Reductionism 6 + Interpretive Duncing + Artifacts

The evolution of this piece of Low Classical Usic is more than a bit labyrinthian to go into. From 1997 to 1998 I co-organized a series of CircumSubstantial Playings in Pennsylvania that involved site & circumstantial specificity. These were recorded & excerpts from them were published as side 1 of a tape called "A Year of Sundays" (see 3rd series, 018 here: http://www.fyi.net/~anon/WdmUCatalog.html) & the 2nd side was a more elaborate computer edit using recordings from the same sessions + 2 more from Baltimore. This computer edit was then used, w/ the assistance of composer Warren Burt in Australia in 2000, to drive a Pitch-to-MIDI converter to create a monophonic conventionally notated score that I called "Reductionism (A Year of Sundays w/ Mono)". Back in Pittsburgh, I used a different Pitch-to-MIDI converter & the same "Yr of Sundays (computer edit)" driver to generate 6 new recordings using piano sounds & samples from the original Yr of Sundays sessions (Reductionisms 1, 2, 3, 4, 5 (take 1) & 5 (take 2)). These were then meticulously edited together to create "Interpretive Duncing" (you can hear this @: http://www.archive.org/details/Piano_Illiterature_Vol_II_of_II - it's currently (Sept, 2011) in a somewhat incorrect state that I may or may not eventually replace w/ the correct version). "Reductionism 6" then became the score generated by the 1st MIDI file (slightly revised) in combination w/ the (eventually revised) "Interpretive Duncing". I primitively (& laboriously) animated the score so that the (M)Usicians cd read it from the same source while listening to the prerecorded "ID" part. 5 reliable & conventional-notation-savvy collaborators (Ben Opie: alto sax, Roger Dannenberg: trumpet, Ben Harris: violin, Kenny Haney: Bb clarinet, Kerrith Livengood: alto flute) then agreed to attempt to play this monstrosity. When I recorded the 1st rehearsal, technical vagaries resulted in noisy artifacts that I then took wave-form pictures of wch I then incorporated both the sound & visuals from into the animated score & then modified the instructions to accommodate them. After 3 rehearsals, the piece was premiered @ Garfield Artworks in Pittsburgh on July 25, 2011. The venue was hot & poorly ventilated, various technical problems were frustrating (I forgot the DVD player remote, the projection quality was poor, one player stepped on something that caused a loss of the prerecorded sound for a short bit, etc, etc), but the (M)Usicians persevered. This movie is a quasi-documentary of the 3 rehearsals & the premier edited in a way that takes liberties w/ any ultimate accuracy of the way the piece 'shd sound'. - September 28, 2011 notes from tENTATIVELY, a cONVENIENCE

Category:

Music

Tags:

• tENTATIVELY a cONVENIENCE
• Ben Opie
• Roger Dannenberg
• Kenny Haney
• Ben Harris
• Kerrith Livengood
• Garfield Artworks
• Reductionism
• Interpretive Duncing
• Artifacts
• experimental music
• computer music

[onesownthoughts]

Thanks for the positive comment! Coincidentally, I was just listening to Cecil Taylor's "In Florescence" yesterday.

[vita9n]

Astonishing and Remarkable. Long Live Edgar Varese and Cecil Taylor; and you fellas as well!