Preface
"We, in other words, presume to decide and create what reality is to be, while you presume that what you decide and create is what reality is and must be. Ladies and gentlemen - metacolleagues - I submit that we are both at the very least insufferable, and share a common stake in concealing from the innocent world our social unsavoriness. That, in fact, is why we both need humanists and journalists to misrepresent us publicly as if we had permissible manners and redeeming social value. Lord help us all if they ever turned on us the sharp critical tools of our own methodologies, in place of the nice soft soap they have been accustomed to use. Until that fearful juncture, at any rate, we can share at least the tranquil joys of that impunity which comes uniquely of being thoroughly misunderstood, even by one another."
Benjamin Boretz "Musical Cosmology For the Physics Section of the American Association for the Advancement of Science, Boston, 2/19/76"
- reprinted in "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 1: 1960-1978"
Texts
Selections from The Sound of Music - Lake Washington Singers, Betty Eisenbrey, director; JoAnne Deacon, piano [April 1966]
with interludes
to take us one song to another
JoAnne in fine fettle
Hey! That's my own Mom singing Lonely Goatherd and Edelweiss !!
The Highwayman (Remastered) - Stevie Nicks [from Bella Donna]
the likes of those
country watershed, denizen of
gaudete, gaudete - The Boston Camerata [from A Renaissance Christmas]
a concertante (quasi)
Across Lapland - J. K. Randall [from Open Space 39]
fitting for variations of the theme and kind
Ask Your Question Mix K - Your Mother Should Know [September 2011, remixed January 2013]
2 3 four
quite fine in many ways
Circles - Ease [from Roots]
Gothic Buzzcocks go ro co co
sci fi action adventure
very guy
November 19, 2019
Sonata in G Major, K 55 - Domenico Scarlatti - Pieter-Jan Belder
How do these disparate tonalities seem to go together
with each other?
How is this a piece?
image of an intricate mechanism
a panoply with motor pulse stand in for tour guide
all gung ho muscular Americana
with a pudgy sentimental filling
orchestrated to sound fine in the cinema
bright and brassy
Copland tries on Shostakovich's glasses
Hey hokey folks! Let's tip cows!
activity above all
motor it!
Also sprach Captain America
for all the bombast, fails to deliver
November 21, 2019
what language is that? Swedish Cajun patois?
music interloped with crazy talk story talk
tight knots of pitch work
learned that in Canada
Moral Majority - Dead Kennedys [from Plastic Surgery Disasters / In God We Trust]
true colors for the preacher man
pablum for the disaffected 13 year-old
Assembly Rechoired 9 - Alison B, Karen Eisenbrey, Keith Eisenbrey, Nan H
subdued stereo spread
rattles ease it open
each of us
does the best
we can
to transcend
all of us together
and still be each of us
each of us gathered
holy bone
a relic
from a
Holy Cow!
In Session at the Tintinabulary
November 17, 2019
My soul doth magnify the Lord - Karen Eisenbrey, soprano; Keith Eisenbrey, composer/piano
I have been working for many months, in fits and starts and putterings, on a setting of the passage in Luke known as The Magnificat. Karen and I will be presenting it at the 10:30 Service of University Temple United Methodist Church, Seattle, a week from this Sunday, on December 1, 2019. The modifications to the King James version of the text are mine.
November 18, 2019
single time of attack
of instantiation
start point
temporal order doesn't interfere with registral order or dynamic order (though d.o. here tends to alsobe flat (unordered) or believably so.
register determinate
material
segments bundled
can stick in a register
or wander
or reach out from
or pulse
or slosh
figuration matrix:
| single pitch || single start |
| duple pitch || duple start |
| single pitch || duple start |
| duple pitch || single start |
November 21, 2019
O Lamm Gottes, unschuldig - Keith Eisenbrey, composer/piano
Postscripts
it begins to sing in the second verse
fired with love's urgent longings 1 of the
first stanza concerning this dark night and it
stones
time
blunders ahead
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