I’d much rather think about things than do them. Or rather, once I’ve thought of something, it seems largely redundant and pointless to go ahead and actually make it. This is why I make music, and why I make the type of music that I do: I don’t know what it will sound like until it’s done.
I’ve been really busy lately so not much time to update the blog. This is just to point out that me and/or my music will be featured on ABJECT BLOC radio onRESONANCE 104.4fm, Tuesday 6 March 2012 at 22.30 GMT. What’s that? Of course you can listen online!
If you haven’t checked Soundcloud or The Listening Room yet, this would be a perfect time to find out what it is I actually do. Please note that I haven’t figured out exactly what it is I’ll be doing yet, so it should be a nice surprise for both of us. There will be something not otherwise available online, even if it’s me yelling about the Greek bailout, drunkenly recalling teenage crushes etc.
Also, I’ve slightly redesigned everything on the website. The text column is now 12 pixels wider. It was agony. I hope you’re grateful.
I need to do a write-up of the Redrawing: Collective Collaborations show at Monash last year. Apart from a sneak preview of my contribution, nothing else of the latest, book-format iteration of String Quartet No. 2 (Canon in Beta) has been posted on my site yet.
The visual form of String Quartet No. 2 (Canon in Beta) was a spectrogram made of the 10-minute version of the piece. This produced a long, striated pattern that tied in neatly with some of the other visual and musical models on which the original(?) piece was based. Now, deciding to produce yet another distorted copy based upon the already distorted copy (itself based on a distorted copy etc.) I ran the spectrogram through the freeware image-to-sound program Coagula Light. The results are surprisingly consistent yet pleasingly different.
I’ve made a small video of the spectrogram, with the accompanying music. For comparison, I’ve included the video for the original(?) String Quartet below. Of course, you can also try playing them simultaneously.
Jane Siberry, “Lena Is A White Table” (1987).
(6’42″, 10.9 MB, mp3)
After Saturday’s post, a few more friends have sent in music with evil cackling. From Mark Harwood, Jani Christou’s Epicycle:
Clive Graham sent in a couple: Daphne Oram’s Dr Faustus Suite, and this:
I was just listening to Salvatore Martirano’s Underworld and I realised that there’s just not enough evil cackling in modern music. Underworld is probably the monarch of this petty kingdom, although Frank Zappa was probably the most prolific contributor to the genre, most notably in The Chrome Plated Megaphone of Destiny, in addition to sundry appearances in RDNZL and elsewhere. Karlheinz Stockhausen also gets off a particularly good one in Der Jahreslauf.
Apart from these I’m drawing a blank. I suspect there are further examples lurking amongst the later works of Stockhausen, and possibly in one or two of Kenneth Gaburo’s pieces. This sorry state of contemporary music reflects a general dearth of evil cackling these days. Even the worst of evildoers are so cowed by political correctness that they now feel obliged to pretend their nefarious deeds are committed for the greater good. If only they could show they were getting some enjoyment out of their evil, then the world might start to make sense again.
UPDATE 2: of related interest.
Last night I was listening to a concert recorded in Phill Niblock’s loft in SoHo in 1979. Tom Johnson was performing his piece Nine Bells, for suspended fire alarm gongs. Right at the very end of the piece, a telephone in the room starts to ring. I’m talking one of those old-school Universal Telephone style BRRRRINGGGs. Nobody is outraged and Johnson doesn’t imitate the phone, even though he is ideally equipped to do so.
James Brown, “Doing The Best I Can” (1974).
(7’42″, 17.6 MB, mp3)
Can you imagine after all these years if you asked John Cage, “Do you really believe in Zen?” and you get the answer, “No.”
– Morton Feldman
I’m interested in John Cage but I’m not interested in Zen, so I don’t want to get too tangled up in origins. When reading the Pan Zen parables in The Sinking of the Odradek Stadium I wondered at first if Mathews was using Cage as a source, or if the two of them had each read the same, common book of Zen stories. After the briefest of research, it was obviously the former case.
Next thought: why Zen? Was Cage consulted as a handy source of Zen parables, or would any thought suitably exotic have fitted Mathews’ purposes and Cage’s anecdotes made good material? Come to think of it, is there anything wrong with Mathews’ versions of these stories? The linguistic joke is a broken-English rendition of Cage’s English, transformed completely, yet still recognisable. What we have is a (fictitious) English translation of a (fictitious) Pan translation of Cage’s English interpretation of and English translation of…. What is the original? Cage’s retelling of Zen stories are impossible to pin down. They drift back and forth between China and Japan, and some of them must originate in India. Cage’s versions must be as alien as Twang Panattapam’s. Where is the Patriarch and where is the poem?
The inevitable cultural distortion produced by imitation is as much a voluntary act of rejection as it is a voluntary, albeit imperfect, embrace. These transformed Zen stories, iteration and iteration, reminded me of the frontispiece of Guy Davenport’s book of essays, Every Force Evolves A Form. He draws a design from a Celtic coin, and observes that it’s creator was
trying to make iconographic sense of others derived from a stater of Philip II of Macedonia, which bore a head of Hermes on one side and a winged horse on the other. Copy after copy, over centuries, provincial mints in Aquitania had already misread the face of Hermes as a lion’s head, as sun and moon, or as so many abstract lines and dots.
