List of Compositions [for Home Page] (PARTIAL) LIST OF COMPOSITIONS: All works prior to 1961 have been lost &or discarded. The Sea is Awash with Roses (1961) For Chorus (3S, 4A, 2T, 3B) + 2V1, Vla, Vlc; text by Kenneth Patchen [lost-stolen] Composers’ Workshop, Indiana University, Bloomington, Indiana, 1961 Composers Symposium, Norman, Oklahoma, 1962 The Owl Coffee House, Bloomington Indiana 1966 Piano Sonata (1962) For Piano solo [lost-stolen – a recorded performance exists] Composition Seminar, Oklahoma University, Norman, Oklahoma, 1962 Piano recital, Oklahoma University, Norman, Oklahoma, 1963 Buffalo Bill’s [#1] (1962) For Sop & pf; text by e e cummings Composers Symposium, Norman Oklahoma, 1962 Composition Recital, Oklahoma University, Norman, Oklahoma, 1962 Matinee Recital, Oklahoma University, Norman, Oklahoma, 1963 Vocal Recital, Oklahoma University, Norman, Oklahoma, 1963 Vocal recital, Oklahoma University, Norman, Oklahoma, 1964 FIASCO Program, Bloomington, Indiana '67 Vocal recital, Indiana University, Bloomington, Indiana, 1971 Donnel Library, New York City, New York – 2000 Disintegration (1962) For Fl, Ob, Ff, Vln, Cb [lost-stolen] Composition recital, Oklahoma University, Norman, Oklahoma, 1963 The Dark Kingdom (a Patchen Assemblage) (1963–65) For various narrators, solo vocalists, and chamber combinations totaling 20 performers as of # 3. All texts are by Kenneth Patchen. Each of the existant 3 completed pieces of the projected 8 is for a different chamber combination. The completed 3 are listed separately, with possible others projected. Recordings of the first 3 are on the Historic Recordings CD 1) All the Roary Night (1963) For Bass and Baritone narrs, Sop, Pf, Cb. Available on Historic Recordings CD, Composition recital, Oklahoma University, Norman, Oklahoma, 1963 Composers Symposium, Oklahoma City, Oklahoma, 1964 Private recital, Music Building, Indiana University, Bloomington, Indiana, 1964 'The Owl' Coffee House , Bloomington Indiana, 1965 FIASCO Program, Bloomington Indiana, 1967 WFIU radio broadcast, Bloomington Indiana, 1970 2) Carnival Late at Night (1964) For Bass and Baritone narr, Sop, Tp, … ? …, Pf, … ? … Available on Historic Recordings CD, Private recital, Music Building, Indiana University, Bloomington, Indiana, 1964 3) May 2nd (1965) For Bass narr, Sop, Ob, Vln, Cb, …?…, Prc Available on Historic Recordings CD, Private recital, Music Building, Indiana University, Bloomington, Indiana, 1965 4) The Lions of Fire: {for 2-4 Bass narr, Brass, heavy Drums, … ???} [never realized – never performed]
5) 123rd Street Runs into Heaven or As We Go Out into the Staring Town…: {?…?} – never performed 6) ??
7) {?…Soon It Will Be…?}: {?…?}
8) ?? – reprise of some sort? – ?? OR {…The Dark Kingdom…}title page?? Piano Concerto (1964) For piano & orchestra [not completed – lost-stolen] – never performed Structure (Symphony # 1) (1964) For Chamber Orchestra of 25 instruments. Recording is available on Historic Recordings CD. Private recital, Norman, OK 1964 Private recital, Music Building, Indiana University, Bloomington, Indiana, 1966 Symphony #2 (1966-67) For 9 instruments [incomplete – see VleWiG] – never performed 4 Corners (1966) For 4Tp (Bb) to be positioned in 4 corners of the performance area Composers Workshop, Indiana University, Bloomington, Indiana, 1966 Kyrie (1966) For acappella chorus of basses, baritones and tenors Composers Workshop, Indiana University, Bloomington, Indiana, 1966
Screw Piece (1967) For Sop, Bar & {?…chamber ensemble}
FIASCO Program, Bloomington, Indiana, 1967 ASRB #1 (Aleatoric Systemic Reactory Bulletin #1) – the Enclosed Garden (1967) For Bass narr, Sop narr, Vl, Vlc, Pf, Slide whistle, Conch, Household utensils & Trash; texts by {… …} & Franz Kamin. Recording is available on Historic Recordings CD.
