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Old 05-16-2019, 04:49 AM   #721 (permalink)
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Quote:
Originally Posted by rostasi View Post
Kyleís a good writer (as well as being a nice guy).
To tie into your minimalism mannerisms, he and I met in
the 70s at a concert that was solely devoted to ďminimal
and conceptual music.Ē I still have the program from that
night. We ended up going out with a bunch of the
performers after the concert and trying to pick up girls.
Heís pretty devoted to alternate tunings - both writing
about them and releasing his own work using them.

I like Stubbsí books, but when I read something
like that impression of Kontakte, I really think all
of the purple prose does a real disservice to the
work (and, somewhat, the composer too).
Quote:
Originally Posted by OccultHawk View Post
Youíre really touchy about Stockhausen. I think itís because he was kind of adopted by fans of Can who didnít really go any deeper into the genre or learn anything about his contemporaries.
I'm just so grateful that at MB, not only do a few members read my little ramblings, but have direct first-hand experience with the subject matter and individuals and authors discussed and have valuable insights which are relevant and interesting in response.

Cheers to both of you.
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Old 05-16-2019, 05:20 AM   #722 (permalink)
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To continue the conversation, I'll share a few excerpts kindly compiled and offered by a musical peer on mine. Several of these were immediately familiar as I have copies of the complete essays in my music library. He shared:

JOHN CAGE

Quote:
New music: new listening.

Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.

...one may give up the desire to control sound, clear his mind of music, and set about discovering means to let sounds be themselves rather than vehicles for man-made theories or expressions of human sentiments.

The other day a pupil said, after trying to compose a melody using only three tones, ďI felt limited.Ē Had she concerned herself with the three tones ó her materials ó she would not have felt limited, and since the materials are without feeling, there would not have been any limitation. It was all in her mind, whereas it belonged in the materials.

My work became an exploration of non-intention.

I was intent on making something that didn't tell people what to do.

Many people taking a walk would have their heads so full of preconceptions that it would be a long time before they were capable of hearing or seeing. Most people are blinded by themselves.

The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason.

There are people who say, ďIf musicís that easy to write, I could do it.Ē Of course they could, but they donít.
BRIAN ENO

Quote:
Honor thy mistake as a hidden intention.

Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part.

...I realized that this removal of context was an important point in the magic of music. One of the things Iíve been concerned with quite a lot is to deliberately dismantle or shift contexts around so that something comes from a certain area where you didnít expect it, or something appears and it has a certain mysteriousness to it.

Some sound comes so heavily laden with intention that you canít hear it for the intentions.

Repetition doesn't really exist. As far as your mind is concerned, nothing happens the same twice, even if in every technical sense, the thing is identical. Your perception is constantly shifting. It doesn't stay in one place.

I think if something doesnít jolt your senses, forget it. Itís got to be seductive.

I like it [the piano] because of the complexity of its sound. If you hold the sustain pedal down, strike a note and just listen... thatís one of my favorite musical experiences. I often just sit at the piano for an hour or two, and just go ďbung!Ē and listen to the note dying. Each piano does it in a different way. Youíll find all these exotic harmonies drifting in and drifting out again, and one that will appear and disappear many times. Theyíll be fast-moving ones and slow-moving ones. Thatís spellbinding, for me. [He noted that he had done this with the piano many times -- and that it made him smile when he came across this passage!]

Retaining my lack of proficiency to a certain extent allows me to make interesting mistakes.

Most music chooses its own position in terms of your listening to it. Muzak wants to be back there. Punk wants to be up front. Classical music wants to be another place. I wanted to make something you could slip in and out of. You could pay attention or you could choose not to be distracted by it if you wanted to do something while it was on... Ambient music allows many different types of attention.

I want to make things that put me in the position of innocence, that recreate the feeling of innocence in you.
STEVE REICH

Quote:
What I'm interested in is a compositional process and a sounding music that are one and the same thing.
Listening to an extremely gradual musical process opens my ears to it, but it always extends farther than I can hear, and that makes it interesting to listen to that musical process again. That area of every gradual (completely controlled) musical process, where one hears the details of the sound moving out away from intentions, occuring for their own acoustic reasons, is it.

