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| Holmes Harbor, Washington 1985 |
Banned Telepath 4 Berkeley - Aaron Keyt, August 1985
lullaby lullaby
the ghost's at the window
the wolf's at the door
lullaby lullaby
that spook is a US standard
tablespoon teaspoon
half teaspoon
quarter teaspoon
a tour of the living space
National Geographic: Magyar Mirth and Melancholy 1938 (scary times)
his calendar: interesting dates on it like . . .
December 22, 1985
dead cockatoos don't wear plaid
there's music tonight
in Antarctica
KQED
sound the alarm first
ask questions later
Lederkranz cheese recall
it's eleven nineteen and Henry Purcell wrote . . .
September 10, 2013
Bann 2 - Aaron Keyt, August 1985
While listening to this I had a thought about notation: treble and bass clefs are separated from each other by a single ledger line. hypertreble and hypobass clefs could be done similarly. Hypertreble clef would be separated from treble clef by the ledger line A-natural. The lines would be (bottom to top) C E G B D, or Corner Every Gourmand Before Dawn. Hypobass clef would be separated from bass clef by the ledger line E-natural. The lines would be (bottom to top) B D F A C, or Boys Deliberately Fart After Class.
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| Nobody |
Continuing my solo sudden song project.
Banned Telepath 4 Greenwood - Keith Eisenbrey, August 1985
I was thinking about the nature of sung words, and of what singing does to the sounds of words. The working hypothesis was that to sing a word is to mis-pronounce it and by deliberately making it sound different than typically heard deflect our perception from its language-token existence toward its sound-token existence, allowing us to understand it as both a part of music and an act of language. So I was using my texts from Book of Windows and mispronouncing them toward music.
September 11, 2013
Banned Rehearsal 49 - Keith Eisenbrey, Anna K, Aaron Keyt, Neal Meyer, August 1985
The four parts of Banned Telepath 4 mooshed together. I was interested to discover that my own contribution, so clearly focused on song and music in a somewhat ordinary sense, loses many of its salient particularities in conjunction with my collaborator's less clearly musical activities.
September 12, 2013
Med In Ord - J. K. Randall, August 1985 - (from InterPlay)
Discretion as a principle: each sound episode is as in its own room, so that their relatedness to each other is less emphatically sequential, is more cartographic or architectural. We go from sound to sound as though moving from space to space rather than as though moving along a timeline. With the ample space we have between classes, as it were, we could end up anywhere at all, and often do.
In Session at the Tintinabulary
September 8, 9, & 10, 2013
Isaiah 60:1-6 - Karen Eisenbrey, voice; Keith Eisenbrey, composer, piano
Trying out and learning to use the new recording equipment. Results are hopeful but not ready for public yet. It's too bad we didn't record our performance in church Sunday morning, it would be difficult to beat as a performance and the sound of the space is better than the living room is.
September 9, 2013
Gradus 233 - Neal Meyer
The second E-natural. As a single key is repeated the sound rolls in its string resonance, and that roll is attended and molded by our sense of what that roll is shaped like, to the extent that our recovery of the actuality of what it was shaped like lags a bit behind what we hear as we hear it.
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