FIASCO program, Bloomington Indiana, 1967 WFIU-TV program (taped-but-never aired), Bloomington Indiana, 1968 WFIU radio broadcast, Bloomington Indiana, 1970 Lecture, Theater Dept, Indiana University, Bloomington, Indiana, 1970 Lecture, Theater Dept, Indiana University, Bloomington, Indiana, 1971 Lecture, Composers Workshop, Indiana University, Bloomington, Indiana, 1972 Artist's Space, NYC '74 FAS & SLO Performances, First Unitarian/Universalist Church, Baltimore, MD, 1992 The Bombing of Now York (1968) For bass narr, {{+ ?…chamber ensemble}}
FIASCO program, Bloomington, Indiana, 1967 ASRB #2 (1968) For various instruments interspersed throughout and around the audience. These instruments are all mapped by color and size code to a structured light show projected on a sculptural array of variously sized metal-foil rectangles which are suspended above the stage area – There were to be 53performers (total.) The Work was Abandoned due to cancellation of the ‘non-monetary commission’ by a Baptist Church in Bloomington, Indiana.] [Abandoned - ?lost?] – never performed BGESS #1 (Base Generated Emergency Structuring, System #1) (1968) For various performers on whatever's available [discarded] FIASCO program, Bloomington, Indiana (1968) OE #1 (Occasional Emergency #1) – Jeanne's Birthday (1968) For 2 channel magnetic tape Jeanne's Birthday Party, Bloomington Indiana, 1968 FIASCO program, Bloomington, Indiana, 1968 Lecture, Composers Workshop, Indiana University, Bloomington, Indiana, 1972 WBAI radio broadcast, New York City, New York, 1972 BGESS #2: (…the Household Muse…) (1968) For 3 ‘Reflective Personages’ (performers wearing Mirror-Masks) and a ‘Director’, all operating within a specified layout of household implements, freestanding, and on tables and racks. (including Upright Vacuum Cleaner and Piano.) Unitarian Church, Bloomington Indiana, 1968 FIASCO program, Bloomington Indiana, 1968 Lecture, German Dept, Indiana University, Bloomington, Indiana, 1968 Lecture, Theater Dept, Indiana University, Bloomington, Indiana, 1970 Draw a Straight Line Concert, Hunter College, New York City, New York, 1973 [slightly revised version with added magnetic tape (!?lost)] OE #2 (Choral Spectrum) (1969) – with James Brody: two channel magnetic tape
This was used weekly as theme music for the CHORAL SPECTRUM radio broadcast from WFIU in Bloomington, Indiana during the fall & winter of 1969. ASRB #4 ( ...for the father of a newborn child with eggs... ) (1970) For 3Tps in C, 2BD, Pf, H – The 5 members of this chamber ensemble are positioned in an open space (‘Gallery’) in accordance with a specific configuration through which the audience may walk, listen and observe – The parts are in ‘Graphic’ notation with an included referential ‘Grundgestahlt’ – The parts are not linear, and there is no score – The composition is a ‘Gallery Piece’ in the form of an elongated partially indeterminate {{‘Moment-form’}} – There was a text (electronically amplified) to be read by a ‘Guide’ (Franz Kamin) at various specific points along a route to ‘the father’ (Dennis Rosemann) during the first performance only – Recording is available on Historic Recordings CD. – [The Piano part was published in a black and white format in the first issue of the arts magazine CANTALOUPE #1, 1971. The Tp1 part was published was published in full color in the music magazine Selmer Bandwagon #74, 1974.] – [[Tp 2,3 need new instructions and/or graphing in order to solve ‘static’ rhythmic problems. The Pf part needs to be completely remade.]] FIASCO program, Bloomington Indiana, 1970 CONCRETE Show, Wittenberger Auditorium, Bloomington, Indiana,1970 WFIU radio broadcast, Bloomington, Indiana, 1970 Lecture, Theater Dept, Indiana University, Bloomington, Indiana, 1972 BGESS #4: Helicoidal Spindles (1970) <DISCRIPTIVE NOTES from Scribble Music Sampler