Preface
"Experiencing music is bringing into being a singular time-space identity, received from a singular perspective of location.
A peculiarity of any music experiencing is that no physical time-space-location-occasion (observable and quantifiable in referential, intersubjective terms) can be designated as being the time or space or occasion identity of a music experiencing.
The real time and space and occasion of music experiencing are psychic time and space and occasion."
- Benjamin Boretz "Prologue to ("Whose Time, What Space"): [A Seminar Talk at Eastman]" 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/.
February 27, 2021
Amelia Coulter
tough hard
molecular bonds
heavy industry
cut
weld
grind
resist wear
tear not
((tool's business) end)
do not visit this dentist
the machine is speaking
ram
drill
ream
mill
Alex Guy
proceeding as thinking
moves by observing one's thinking
while moving thinking
thinking moving
proceeding observing
observing proceeding
what might be
possible
in terms of relating
the notions of single vis a vis multiple
thoughts
and of single vis a vis multiple pieces
does being a single piece
strongly imply
that a single thought
is co-terminate with it
or might it be
more like a collection
in a box or boxes
all metaphors of course
boxes, collections, thoughts, and pieces
so the question arises
whether the structure
of the metaphoric relation
answers to anything
in the realm of music experience
Recorded
Lose Yourself - Eminem [from 8 Mile (Music from and inspired by the Motion Picture)]
lines have a groove
to guide the flow of syllable
parts of speech
February 28, 2021
Gradus 112 - Neal Kosály-Meyer - Neal Kosály-Meyer [January 2007]
notes are played
sounds start and stop
each persists past their hard limits
the limits are markers
to organize our memory
we can experience duration
from
within the framework of meter and pulse
(metrically tamed duration)
rationalizing impulse
or a social cohesive
Equally Choked - Broken By Clouds
blues of the keeping it together
song fragment
Ella's Song - Bernice Johnson Reagan - University Temple Chancel Choir, Chris Vincent, director, Karen Eisenbrey, soprano
well sung, Karen!
Pavana, FWVB 13 - John Bull - Claudio Columbo [from The Fitzwilliam Virginal Book]
all the betweens of anythings are decorated, mediated,
composed with Randallian care
all the tribes of choirs
interchangeable at command
music for undefined
orchestra
who showed up that evening
how many are you willing to pay
a signal of
wealth and stature
Mein Herz ist bereit, Gott - Heinrich Schütz - Capella Augustana
voice and instrument : a machine a made thing
both
I am the equal of a violin
and (humility)
I am not better than a violin
Canzone in D minor, BWV 168 - Dietrich Buxtehude - Simone Stella
each voice entrance sets up a new phraseological continuity
Von Himmel hoch, da komm Ich her, BWV 738 - Johann Sebastian Bach - Michael Chapuis
as in the Buxtehude the single chorale or canzone comes with variations
Lamentationes pro die Jovis Santo 1 - Jan Dismas Zelenka - Schola Cantorum Basiliensis, Rene Jacobs, Guy De Mey, Kurt Widmer
the betweens are overlain, interleaved, cabinetworked
Sonata in G Major - Carl Philipp Emanuel Bach - Miklos Spanyi
there is a place within each paragraph where the ground shifts
CPEB
all the
letters rhyme
made the phrase-metrical position structural
the bass bit at the start of III is the clown role in this show
Sonata in A Major, K. 114 - Domenico Scarlatti - Pieter-Jan Belder
he turns such corners
I get lost
not sorry
the sheer count of directly
repetitive bits at play
mitigates the heavy handedness of larger scale repetitions
repeats that skew the linear sequence
Sonata in G minor, Hob. XVI:44 - Franz Joseph Haydn - Christine Schornsheim
catches a glimpse of itself in a mirror
is my hair really that gray
tied in
its own knot
Symphony in E-flat Major, K. 132 - Wolfgang Amadeus Mozart - Academy of Ancient Music, Jaap Schroder, Christopher Hogwood
my understanding
is that the events for which such things as symphonies were
composed
included other musical numbers
interspaced among the movements
or
perhaps the symphony was regarded
as just the set of pieces
for the orchestra
to play
when they played their bit
so: were some 18th Century symphonies composed knowing what other pieces might be performed between their movements?
a set of orchestral interludes?
how
and when did it shift to become the main show
measured regular time spans
Sonata in D Major, Op. 9 #3 - Jan Ladislav Dussek - Viviana Sofronitsky
all the newest figurational gadgetry
see what I can do
truth be told
it is fun to
play
but doesn't really get much of anywhere
outside of the flash pan
March 2, 2021
Sonata in G Major, Op. 36 #2 - Muzio Celementi - Howard Shelley
a teaching piece
but not just how to play
also to teach what good taste is
Symphony in D major, Op. 36 (#2) - Ludwig van Beethoven - Vienna Philharmonic- Wilhelm Furtwängler
accent syncopation for sure
but also the odd places within the meter
where
twists are found
the minor modulations are syncopated also
this recording
presumably lifted from 78s
has a fascinating surface noise
full of restless
spirits
as though
at times
it had been recorded on a used tape
imperfectly
erased
the remnants grow back
March 4, 2021
Sonata in F minor, Op. 20 - Johann Nepomuk Hummel - Constance Keene
ornamental melodic
spare melodies
fancy figuration
spare figuration
caught up
in its own performance
this piece is about playing this piece
wears fancy duds
the materials don't interrupt
the fancy frills have their place
and don't presume
structural importance
that is
no thought is paid
to modulations among its frills
Introduction et polonaise brillante - Friedrich Kalkbrenner - Francesca Carola
likes quickly repeated notes
gassed by the escapement action
more a routine than a piece
Postscripts
::Consult the Oracle
slow my breathing waiting to see if some-
thing is going to happen it is dark my
lord and I hear in rubber shoes twice
Reality Check::
is colder
the blankness of my walls
the honey jar
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