Preface
"Expression: is it 'sexual'?
I would say, no expression is not 'sexual', except where it is explicitly received as metaphor, symbol, or signifier;
Otherwise, I would say, expression is not 'sexual', I would say it is sex, just not sex of any definable variety, but sex, nevertheless, of utterly knowable sensation. Sex that maybe we can look straight on at, not need to avert our gaze from, because sex that is literal yet inexplicit, specific and intense yet without exterior reference to make it confrontational, sex fully absorbing within yet unsignified without, interpersonal yet unsocial, medically safe, socially covered, but maybe risky in obscure ways not yet identified in the sociotheoretical literature."
- Benjamin Boretz "music/ /consciousness/ /gender" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"
Texts
Streaming
Wayward in Limbo
With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.
- from the Wayward Music Series website at https://www.waywardmusic.org/.
January 2, 2021
Kaley Lane Eaton
I drew a picture.
Greg Sinibaldi
181,461 Dead
Scientists Fret
201,736 Dead
Emergency from Climate Change on Two
Coasts
Trust Looms as a Casualty
Rounding the Corner as Hospitals
fill
Lament for 234,566 Dead
melody and expression
pitch
as such
as the common
not universal
location
of
expression in music
maps to our vocal apparatus
and thereby speech
pitched drums
are talking drums
all the pasts of song recalled
these melodies hit home
Recorded
January 2, 2021
 |
The Bumps - Jeanette's Synco Jazzers, Ml. Williams [from Allen Lowe's Really The Blues]
This track is ready for the full Max Fleischer treatment, song and dance in a single sinuously flowing line.
Piano Concerto in G Major, Op. 55 (#5) - Serge Prokofiev - London Symphony Orchestra, Lorin Maazel, Sviatoslav Richter
poked and prodded without ceremony
or a by your leave
comic characters
cruel
clowns
concert music prizes expertise
and music that displays its own
and/or
allows the display of others'
must be sure all the keys work
one of his more
believable orchestra pieces
his orchestration style enjoys having a foil to play against
here comes the cleanup crew
January 3, 2021
Piano Quartet in G minor - Johannes Brahms, orchestrated by Arnold Schoenberg - Chicago Symphony Orchestra, Robert Craft
part of what music is
as it comes into me
is the residue
in sound
of the
experience
of making that sound
the performers' experience
of being inside
making that experience
would
I think
be profoundly different
for a member of
an orchestra playing this version
than would be
the experience
of being one among four
making
their music
for those others of that four
and for those other others
outside of that four
The tunes and their settings are the strongest part of this. The symphonic workings out of them aren't nearly up to the same standard.
please
look aside
while we move to the next showcase
Standing In The Need of Prayer - Stanley Brothers [from Goodbye, Babylon]
features
call and response
solo
ensemble
and tutti
in balanced segments of groups of sounds
each distinctly orchestrated
as one might hear a baroque concerto
One Mint Julep - The Clovers [collected from Dave Marsh's The Heart of Rock & Soul]
nice little piano lick
clean and bright
Violin Concerto - Benjamin Boretz - midi realization
lots of Petrushka in the first movement
midi makes like as if
each note is played
from
into
and through
a different radio
music set against music
music
splitting
interrogation
January 4, 2021
O God of Love - [?] - Betty Eisenbrey, Joanne Deacon
a family artifact
I'm guessing it is something my mom and her accompanist were
working on
for
and I'm guessing here
a ladies' musical club
the name of which
I don't recall
Funky Broadway, Part I - Dyke and the Blazers [collected from Dave Marsh's The Heart of Rock & Soul]
How many times can we say Broadway
and stay on the same street?
The fade out with
drums and vocal is starting to get somewhere.
Too bad it was on a pop record
and only had 3 minutes to work with.
Veni Jesu - [?] - Lake Washington Singers, Betty Eisenbrey [1962]
another family artifact
probably a more or less contemporary arrangement by
the sound of it
50s or later I would say
No One Receiving - Brian Eno [from Before and After Science]
a placeholder for a music
Pastorale: "The Color of Water" (take 2) - Neal Kosály-Meyer - Neal Kosály-Meyer [October 4, 2010]
house that jack built structure
but reversed
partly
each segment starts with
the old
and adds new at the end
house that jack built
starts with new
and
works each segment backwards
doing either in the pattern of the other
variation one
doing either in total reverse
variation two
doing either in
the total reverse of the other's pattern
variation three
from my blog post of October 9, 2010:
Neal came over to the house to reacquaint himself with how his 1982 score goes on a grand piano, in anticipation of his performance in Snohomish on October 14 at Steve Scribner's concert. Back in the day Neal was concerned that an audience would be unable to hear the details of a piano's high partials in their moil, but his experience with Gradus (more about this massive long-term project in subsequent postings) has led him to a different conclusion. After reviewing the textual material, he played through the piece twice, each time clocking in at about 20 minutes. The leisurely tempo seemed comfortable and right to me, and I look forward to hearing it in public this week for the first time since 1985 or so.
Where'er You Walk - George Friedric Handel [from 100 Greatest Classics, Vol. 4]
begging for parody
what would the 100 Classic Greatests consist of
a lesson in how not to set a text
January 5, 2021
rattles or shakers and zither strums
I am sitting on my Zafu and Obb cat sits upon
me
and purrs
everything is held right up to the microphone's ear
sub dude
sloppy snake slides past
the machine colonizes
we will march loudly
fife and
drum
we will march
cheering for Blue Georgia
the sound meter giving its own last VU gasp
the sound of its own destruction
It's the Speaker of the House
the qualities of our doing
the quantities of our stinking
Keith &
Aaron
glistened carefully
oh dear Mr. Punch
made the baby cry
farts of speech
we bring the Speaker of the House out for scatological time
January 7, 2021
Untitled - Versaille [from The Carlos Compilation / Pleed Zine a Rescued Record]
bracingly basic punk
mal-shaped precisely
24 Preludes, Op. 50, 1 through 8 - Lockrem Johnson - Keith Eisenbrey [from the recital Continuity in Small Things, University Temple United Methodist Church, Seattle, February 23, 2002]
clever sharp intelligent pieces and fun to play too
Roundelay (for six instruments) - Robert Morris - Ossia, Geoffrey Pope [from Robert Morris at 70]
we wiggle at each other
vigorous page turns
but something about it moves
slowly
taking all of its details
with it
punk rock songs
compressed into a few
notes each
and then we get the whole history of them
pay attention there will be a test
In Session at the Tintinabulary
January 3, 2021
Anybody's Fingerbook - Keith Eisenbrey - midi realization
This is the 14th part of a multi-composition project that has engaged my attention since February of 2013. I started this, a set of finger exercises, about 2 years ago and completed it last July. Since then I have been carefully proof reading it. This midi-realized read through of the entire book is, I hope, nearly accurate. I have some cosmetic adjustments to make in the score but am more than a little ready to move on to the next part, which will be a single composition that combines parts 15 and 16.
Postscripts
::Consult the Oracle
Reality Check::
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