CD For large on stage ‘fully mapped’ mobile sculpture [suspended helicoidally-wound biconic ‘spindles’ mapped to the 7 instruments, for density control], 2 Spindle-Dancers; 3 Controllers; Pf, Cb, BD, small Prc & Odd Devices, Garden hoses, small Bells, Toy Winds SCRIBBLING is eventually forbidden to children due to the fact that adults in general lack the sophistication to perceive the expressive and structural possibilities inherent in any ‘untrained’ art form (this ‘lack’ is called ‘social maturity’.) This is how people (children are people) lose their natural processes: Others lose them for them. This unfortunate situation leaves the execution of most forms of art in the hands of a ‘trained elite’, hence certain deeper aspects of an art will remain unexplored – and many adults (late blooming children) will be left out altogether. BGESS #4 was planned for performance by a very ‘democratic’ group: non-elite, non-specialist, both musicians and non-musicians – of course, the non-musicians had to be trained for the piece while the musicians had to be de-trained – the only requirement being an ‘inventive ear’ (which might leave a number of musicians out!) The individual performers involved in this performance were from such diverse fields as Topology, Brain Research, City Planning, Creative Writing, Sculpture and Painting (as well as a couple of musicians.) BGESS #4 is an example of SCRIBBLE MUSIC (i.e. high density, boisterous, non-straightened lines, irregular (but comparable) shapes, and anti-elite production. The ‘Sonal Aesthetic’ (klangideal) is more one of ‘Fascinating Ugly’ (anti-Orphic) rather than that of ‘Beauty’ (Orphic.) At the time of construction, BGESS #4 was looked upon a ‘FACTORY for the production of Contrapuntal SCRIBBLE–COMPLEXes’. SCRIBBLOID as it may be, the instructions, semiotics and devices which produce this SCRIBBLE–COMPLEX are actually somewhat sophisticated: The following ‘Generators’ and ‘Constraints’ were configured and regulated in ‘real-time’ by a CONTROLLER & 1 or 2 assistants: 1) Each instrumental part consisted of a BASE GENERATED SYSTEM. This means that musical events that occur ‘in time’ (‘flow-time’) are generated from a ‘packet’ of rules, constraints, models and materials (called a ‘BASE’) which exists outside of the time-frame of the performance itself. 2) Each BASE made use of a set of PROTOTYPES. PROTOTYPES are ‘Catalytic Formative Generating Cells’; such as the instruction ‘progress UPwards’ or the symbol , which indicates the improvisation of a series of varied ‘strands’, each moving saliently upwards. A Prototype is CATALYTIC because it is not necessarily part of, but essentially stimulates the formation of a musical series or line. BGESS #4 was the first Kamin piece to use Prototype-like formatives (in this case, more like graphic analogues.) The same 5 PROTOTYPOIDS occur on each of the 7 parts. 3) Movable Parameter Indicators, giving dynamic level, velocity, functional status, and individual density, were attached to each part, and were periodically adjusted by the Controllers. Since there is no conjunction of ‘flow-time’ between the parts, any such ‘coactive synergy’ is caused by a ‘natural entrainment’ among the performers, plus you. 4) Over-all DENSITY is controlled by an on-stage ‘mobile sculpture’ consisting of seven large suspended Spindles, each one some modification of 2 distorted funnel shapes connected together. Each Spindle is mapped to an individual performer. Each Spindle is wrapped with a helicoidal band so that the helix appears to be ‘winding upwards’ if spun one direction and ‘down’ if the other, thereby indicating to its mapped performer that if his or her helix appears to be ‘winding upwards’ they are to play, if ‘down’ they are silent. The continuous ‘up or down’ reorientation of the ‘on or off’ indicating Spindles is controlled by 2 ‘Spindle Dancers’ who are themselves spinning. 