January 10, 2020
Why All This Music?
Karin Stevens Dance
Velocity Dance Center, Seattle
Kauai: Sky, Lava Rock, Palms, Sand, Woods, Ocean
Dancers: Micaela Gonzales, Hazel Morris, Ben Swenson-Klatt
Music: CHA - Carol J. Levin, Heather Bentley, Amelia Love Clearheart
Ecology of Wonder
Dancer: Maeve Haselton
Music: Heather/Dio Duo - Heather Bentley, Dio Jean-Baptiste
Llandover Woods
Dancers: Anja Kellner-Rogers, Emma Klein
Music: Crows at a Crosswalk - Leanna Keith, Daniel Husser
A Small Space of Wildness
Dancers: Maeve Haselton, Robert Moore
Music: Kin of the Moon - Leanna Keith, Heather Bentley, Kaley Lane Eaton
A truly enjoyable evening all around. Karen and I had dinner at The Tin Table before the show, and the glory of the sound of the old wooden plank Odd Fellows Hall floor of it as activated by the wait staff in their working was worth the visit even without the lovely dinner itself.
Social composition among the groups of dance performers and the groups of music performers is similar, or rather, the social composition of the music performers, in that each group contains at least one member in common with another, is echoed economically in the social composition among the dance performers in that one dancer is shared among just two of the pieces. Among the music performers numerous sharings, among the dance performers, just one.
I was digging the care and clarity with which ideas propagated through groups of dancers, from unfussy unison motions (I don't know dance-lingo - what I mean is when the dancers are dancing the same movements at the same time, but (unfussy) not overdoing the precision of it) to exchanges and conversations and arguments and lovings.
Recorded
Gradus 199 - Neal Kosály-Meyer [October 2011]
After noting the broad empty expanse of it
and the pitch repetition
after noting all that
one might at first wonder, then guess, then surmise, then theorize, then test, then provisionally affirm
the pitch class set size and composition.
It counts as one of those facts about it
one of those red herring facts
as to what is it about it.
Music artifacts are syntheses, every last one of them.
That particular A is chosen because it modulates the moment just so,
not because a decision was made to only play A's
and this happens to be one.
The una corda mechanism had a squeak.
OR
The coercive sense in which errant notes of stray pitch classes hardly matter since the power of their suggested dis-inclusion as a possibility overcomes the fact of their purported wrongness.
We perfect music as we listen to it.
For me, Gradus is a thought experiment, and a welcome consistent presence as an object of consideration.
Tidal Waves - Lunas [from Over Me]
sloshes back and forth in the beat
and a cut short coda
perhaps a segue to the next track
January 5, 2020
Sonata in F-sharp minor K. 67 - Domenico Scarlatti - Pieter-Jan Belder
hustles along doing it
not time to waste
Finnegans Wake Chapter 6 (end) - James Joyce - Neal Kosály-Meyer [December 2019]
. . . no applause please
whisper so the message does not travel
any number of ways can be devised to fail to tell
the farce of dustiny
primum mobilisque
deviation from meaning
telling to hear what is meant
one must mind what is never said
pure lyricism of shame brot
(an ethel)
appears to be about cheese
possibly twelve:: :: answer ----.
Land of Hope And Glory - The Who [from A Quick One]
sounds like my generation (baby)
with a pound out to pound it out
ultra discrete production
game knows game
no sound need touch another
Banned Telepath 7 Seattle - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [December 1986]
and Aaron's Epic Sneeze
AhCHOOO
definite buzz in the equipment system that's for sure
nothing has ever sounded as good as the funmaker nor will ever
Aaronsbundler fight song
Karen brings me tea (present listening back day)
tea in this hullaballoo!
woo!
how many is we?
Back to take me out to the old root root rot (attenuating circumstances)
sounds in your face
like hawkers at a bazaar
taxonomy of climate
atlas designated regions
among the more ornately wrought of the telepath projects, personnel-wise and geographically
several fine repeated versions of the music box innards from whomever arrived I know not but what has been among us throughout though now sadly broken up about it
:: INFORMATIONS::
In this case Anna K, Neal Kosály-Meyer, and Yvonne Meyer made a session in San Diego in November of 1986; Karen and I made a session in Bickleton (also November of 1986); then Karen, Aaron Keyt, and I made this session in Seattle. The far flung tapes were gathered together in April of 1987 and became Banned Rehearsal 107.
::OUTFORMATIONS::
the persistent dulcimer
((buzz: the sound of the sound of the mechanism of sound capture))
the shrills hold sway
tamed by the holler
own worldly dissonance proudly
I am reading from an early volume of this book from which this blog I write is lifted
We seek to buzz the space
like a house-sized kazoo
an opera, as is Book of Windows, for that matter
I was early told to think vocally. I do.
Gradus 109 - Neal Kosály-Meyer [December 2006]
a valedictory session, the lowest A again
just because
before launching into the final A-nat
song of teapot past
January 7, 2020
Shine - Star Anna and the Laughing Dogs [from Alone In This Together]
ample room in the meter
for weighty sighs
Selections from Second Thoughts - Keith Eisenbrey - Keith Eisenbrey
(theoretically): the same pulse
but different relations of duration ratios
as much as pitch and pitchclass scheme
distinguish pieces from other pieces
(within this set of Second Thoughts pieces)
what binds a piece as a piece?
a regularity among its parts?
including a regularity that only emerges in comparison with other pieces (within this set of Second Thoughts pieces) exhibiting similar relations among their parts
the sensual experience of thinking
This was my performance at Seattle Composers Salon in January of 2018, and includes the Q&A.
In Session at the Tintinabulary
January 6, 2020
a chord dire and splendent
regions are created
thought path
or trace
Improvisation as real-time composing works
when we can allow ourselves to follow each thought of another in constant recalibration, building on before and kicking away the scaffolding.
while kicking away
but kicking away
or kicking away
if kicking away
if and only if kicking away
further on we go
farther back we reach
polyvalent relations to memory
Postscripts
taste good he said and took it i've asking
time one has a spoilt i can't understand
it usual breakfast do you think it is
the dragon
is language itself
the risen throne
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