once I red your words my mind flew immediately to Marshall McLuhan's thoughts on the artist's role, which consists in (and I think John Cage agreed) experiencing new ways, new social models, new patterns. According to McLuhan's reflections artists were always fifty years ahead of their time in terms of perception patterns. That's why he used to teach arts to higher-ups, managers and businessmen. Unfortunately I don't have the McLuhan's book I finished reading some weeks ago otherwise I would have quoted his words exactly. Cheers -- Stefano Letting the days go by, let the water hold me down Letting the days go by, water flowing underground Into the blue again, into the silent water Under the rocks and stones, there is water underground. Letting the days go by, let the water hold me down Letting the days go by, water flowing underground Into the blue again, after the money's gone Once in a lifetime, water flowing underground. -- 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/ -- Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091119/795a48f3/attachment.html From stefanodoug76@gmail.com Thu Nov 19 18:05:23 2009 From: stefanodoug76@gmail.com (Stefano Pocci) Date: Fri, 20 Nov 2009 00:05:23 +0100 Subject: [silence] Early Warning System In-Reply-To: <53AF506EF9EB463AB9389385CEDF1AA7@acer5520> References: <74541535FD9644988E45E1D81E922726@acer5520> <4B059202.6040804@gmail.com> <53AF506EF9EB463AB9389385CEDF1AA7@acer5520> Message-ID: <4B05CF33.9000502@gmail.com> Gorwel Owen wrote: > Thanks Stefano, > No, it's not off-topic; I'm sure you are right to link this to > McLuhan. I should probably search the archive of this list for him. > Also, I should probably go to the library and pick up Attali's noise > too as he will probably have something to say about this, possibly in > relation to Cage. > I was just curious as to where Cage may have specifically made such > claims. > Best > Gorwel > > Gorwel Owen > http://www.myspace.com/gorwelowen > Since I thought it was off topic I replied just to you. It wasn't Cage speaking like you requested but McLuhan's reflection was matching the subject you were treating. Good luck with your work. Cheers -- Stefano Letting the days go by, let the water hold me down Letting the days go by, water flowing underground Into the blue again, into the silent water Under the rocks and stones, there is water underground. Letting the days go by, let the water hold me down Letting the days go by, water flowing underground Into the blue again, after the money's gone Once in a lifetime, water flowing underground. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091120/34bf9edb/attachment-0001.html From freemovementarts@gmail.com Thu Nov 19 18:28:29 2009 From: freemovementarts@gmail.com (Andrew Raffo Dewar) Date: Thu, 19 Nov 2009 17:28:29 -0600 Subject: [silence] Early Warning System In-Reply-To: References: Message-ID: You may find the chapter "John Cage's Early Warning System" from Charlie Gere's book, "Art, Time & Technology" (Berg, 2006) useful. Best, Andrew ______________________________________ Andrew Raffo Dewar, Ph.D. Assistant Professor of Interdisciplinary Arts New College & School of Music University of Alabama Box 870229 Tuscaloosa, AL 35487-0229 http://www.freemovementarts.com On Nov 19, 2009, at 11:05 AM, silence-request@list.mail.virginia.edu wrote: > Message: 2 > Date: Thu, 19 Nov 2009 16:07:35 -0000 > From: "Gorwel Owen" > Subject: [silence] Early Warning System > To: > Message-ID: <74541535FD9644988E45E1D81E922726@acer5520> > Content-Type: text/plain; charset="iso-8859-1" > > At several points during John Cage As Sam Richards refers to Cage's views about art being a kind of harbringer e.g. p.39 'Cage often referred to art, and certainly the experimental wing of it, as an early warning system for the social organisation of the future'. I'm not entirely clear about which Cage writigs he's referring to here. Any ideas? > Thanks > Gorwel > PS. Is anyone here in contact with Sam Richards > > > > > Gorwel Owen > http://www.myspace.com/gorwelowen From gorwelowen@btinternet.com Fri Nov 20 05:01:49 2009 From: gorwelowen@btinternet.com (Gorwel Owen) Date: Fri, 20 Nov 2009 10:01:49 -0000 Subject: [silence] Early Warning System References: <74541535FD9644988E45E1D81E922726@acer5520> <4B059202.6040804@gmail.com> <53AF506EF9EB463AB9389385CEDF1AA7@acer5520> <4B05CF33.9000502@gmail.com> Message-ID: Apologies Stefano. My filter moved your message to a folder I'd set up for this list. I didn't notice that it was a private message. It was very much on-topic! Gorwel Owen http://www.myspace.com/gorwelowen Since I thought it was off topic I replied just to you. It wasn't Cage speaking like you requested but McLuhan's reflection was matching the subject you were treating. Good luck with your work. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091120/a1ed2bdd/attachment.html From gorwelowen@btinternet.com Fri Nov 20 05:02:04 2009 From: gorwelowen@btinternet.com (Gorwel Owen) Date: Fri, 20 Nov 2009 10:02:04 -0000 Subject: [silence] Early Warning System References: Message-ID: <2D0E22BB616845BFAAD898323AFC1496@acer5520> Thanks Andrew. Gorwel Owen http://www.myspace.com/gorwelowen ----- Original Message ----- From: "Andrew Raffo Dewar" To: Sent: Thursday, November 19, 2009 11:28 PM Subject: Re: [silence] Early Warning System > You may find the chapter "John Cage's Early Warning System" from Charlie > Gere's book, "Art, Time & Technology" (Berg, 2006) useful. > > Best, > > Andrew > ______________________________________ > > Andrew Raffo Dewar, Ph.D. > Assistant Professor of Interdisciplinary Arts > New College & School of Music > University of Alabama > Box 870229 Tuscaloosa, AL 35487-0229 > http://www.freemovementarts.com > > > On Nov 19, 2009, at 11:05 AM, silence-request@list.mail.virginia.edu > wrote: > >> Message: 2 >> Date: Thu, 19 Nov 2009 16:07:35 -0000 >> From: "Gorwel Owen" >> Subject: [silence] Early Warning System >> To: >> Message-ID: <74541535FD9644988E45E1D81E922726@acer5520> >> Content-Type: text/plain; charset="iso-8859-1" >> >> At several points during John Cage As Sam Richards refers to Cage's views >> about art being a kind of harbringer e.g. p.39 'Cage often referred to >> art, and certainly the experimental wing of it, as an early warning >> system for the social organisation of the future'. I'm not entirely clear >> about which Cage writigs he's referring to here. Any ideas? >> Thanks >> Gorwel >> PS. Is anyone here in contact with Sam Richards >> >> >> >> >> Gorwel Owen >> http://www.myspace.com/gorwelowen > > > -- > 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 thomasgommel@orange.fr Fri Nov 20 05:55:15 2009 From: thomasgommel@orange.fr (thomasgommel) Date: Fri, 20 Nov 2009 11:55:15 +0100 Subject: [silence] ONE13 material by Michael Bach Bachtischa Message-ID: <010001ca69d1$327cc700$d429f8c1@aptiva-computer> Glenn, There is only one version of ONE13, John Cage in co-authorship with Michael Bach Bachtischa. Thomas >We can now refer to two different versions of One13 as follows. > >1) A version started by John Cage and completed Michael Bach >Bachtischa, published by C.F. Peters. >2) An 'unfinished' version of a 'work in progress' by John Cage, >unpublished. > >It is wonderful to see this new publication and to see Michael Bach's >work on One13 finally come to fruition. From glenn@ogreogress.com Fri Nov 20 12:20:48 2009 From: glenn@ogreogress.com (Glenn Freeman) Date: Fri, 20 Nov 2009 12:20:48 -0500 Subject: [silence] ONE13 material by Michael Bach Bachtischa In-Reply-To: References: Message-ID: <032AE131-FEBB-4ED3-A98B-99E5B715480F@ogreogress.com> Yes Thomas, we both agree there is currently a performing version of One13 which is published by C.F. Peters under the authorship of two composers. However, there is also an incomplete and unpublished version of One13 in John Cage's own hand writing, housed at the NYPL. > There is only one version of ONE13, John Cage in co-authorship with > Michael > Bach Bachtischa. > > Thomas > >> We can now refer to two different versions of One13 as follows. >> >> 1) A version started by John Cage and completed Michael Bach >> Bachtischa, published by C.F. Peters. >> 2) An 'unfinished' version of a 'work in progress' by John Cage, >> unpublished. >> >> It is wonderful to see this new publication and to see Michael Bach's >> work