5) The MOOD OVERLAY SYSTEM consisted of a list of several hundred ‘Mood’ and ‘Mood-like’ instructions. These were ordered by the Controller during the performance, and periodically dealt out to the instrumentalists in sets of 7 of the same cards causing ‘Mood Agreement’. As in most high density music, the listener’s experience is analogous to that of being lost in a deep forest without any clear-cut paths. Only after careful exploration does one begin to become appreciatively familiar with the environment and its patterns as well as the various internal ties and bonds. For some, the notion of getting lost in the tangles of a high-density operation is no fun. They would prefer the graspability of a ‘formal garden’ (one developed by a trained specialist) For others, there is the mysterious allure of ‘Journeying’ by ‘getting lost’ and gradually finding one’s way. Recording available on Scribble Music Sampler CD. FIASCO program, Bloomington Indiana, 1970 CONCRETE Show, Wittenberger Auditorium, Bloomington, Indiana, 1970 WFIU radio broadcast, Bloomington Indiana, 1970 Lecture, Composers Workshop, Indiana University, Bloomington, Indiana, 1971 Lecture, Composers Workshop, Indiana University, Bloomington, Indiana, 1972 SYNTROPIC SOUNDS Show, CAMI Hall, New York City, New York, 1974 Experimental Intermedia Foundation, New York City, New York, 1979 [v4] OE #3 (Billy the Kid) (1970) For 2 channel magnetic tape, 7 actors, 2 musicians + chorus of extras [if not lost, should be] VERNAL EQUINOX Show, Fine Arts Auditorium, Bloomington Indiana, 1970 ASRB #5: 'The Latter Days of Janet Quubyne' (1971) <DESCRIPTION from J THOME LETTER This is a 7½ -minute long ‘miniature opera’ based on an abstracted dream sequence for: Soprano solo (Janet Quubyne – ‘JQ’); 2 Dancers (her ‘furies’); Tp, Tb, Vla, Prc, BD (all on stage); H, Ob (to either side of the audience); 13 Vlns (in the rear balcony); also on stage is a large ‘timing device’ (Clock), as well as a ‘Cuing Platform’ on which are stacked variously colored Cubes at specifically designated times. On the main stage, the Violist is seated in a ‘Cage’ (rear stage -left-of-center). Further to the left and forward of the Violist is the Bass Drum who faces toward stage-right. The 2 Dancers (who often perform as one, and function as ‘furies’ to ‘JQ’) occupy what remains of the left-stage in front of the Vla & BD and their space occasionally extends as far over as the ‘JQ Zone’. The Trombone is seated at the stage-rear-right. The ‘JQ Zone’, which lies to the left and downstage of the Tb, consists of the mid- to fore- stage-right area, and extends as far as the ‘Clock’ (at center-stage rear), and beyond that to the ‘Cuing Platform’ (which lies somewhat down-stage and to the left of the ‘Clock’.) The ‘Clock’ is a large hand-operated (from behind) ‘timing device’, which gives the cumulative time in 5-second intervals, and which is large enough to be seen and used by all involved personnel. To the stage-left and in front of the ‘Clock’ is the small raised ‘Cuing Platform’ on which are to be stacked variously colored Cubes (approximately 1½ feet each.) These Cubes cue changes of major sections – especially among the ‘balcony’ Violinists – but also represent stages of ‘life’ from the ‘Latter Days of Janet Quubyne’. The ‘Small Percussion Table’ (‘sPrcT’) is placed midway between the Tb and the ‘Clock’ and somewhat downstage of them so that it sits at the rear center of the ‘JQ Zone’. It is a small black table with a crescent shaped surface, which contains an assortment of small Percussion instruments. The Percussionist at the ‘sPrcT’ serves as a ‘Secretary’ to Janet Quubyne and also ‘reacts sonically’ to the ‘Windmill-like Device’. Additionally, he stacks the ‘Cubes’ on the ‘Cuing Platform’ whenever this is not done by