Preface
"The kind of analysis undertaken in connection with such constructional systems as those of Carnap's Aufbau, and The Structure of Appearance also represents an intensely practical matter for art, since the very identity of an art entity is a theoretical construct quite remote from the pragmatics of object-identification in the physical world. Art entities, in fact, may be said to have identity as entities of their types just by virtue of being identifiable as interpretations of a general notion of entityhood within that type. Therefore, the extent to which they can be determinately recognized as particular entities of their types depends first of all on the generality of the concept of entityhood they are regarded as interpreting. And secondly, the degree of their particularity depends on the number of intervening concepts that can be, or that are, invoked between the atomic and the global levels, concepts which distinguish and order subentities as the ultimate determinants of the global structure. Thus the salient characteristic of an art entity may, most generally, be considered to be its 'coherence'; and the extent of its coherence, and hence of its particularity as a work of art, may be considered to reside in the degree and nature of determinate complexity exhibited in the ordered structure of subentities of which it is a resultant."Benjamin Boretz "Nelson Goodman's Language of Art, from a Musical Point of View
(for the Sixty-Sixth Annual Meeting of the American Philosophical Association, Eastern Division, on December 29, 1969, at a symposium devoted to Nelson Goodman's Languages of Art.)"
- reprinted in "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 1: 1960-1978"
Texts
Live
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle
Carson Farley
Garrett Fisher
Clement Reid
Satchel Henneman
Two Movements from Mirror Sonatina - Carson Farley
Clement Reid, piano
has a map
we build congruities and how
Satie and silent film pianistimism
Clement played magnificently. This is a huge sonatina.
Seven Raga ??s - Garrett Fisher
GraceAnn Cummings, piano
we are introduced to, and led to believe in, those cadenza cliches because they are masks, clever and attractive, somewhere between Short & Johnson
experience sharing
Explorations (excerpts) - Clement Reid
My issue: I was having trouble hanging with it, mostly due to exhaustion (long week at work). However, I do have some stray thoughts about playing "inside the piano" that don't necessarily pertain to this piece exactly.
A. The mechanism of a piano's action is a technology that has been fussed with for over 200 years, in order to maximize the flexibility and transparency with which an operator can manipulate the hammers and pedals. The scaling and voicing is adjusted meticulously to provide a believably homogeneous sound across its range.
B. Most pianists spend countless hours in the practice of playing the keys (outside the piano) and the vast majority of the literature is designed to be thus played.
C. Pianos have an exciting quantity of long wires, a huge soundboard, and all sorts of other ways to make sound upon them.
D. While the piano keyboard itself has become largely regularized, the parts inside, both the actions and the frames upon which the wires are stretched, exhibit a surprising variety of designs, such that a pianist can't rely on finding that the harp practiced upon will be the same as the harp found at performance. Especially at the lower end, where the wires cross over each other, a needed note might be found to be inaccessible at performance time.
E. The confluence of the above has possible consequences, among which might be: A performer might be less comfortable, and thus, possibly, less effective, playing inside than outside; The awkwardness of reaching over the keyboard and pinboard into the innards can be a fraught theater.
:: I have written reams of piano music, and only once*, long ago, indicated anything that wasn't "fingers on the keys." I haven't found a need for it yet. I am not a purist however, and willingly improvise in and out and all over anything I can find, pianos included. ::
*Well, twice, if I count clavichord scores and include the suggestion in Another that the performer might try playing the piece without first filling the instrument with ping pong balls.
Trevor O'Laughlin, double bass
specific
co-intonations
if there were more frames
with a yell and story
this was quite lovely
Recorded
November 10, 2019
Sonata in D Major, K. 53 - Domenico Scarlatti - Pieter-Jan Belder
We delight in the ease with which the charge can be communicated through the medium of the structure of the diatonic collection.
remapping
What exactly is this tonal meaning overlay that we so easily call forth
and to what deafness does it tempt us?
Symphony 3 "Camp Meeting" - Charles Ives - St. Louis Symphony Orchestra, Leonard Slatkin
an honest attempt is made to write the National Music of America
his stated aspirations surpassed his executive capabilities
we sure do like a rousing march
dense with implied intent
surreal metrical modulations
Disguises - The Who [from A Quick One]
music
in a box
in a box
Religious Vomit - Dead Kennedys [from Plastic Surgery Disasters/In God We Trust]
an eruptive
Assembly Rechoired 8 - Karen Eisenbrey, Keith Eisenbrey [November 1986]
Isn't this what all newlyweds do?
(getting a hum in one channel or a buzz)
Is that the bugle? It would have been new to us, from Coupeville
(Freudishly mal-typed Coupleville)
a Honey Moon bought antique.
the sound this projects to us is not the sound one could possibly imagine as somewhere from which a professional would deign to record. Our habitat.
A new bell?
Possibly, this is that time in my life when I no longer knew all that I had. I was rich. I play duets with myself as a way of keeping my brain active, like crosswords.
What is the acoustic structure of the dreaded 60 cycle hum? discern within the Fourier transform which perturbations arose mathematically and which evidence outside influence.
Our neighbor comes by for a favor and a cat skritch. We leave it to the cats. Anarchy and Amnehitabel. Listen close. We hear their purr. We show sounds to the tape. Those cats are making noise at us. We demonstrate how making coffee sounds back in the day. Espresso spaceship landing. That was Amnehitabel purring. We were so pleased we could make espresso together in our own home.
cast a nets
the Funmaker makes fun in the big house out front
Karen castanets
OR
was this elsewhere???
an underground conspiracy of metals
longest delayed ever of the fourth fugal entrance
at the end
the waiting for it game
Jobs, Jobs, Jobs - Nate Omdal [from Seattle Jazz Composer's Collective Volume 1]
improv rudiments
the drumming
November 12, 2019
St. Rage Book Launch - Karen Eisenbrey, Neal Kosály-Meyer et al [August 2016]
open with a song
Carol Anne would have been ready to go.
this book's sequel will come out in just a few days!!
What's in the bottle?
Fairy tale flavor
the sequel in the works even then
November 14, 2019
Sonata in A minor, K. 54 - Domenico Scarlatti - Pieter-Jan Belder
such fragile thoughts
pried apart
evaporate
rhythmic relations among the augmentations of contrapuntal rates of sequencing
oo la la! Eat that, Brahms!
Carmina Burana - Carl Orff - San Francisco Symphony & Chorus, Herbert Blomstedt, Lynne
admirably articulate, dynamics less compressed than often on recorded media. An actual stepped continuum. lighter sound smaller forces allow crisp quick tempos (not always exactly together, alas, but usually so)
demonstrates how little gargantuanism does for it, it-ness-wise.
Theater of tempi of time rates
pulsish.
In Session at the Tintinabury
November 11, 2019
Banned Rehearsal 993 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt
And then there was pear apple crisp
November 14, 2019
Der Tag, der ist so freudenreich - Keith Eisenbrey
My 2017 chorale setting.
Postscripts
panting for breath sonia and polenka
rushed bring stupid behind policeman with
(arranged my tapes in three neat little stacks)
carrying a sack of gold
a bird flutters through the sun
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