on One13 finally come to fruition. Glenn Freeman OgreOgress productions http://ogreogress.com From rchrd@rchrd.com Fri Nov 20 16:43:22 2009 From: rchrd@rchrd.com (Richard Friedman) Date: Fri, 20 Nov 2009 13:43:22 -0800 Subject: [silence] ONE13 material by Michael Bach Bachtischa In-Reply-To: <032AE131-FEBB-4ED3-A98B-99E5B715480F@ogreogress.com> References: <032AE131-FEBB-4ED3-A98B-99E5B715480F@ogreogress.com> Message-ID: <1a5637810911201343n1f668a33rc95fad6fe08e0bae@mail.gmail.com> Michael Bach performed One13 at the Other Minds 13 festival in 2008. You can hear his performance here: http://radiom.org/detail.php?omid=OMF.2008.03.07.A It is part 4 of that evening's concert. Click on the "Listen" link at the bottom of the page and select part 4. Part 1 of the concert was a panel discussion of that evening's music and you can hear Michael Bach talking to Charles Amirkhanian about One13. On Fri, Nov 20, 2009 at 9:20 AM, Glenn Freeman wrote: > Yes Thomas, we both agree there is currently a performing version of > One13 which is published by C.F. Peters under the authorship of two > composers. > > However, there is also an incomplete and unpublished version of One13 > in John Cage's own hand writing, housed at the NYPL. > > > There is only one version of ONE13, John Cage in co-authorship with > > Michael > > Bach Bachtischa. > > > > Thomas > > > >> We can now refer to two different versions of One13 as follows. > >> > >> 1) A version started by John Cage and completed Michael Bach > >> Bachtischa, published by C.F. Peters. > >> 2) An 'unfinished' version of a 'work in progress' by John Cage, > >> unpublished. > >> > >> It is wonderful to see this new publication and to see Michael Bach's > >> work on One13 finally come to fruition. > > Glenn Freeman > OgreOgress productions > http://ogreogress.com > > -- > 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/ > -- Richard Friedman Oakland, California http://rchrd.com/blog/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091120/ae1dd66d/attachment.html From glenn@ogreogress.com Fri Nov 20 17:38:57 2009 From: glenn@ogreogress.com (Glenn Freeman) Date: Fri, 20 Nov 2009 17:38:57 -0500 Subject: [silence] Eighty-Three in Miami Message-ID: For those in Miami this December, John Cage's Twenty-Six, Twenty-Eight and Twenty-Nine [Eighty-Three] (1991) is the soundtrack for Negative Space Collective's "tHere is New York (2009)" a multimedia work at Gallery I/D (http://www.galleryid.com). From gurquhart@madasafish.com Sat Nov 21 06:40:31 2009 From: gurquhart@madasafish.com (Graham Urquhart) Date: Sat, 21 Nov 2009 11:40:31 +0000 Subject: [silence] Near Silence In-Reply-To: <4A691B79-BDDB-47BB-B312-4D7861864BFF@netcabo.pt> References: <4A691B79-BDDB-47BB-B312-4D7861864BFF@netcabo.pt> Message-ID: <4B07D1AF.7060606@madasafish.com> Hi Vitor If you can get a hold of the following book, it will offer many insights from the musicians perspective. Also has a number of essays including Brian Marley's 'Qualities of Silence'; Will Montgomery's 'On the Surface of Silence' and David Toop's 'The Feeling of Rooms'. The book is: /Blocks of Consciousness and the Unbroken Continuum/ edited by Brian Marley and Mark Wastell. The book also includes a DVD of performances including John Butcher, Keith Rowe and John Tilbury. http://www.japanimprov.com/indies2/sound323/blocks.html http://sound323.com/pages/view.php?stockcode=isbn9780955154102 Regards Graham Vitor Rua wrote: > Hello again, > > i told in my previous e-mail that I am doing my thesis on SILENCE. > Now I arrive at a moment of my studies to speack about this musical > tipologie called "Near Silence" used by musicians like john butcher > or radu malaffati. > I need your help on this matter: What can you say about near silence?... > what is near silence? > what are the methods? > what thecnhics they use for achive this kind of music? > > any help is welcome... i have so little... i am wating for answers > from some musicians but i appreciate your collaboration. > Many thanks > V?tor Rua > > -- > 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 thomasgommel@orange.fr Sat Nov 21 07:14:56 2009 From: thomasgommel@orange.fr (thomasgommel) Date: Sat, 21 Nov 2009 13:14:56 +0100 Subject: [silence] ONE13 by John Cage and Michael Bach Bachtischa Message-ID: <000801ca6ab2$f19865e0$1287fac1@aptiva-computer> This autograph, in the hand writing of John Cage, is also part of this publication. It cannot be separated from the official release. - Thomas - On Fri, Nov 20, 2009 at 9:20 AM, Glenn Freeman wrote: >Yes Thomas, we both agree there is currently a performing version of >One13 which is published by C.F. Peters under the authorship of two >composers. > >However, there is also an incomplete and unpublished version of One13 >in John Cage's own hand writing, housed at the NYPL. From thomasgommel@orange.fr Sun Nov 22 09:32:23 2009 From: thomasgommel@orange.fr (thomasgommel) Date: Sun, 22 Nov 2009 15:32:23 +0100 Subject: [silence] ONE13 by John Cage and Michael Bach Bachtischa Message-ID: <000201ca6b86$8c004ca0$2438fac1@aptiva-computer> There are also videos of the performance of ONE13 and 18-7-92 (both excerpts) on YouTube: The Polyphonic Cello: Michael Bach plays ONE13 http://de.youtube.com/watch?v=Wqr63gVjMc4 The Polyphonic Cello: Michael Bach plays 18-7-92 http://de.youtube.com/watch?v=hDdoCpdJ62g -Thomas- Michael Bach performed One13 at the Other Minds 13 festival in 2008. You can hear his performance here: http://radiom.org/detail.php?omid=OMF.2008.03.07.A It is part 4 of that evening's concert. Click on the "Listen" link at the bottom of the page and select part 4. Part 1 of the concert was a panel discussion of that evening's music and you can hear Michael Bach talking to Charles Amirkhanian about One13. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091122/6981469c/attachment.html From lmw0336@aol.com Sun Nov 22 13:11:46 2009 From: lmw0336@aol.com (lmw0336@aol.com) Date: Sun, 22 Nov 2009 13:11:46 -0500 Subject: [silence] silence Digest, Vol 90, Issue 19 Re: ONE13 by John Cage and Michael Bach Bachtischa (thomasgommel) In-Reply-To: References: Message-ID: <8CC39B6633EA1BA-1B84-106FE@webmail-m059.sysops.aol.com> Is there a DVD of the entirety of those videos of Michael Back performing these? That was beautiful with the superimposition of the scores! -----Original Message----- From: silence-request@list.mail.virginia.edu To: silence@list.mail.virginia.edu Sent: Sun, Nov 22, 2009 12:03 pm Subject: silence Digest, Vol 90, Issue 19 Send silence mailing list submissions to silence@list.mail.virginia.edu To subscribe or unsubscribe via the World Wide Web, visit https://list.mail.virginia.edu/mailman/listinfo/silence or, via email, send a message with subject or body 'help' to silence-request@list.mail.virginia.edu You can reach the person managing the list at silence-owner@list.mail.virginia.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of silence digest..." Today's Topics: 1. Re: ONE13 by John Cage and Michael Bach Bachtischa (thomasgommel) ---------------------------------------------------------------------- Message: 1 Date: Sun, 22 Nov 2009 15:32:23 +0100 From: "thomasgommel" Subject: Re: [silence] ONE13 by John Cage and Michael Bach Bachtischa To: Message-ID: <000201ca6b86$8c004ca0$2438fac1@aptiva-computer> Content-Type: text/plain; charset="iso-8859-1" There are also videos of the performance of ONE13 and 18-7-92 (both excerpts) on YouTube: The Polyphonic Cello: Michael Bach plays ONE13 http://de.youtube.com/watch?v=Wqr63gVjMc4 The Polyphonic Cello: Michael Bach plays 18-7-92 http://de.youtube.com/watch?v=hDdoCpdJ62g -Thomas- Michael Bach performed One13 at the Other Minds 13 festival in 2008. You can hear his performance here: http://radiom.org/detail.php?omid=OMF.2008.03.07.A It is part 4 of that evening's concert. Click on the "Listen" link at the bottom of the page and select part 4. Part 1 of the concert was a panel discussion of that evening's music and you can hear Michael Bach talking to Charles Amirkhanian about One13. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091122/6981469c/attachment-0001.html End of silence Digest, Vol 90, Issue 19 *************************************** -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.mail.virginia.edu/pipermail/silence/attachments/20091122/36cec52b/attachment.html