JQ herself. Immediately forward of the ‘sPrcT’, stands the ‘Windmill-like Device’ (WD). This is an awkwardly built and decrepit wooden object which has a ‘weathered’ appearance, and whose vanes are covered with chains, flaps & other noise-makers. Thus the vanes rotate noisily when struck (‘slapped’) by JQ at various times during the performance – this is often done as a punctuation to her utterances. Janet Quubyne initially stands directly in front of the ‘Small Percussion Table’ and slightly stage-right of the WD. Her utterances, with the exception of a few melodic phases and one longer line, consist mostly of ‘yelps’, ‘howls’, ‘sighs’, ‘outcries’ and various other ejaculations rendered in a Sprechstimme-like mode, and in accord with specified quasi-pitched graphic contours. The Trumpet is forward center-stage and facing inward toward the other performers. All of the performance-parts in general are constituted of both graphic and verbal instructions, in addition to notated segments and ‘reference rows’ (for use in realizing the graphic and instructional aspects. ) In the case of the 13 Violins, each Vln is individually given sets of pitches and techniques to be used statistically in specifically cued sectors, thus producing a background of changing ‘Atmospheres’. All of the afore-mentioned ‘on stage’ performers and instrumentalists are considered to be Characters in the opera; while the various Devices as previously described (e.g. the ‘Wind Mill’, ‘Cube Stack’, ‘Small Percussion Table’, etc.) constitute extensions of those Characters, as well as functioning as portions of an overall ‘Cueing system’. (They also constitute the ‘stage-set’.) CANTALOUP Show, Wittenberger Auditorium, Bloomington Indiana, 1971 Vocal Recital, Music Building, Indiana University, Bloomington, Indiana, 1972 DOOR I (1971) For backstage performers and remote controlled Door [lost] CANTALOUP Show, Wittenberger Auditorium, Bloomington Indiana, 1971 ‘Minimal Cardboard Opera – Viet Nam’ (1971-72) for large cast & 30,000 square feet. of cardboard – made use of an invented language – [unfinished – abandoned] – never performed 3 MRTRCYKL (1971) for 3 Motorcyclists in a traversable wooded area – originally planned for performance by the ‘Hell’s Angels’ motorcycle gang [not completed – lost] – never performed WITNESS (1972) Ballet for 4 nude Dancers (FFFM), 2 nude child Dancers (FM); Fl, Ob, Tp, Tb, Pf, Vln, & Cb – all instruments surrounding the audience; and ‘Timer’ [under consideration for revision and expansion with added Video components (some taken from Doctor RATSTAR’s Need *SEE BELOW) SYZYGY Show, Fine Arts Auditorium, Bloomington, Indiana, 1971 SYNTROPIC SOUNDS Show, New York City, New York, 1974 7 Dog W (1972) For 7 supra-audible dog whistles of various types (with or without Borrel cadenza) St Marks Church, New York City, New York, 1973 Artist's Space, New York City, New York, 1974 Sonora House, Haines Falls, New York, 1977 Theatrik Oddities Show, Blair Arcade, fountain chamber, St. Paul, Minnesota, 1991 Behavioral Drift I …the Train Station & the Others … (1972) –{for John Beaulieu} A Theatric Poem for 6 performers and 2 Dice Dancers [needs revision] MINIMAL Show, Little Theater, Monroe County Library, Bloomington Indiana, 1972 FIASCO meeting, Bloomington, Indiana, 1972 CONCERT of DOORS (1972) –{for Marie Nesthus} The original performance took place in Dunn Woods which is small and honeycombed with crossing pathways, which subdivide the woods into 24 small Islands: some flat, some declivities, some hillocks. On each of 17 of these, I mounted either a ‘modified’ or a ‘hand-made’ Door. The musical intention being ‘Synaesthesia’: e.g. what one ‘sees’ (along with whatever ambient sounds) becomes ‘what one ‘hears’: its ‘Music’. One’s walk around the pathways provides a structure. – A ‘Synaesthetic Gallery’ Piece.