I begin to perceive these minute details when I can sustain close attention and a gradual process invites my sustained attention. By "gradual" I mean extremely gradual; a process happening so slowly and gradually that listening to it resembles watching a minute hand on a watch - you can perceive it moving after you stay with it a little while.
MORTON FELDMAN

Quote:
All I ask is that composers wash out their ears before they sit down to compose.

What I tried to bring into my music are just a very few essential things that I need.

There is a suggestion that what we hear is functional or directional, but we soon realize that this is an illusion; a bit like walking the streets of Berlin ó where all the buildings look alike, even if theyíre not.

What I am after is somewhat like Mondrian not wanting to paint bouquets, but a single flower.
ARVO PńRT

Quote:
I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comfort me. I work with very few elements ó with one voice, with two voices. I build with the most primitive materials ó with the triad, with one specific tonality...
ELIANE RADIGUE

Quote:
It's like looking at the surface of a river. There's an iridescence around the reefs, but its never completely the same. According to the way in which you look, you see the golden flashes of the sun or the depths of the water. In a swimming pool you can see the reflection of the ripples on the bottom. Or have a vision of the whole and let yourself be carried away by what I call "dream gazing," or fix on a detail and make your own landscape. There you can make your own soundscape.
But what I appreciated most was his sharing of a thought piece he'd penned himself which he's kindly permitted me to share here with you:

THE PRESENCE OF PURE SOUND: SOME OBSERVATIONS ON AMBIENT COMPOSITION BY JOSHUA SELLERS [2004]

Quote:
A meditative soundscape does not re-present anything other than sound. It does not function as a medium for expressing an idea or an emotion. Rather, it becomes nothing more than the pure presence of sound itself.

A soundscape does not inherently possess a definitive, fixed meaning. It certainly may evoke various emotions or ideasóbut such things arise from the listenerís own co-creative participation in the unfolding process of sound events. The listener quite literally makes sense out of sound.

Must music always require a specific teleological structure? Must music always fulfill the need for mere psychological expression of the composerís ego?

The concreteness of actual sound I find fascinating of itself, not necessarily because a sound might always fulfill a teleological goal or a psychological intention. To do so merely transposes the actual unfolding of sound events into the abstract.

The emphasis on physical sound should not be misunderstood as mere reductionism. Listened to attentively, soundscapes can function as a meditative bridge.

In this way, a soundscape transcends not the physical world, but rather the anthropomorphic concepts we superimpose on the world.

The unfolding of sound events then function as a temporal ikon, inviting the listener to step into the unsayable being of the world itself.
He noted that, with the idea of ambient music functioning as an ikon, he specifically had the color fields of Mark Rothko in mind.
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Originally Posted by Chula Vista View Post
You are quite simply one of the most unique individuals I've ever met in my 680+ months living on this orb.
Quote:
Originally Posted by Trollheart View Post
You are to all of us what Betelgeuse is to the sun in terms of musical diversity.
Quote:
Originally Posted by Exo_ View Post
I wish I had enough room to sig this entire post. You sir are a true character. I love it.
Quote:
Originally Posted by The Batlord View Post
You, sir, are a nerd's nerd.
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Old 05-16-2019, 07:13 AM   #723 (permalink)
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Youíre really touchy about Stockhausen. I think itís because he was kind of adopted by fans of Can who didnít really go any deeper into the genre or learn anything about his contemporaries.
Well, the above statement concerning my feelings about Stockhausen somehow
being influenced by the ways that other people feel about Can is just downright weird.
Itís not about being ďtouchyĒ about Stockhausen. Rhetorical fripperies are of
little service when it comes to attempts to explain any composer or his work.
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Last edited by rostasi; 05-16-2019 at 10:42 AM.
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Old 05-16-2019, 01:33 PM   #724 (permalink)
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I mean a lot of the things Iíve read about Stockhausen were written by people who wouldnít know who he is if it werenít for Can. Like in NME and Melody Maker way back the names Stockhausen and Can floated around together a lot. Itís good that he got that extra exposure but it also means that if youíre reading about Stockhausen itís less likely to be really on point than say Ussachevsky, for example. My theory is this may have gotten into your subconscious.
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