A quick google finds plenty of examples of imitation Philip II staters, with a multitude of variations on the single, original design. One blog on Bulgarian Celtic culture charts the various paths by which the designs evolved. The author argues that these designs were “the result of a conscious and deliberate rejection of Greco-Roman art and experimentation with alternative artistic ideas that would not resurface in European art until the modern era”.
Davenport concludes that in his example, the profile of Hermes has been transformed into a horse. Based on the many examples found on Google Images it appears that he goofed and is looking at the reverse of the coin. This misinterpretation, accidental or not, draws its subject to a conclusion (“All art is a dance of meaning from form to form.”) as fruitful as Cage’s study of Zen – however faithful, misguided or superficial it may or may not have been. It is all so much raw material for an active mind to work on.
This bears repeating: I keep coming back to the idea that all creativity is an act of distortion. I’ve just been reading Harry Mathews’ epistolary novel The Sinking of the Odradek Stadium. One of the story’s protagonists – Tro-tsi Twang Panattapam McCaltex, from the former Italian colony of Pan-Nam in Southeast Asia – writes in her imperfect English a Zen story well-known in her native Pan.
In the po test by whiwhich the 6° arch of zen was chose, there were poems. One say, “Dis-like roil dust. The probes remove the dust.” The “head wing” poems are their. It said, “He ‘s the mind. Where, is dust?” Some lat-er Pan masters: a monk who was stak-ing bats, a young-er monk up to his id in the dust – “Are you a-staking-bats?” “No. Why?”
Hello. How’s your new year shaping up? One thing’s for certain, I’m never drinking again.
A blog post or something will appear here shortly. In the meantime, please join me in entertaining these positive thoughts.
Off the top of my head, these are my cultural highlights of the year. Well, almost off the top, because the best moments were of getting my own music out in public again. In particular, seeing the Bionic Ear project finally come to fruition with the two concerts in Melbourne was the biggest moment – hearing everyone else’s pieces and seeing the effect their music and mine had on the audiences. There was also the opportunity to play live with analogue electronics for the first time in years, with gigs at Abject Bloc in Limehouse Town Hall and Unconscious Archives at the Apiary that everyone seemed to enjoy.
I’m thinking mostly about music gigs I went to this year, because they are physical experiences of time and place. Of course, this means that the one that stands out the most is SONNTAG aus LICHT – seeing at first hand a part of Stockhausen’s mad, overwhelming vision enter the world and attempt to make itself understood. The other three that made the biggest impressions: Boulez conducting Pli Selon Pli and packing a bigger punch than I ever thought possible, Eliane Radigue’s Naldjorlak trilogy banishing the outside world through the slenderest of means, and Ferneyhough’s La terre est un homme blowing a hole in the received history of recent music – a lost landmark hidden in plain sight.
So where’s the New new stuff on my list? I suppose that should be my new year resolution for 2012.
Other standouts that I didn’t blog about: a superbly performed but unimaginatively conceived version of John Cage’s Song Books by Exaudi at King’s Place, Anna Zaradny’s and John Wall’s sets at Sotto Voce for showing me that there’s still potential for laptop gigs, and hearing Apartment House play my old bête noir, Phill Niblock’s Five More String Quartets in person. This last piece was the inspiration, years ago, for my String Quartet No. 2 (Canon in Beta), which received a new outing in printed form at Monash University this year.
Jürg Frey, “Louange de l’eau, louange de la lumière” (2011). basel sinfonietta /Manuel Nawri.
(7’57″, 12.5 MB, mp3)
I’ve been doing boring music stuff the last few weeks but on the weekend I did make it to the concert of Cornelius Cardew’s late music at Conway Hall. This was the music he composed while an active member of the Progressive Cultural Alliance and the Revolutionary Communist Party of Britain (Marxist-Leninist). I was going to write a little something about the concert tonight so I looked up the RCPB(ML)’s website, which had a link to the flyer promoting the gig.
Instead of the flyer, I found this:
The front page article links through to a statement by Chris Coleman, the National Spokesperson of RCPB(ML). It contains such shameless statements as:
Comrade Kim Jong Il has led the Korean party and people in continuing to build the socialist society of their choice, in the most trying circumstances, and defending the sovereignty and independence of the DPRK, while ceaselessly striving for the peaceful reunification of the Korean people by their own efforts.
In my last Cardew article I linked to the party’s website with the phrase “wrongheaded political project”. As I feared, I was being too kind.
The statement is then followed by the official DPRK statement, reprinted in full without qualification or comment. It is accompanied by pictures which make it look like a copy of the Kim Jong-Il Looking At Things blog, without any sense of irony, humour or self-awareness. It is full of sentences such as “Kim Jong Il possessed of personality and qualifications as a great man on the highest and perfect level was an outstanding thinker and theoretician who led the revolution and construction along the path of steady victories with his profound ideologies and theories and remarkable leadership.”
It was this that reinforced the tragedy of Cardew’s life. Regardless of the qualities of his later music, he made himself into a humourless, clueless, brainless agitator utterly lacking in awareness of both the evil he promoted, and how transparently ridiculous his efforts appeared to the people he most wished to save.
Dane Rudhyar, “Granites” (1929). Sarah Cahill, piano.
(9’18″, 11.7 MB, mp3)