CONCERT of DOORS, Dunn Woods, Indiana University, Bloomington, Indiana, 1972 Notations Exhibit, Hunter College, New York, 1972 [Doors # 10 & #8 Exhibited] St Marks Church, New York City, New York, 1973 [Doors #4, #15 & #7 Exhibited] Small Concert of Doors, Arnolfini Arts Center, Rhinebeck, New York, 1977 [… ? …] Initiatory Introduction to the Theory of Holes (1973-74) (An undefined category of performance piece): specifications dependant upon the circumstances [Barely exists now – ‘Concept Art’ – but the ‘Symphony of Holes’ (abandoned) which made use of multidimensional SIERPINSKY ‘Carpet’ or ‘Sponge’, & which was part of this project, may be re-taken up in conjunction with the revision of ‘BagVLeWiG’ (see forward 2003) & the possible composition of the ‘Apotheosis of David C. Brown’ (1st projected in 1967 – & not continued until 2004] FESTIVAL OF THE AVANT-GARDE; Grand Central Station, New York City, New York, 1973 St. Marks Church, New York City, New York, 1973 Doctor RATSTAR's Need (1973) ( – with Phillip Perlman): Video and Multimedia work with electronic tape, 10 video cameras, 20 monitors, 11 overlay keyer; Dancers and Actors in ‘viewing booths’, live Rats in suspended cages, and Food art. The Kitchen, New York City, New York, 1973 First Moment (1974) For Reader; F1, C1, Tb; Actors, Dancer and other performers [if not lost, it ought to be] West End Cafe, NYC (1974) Behavioral Drift II – Black New York (1974) <DESCRIPTION from J THOME LETTER –{for Marie Nesthus} For 4 Ensembles (mostly surrounding the audience.), The 1st Ensemble controls the other ensembles (mostly by sound): BD, SD, WB, giant on-stage Dice Cage, polyvalent light panel cueing device; Ensemble 2: 2Vln, 2Tb, 2C1, Cb, Pf; Ensemble 3: Toy Winds, small Bells, small Drums, Odd Devices, Assorted Wind Chimes; Ensemble 4 (Chorus): SSBB. Behavioral Drift II is a ‘mass sound’ continuum for 21 performers divided into 3 ‘performing ensembles’ (Ensemble II: 2Vl, 2Cl, 2Tb, Pf, Cb + Ensemble III: Toy Winds, Small Drums &c., Bells &c., Wind Chimes, Odd Devices + Ensemble IV: vocalists: SSBB) and a ‘Control Ensemble’ - Ensemble I: BD, SD, WB, Light Panel; which Ensemble is also audible as part of the sound continuum. Additionally, there is a Narrator who reads an introductory story (‘I suddenly come to visit …’) which programs the comprehensive Mood of the performance. Another story could substituted if deemed necessary. There are also various other options, such as reading the story during the beginning portion of the music. *[The problem of spacing the instruments around the outside of the audience could possibly be averted by the use of a ‘Hallo-phone’ (or other similar such device) and multiple speakers.] The overall time-frame for the music by itself is open ended, however, the choice of a little over seventeen minutes (as employed on the recording) seems about right for a cogent exposition of its internal structures and materials; less than twelve minutes seems insufficient, and one would have to have a specific reason for utilizing more than twenty minutes. The programming story is about seven minutes long, making the whole twenty five minutes. For further information, especially about ‘Prototypes’ and ‘Behaviors’, as well as various other structural, definitional and interpretative factors, see the score and recording. The ‘Prototypes’ used here are of the most elementary or ‘naïve’ type, therefore making the homeostatic structure of the ‘Behaviors’ intensely clear. The Conductor’s main task consists mostly in the preparation of the various ensembles prior to the performance, and little is required of him at the performance itself, except that he may take on any one of the 4 control ensemble parts (or even conceivably all 4, if he wishes to be that busy!) Recording is available on a CD along with US, RUGUGMOOL, & Spydr Moon (purportedly to be released by INNOVA.)
Artist's Space, New York City, New York, 1974 Bard College, Red Hook, New York, 1975 Sonora House, Haines Falls, New York, 1977 Pratt Institute, Brooklyn, New York, 1978 Recorded, RCA Studios, New York City, New York, 1979 Epivaculoid I (1975) –{for Judith Ackerman} For 2F1, C1, H, Pf, Prc, Cb; Dancers and Flash-gun Operators; and Reader. The Construction Company Studio, New York City, New York, 1975 Encounters Pathwise Toward Epijoinder (1976) –{for Marsha & Neil Eliot} For Pf, F1, C1, Vln, Tb, Toy Instruments. [Not worth keeping] Environ, NYC '76 VleWiG (2) (1977) For Pf, Vln, Fl/Pc/Slide-F1, Tp, Tb, Cb, Prc battery; Controllers [see Symphony #2 & BagVLeWiG] – never performed Friends in Boats I (1977) For Electric Kybd, Cl, Vln. [probably lost] Arnolfini Arts Center, Rhinebeck, New York, 1977 Behavioral Drift III: …Alchemical Poem + Concert of