Monday

4. John Zorn, Six Litanies for Heliogabalus

presented by Rory from tenpastseven

John Zornis an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist.   

"I've got an incredibly short attention span. My music is jam-packed with information that is changing very fast... All the various styles are organically connected to one another. I'm an additive person -the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there."

John Zorn

Six Litanies for Heliogabalus is an album by John Zorn. It is the third album to feature the "Moonchild Trio" of Mike Patton, Joey Baron and Trevor Dunn. The work is based around the tale of Roman Emperor Heliogabalus.

More here & here

3. NIN, Ghosts I - IV

presented by Peter Power

The album Ghosts I - IV is the first album released by Trent Reznor under the Nine Inch Nails name sake outside of all his previous contractual obligations in his career thus far. The music was arrived at unexpectedly as the result of 'an experiment'. 

The rules were as follows: 10 weeks; no clear agenda; no over-thinking; everything driven by impulse. 

Whatever happened during that time was to be released as something.

More info here & here

Sunday

2. Alvin Lucier, "I Am Sitting In A Room"

Alvin Lucier I Am Sitting in A Room (1970)

Introduced by James G. R. Cronin

Composer John Cage’s 4’ 33” (1952), a “performance” of four minutes and thirty-three seconds of silence, is recognised as “haunting” the late twentieth century soundscape. In 4’ 33” the incidental shuffling and coughs of the audience breaks the silence. This is the “music” of the piece. For Cage, there is no such thing as absolute silence. It is a relative phenomenon. John Cage’s pervasive philosophical intent marked a departure point for a recent symposium of noise and silence hosted by the National College of Art and Design, Dublin, in December 2008 at which David Toop spoke. At the symposium’s opening, Alvin Lucier’s sound piece, I Am Sitting in A Room (1970), was played. Lucier’s compositions explore the physicality of sound moving in space (Toop, 2005, pp. 66, 173).

Full text

I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.

 

In Lucier’s I Am Sitting in A Room, the composer, recorded himself narrating a text, and then played the recording back into the room, re-recording it. The new recording was then played back and re-recorded, and this process was repeated until eventually the words become unintelligible, replaced by the pure resonant harmonies and tones of the room itself (Lucier, 1995, pp. 86-95, 312, 314). For Lucier, the climactic point is when “speech goes from intelligibility to unintelligibility, or from words to music. What’s beautiful”, says Lucier, “is that this point is different for each listener; it’s kind of a sliding fulcrum on a moveable time scale” (Lucier, 1995, pp. 92, 94).  

 

 

References

Lucier, A. (1969). I am sitting in a room. (original recording) 

             Retrieved January 11, 2009 from http://www.ubu.com/sound/lucier.html 

Lucier, A. (1995). Reflections: Interviews, scores, writings 1965-1994. MusikTexte: 

Köln.

Toop, D. (2005) Haunted weather: Music, silence and memory. Serpent’s tail: 

London.

1. Robert Ashley, "Automatic Writing".

presented by Piaras


Robert Ashley is an American composer best known for his operas and theatrical work. 


"In Automatic Writing I had become interested in the idea of characters in an operatic or dramatic sense. Of characters actually being manifested through a particular sound. I was fumbling around looking for ways I could work in an operatic sense that would be practical. I didn't want to start writing things that wouldn't be performed for 25 years without forming a group. So, I went toward the idea of sounds having a kind of magical function. Of being able to actually conjure characters. It's sort of complicated for me to think about it because I don't entirely understand it. It seemed to me that in a sort of psycho-physical sense sounds can actually make you see things, can give you images that are quite specific."


Robert Ashley


Automatic Writing


More here