Chairs (1977) For Bass, Vln, Pf, Elec Kybd, C1, Tb, Fl; Reader (who also makes ‘Chemical Demonstrations’); Select People who have chosen special Chairs about which they speak. [Scores and materials probably lost] [There is a ‘historic documentation’ Video recording made by Gary Hill of this piece somewhere.] Arnolfini Arts Center, Rhinebeck, New York, 1977 The Owl's Gift to King George: Vla, C1, Pf, & Voices (1978) –{for George Quasha} Stained Glass Studio, Barrytown, New York, 1978 Butterflys and the Art or Craft of Dying (1978) <DESCRIPTIVE NOTES from J THOME LETTER –{for Kathy Bourbonnais} This is for Fl/Pc, Cl, Pf, 3 Prc, Vln, Cb; optional Chorus: SSBB; 7 Actors: ‘Dying Man’, ‘Death Dancer’, ‘Cleaning Lady’, ‘Anomaly of Death’, 2 ‘Playing Children’ (m, f), ‘Owl’, & ‘Spinning Woman’; 50+ live Butterflys; 8 Puppeteers; Film Projectionist; Stage Crew; & various Timers and Conductors. Stage Set: There is a ‘Room Scene’ with a Bed on which the ‘Dying Man’ lies. The ‘Dying Man’ has a choreographed cycle of movements. There is a ‘Window’ with an openable Red Curtain near the foot of the Bed. There is a Floor-Lamp near the head of the Bed. There is a empty Rocking Chair facing the ‘Dying Man’ at an angle in front of the Window. The ‘Death Dancer’, ‘Cleaning Lady’, and ‘Anomaly of Death’ all also have choreographed cycles of movements on given ‘Routes’ within the ‘Room-Scene’. Outside of the ‘Room Scene’ on the stage right, the ‘Red Door with 10 Holes’ (from ‘Concert of Doors’) is set free-standing in a yellow frame. Both this Door and the Rocking Chair can be set into motion from off stage. Arrayed in front of the Door are 17 variously sized Blue Balls; the 2 Children ‘play a game’ with these Balls in accordance with a choreographed cycle of movements on a Circular Route. There is also a rusted Tricycle in this area. On the far stage right proscenium stands the costumed figure of an Owl who has a stationary cycle of movements. On the floor in front of the Owl is a sealed container of live Butterflys – these Butterflys are released into the audience at the end of the performance. On the far stage left proscenium, slowly spins the ‘Spinning Woman’ who dressed all in white. There is a cintamatic loop (originally made by Marie Nesthus) being shown against the stage (‘room’) backdrop throughout the entire performance, The Dying Man’s movement sequence and the various Routes are cross-phased so that they only come together at the ends of cycles. The generating scene takes about 2 minutes and 40 seconds (8 x 20 seconds – or some multiple of 8.) At a certain point (probably the 5/8ths zone at 1’20”) the main-stage lights go out, the red curtain opens on a sunlit outdoor scene, but having all the same furniture (including the red curtain) and characters from the main stage replicated puppet-wise at 1/8th scale. Those ‘puppet characters’ then go through the actions just seen in the first ‘half’ (including the opening of the red curtain) in addition to the action which is about to be seen in the last ‘half’ – all occurring at 8 times the speed (therefore taking 20 seconds.) The puppets are controlled by 8 puppeteers, all unseen at the top, bottom and sides of the puppet stage. When the tiny red curtain is opened in the ‘puppet window’, the scene is again replicated at 1/8th scale (including curtain) but this time by movable cardboard figures who again go through the routing at 8 times the puppet speed (taking 2.5 seconds.) When the tiny curtain opens and closes in that replication, it is open for such a short time (about .3 seconds) that there is no need for any action. The entire forgoing ‘nested scenario’ is repeated about 11 times (therefore about a half hour total – but it could be of any length.) There are no partitions in the adjacency of these scenarios. The overall Action consists of a ‘generating scene’ which returns after 8 variant cycles. Each of the variant scenes cycled is of a somewhat more ‘sinister’ in cast than the one preceding. This is affected by causing aspects (a little at each iteration) of the more ‘sinister’ cast of the ‘second half’ (≈< 3/8) of each scenario to be transgressed upon the more ‘innocent’ complexion of the ‘first half’ (≈< 5/8). Thus, each subsequent scenario is of a darker hue of meaning than the previous one. Also, the second ‘half’ approximately ‘reverses’ the action of the first ‘half’ (but somewhat faster – 5:3) thus each variant cycle begins again from the same initial condition. In the ‘Interim’ between the two ‘halves’, the main stage lights go out, and the Red Curtain opens on the previously described puppet sub-scenario. This ‘nested scenario’ is accompanied by the previously detailed instrumental ‘pit’ ensemble performing a composition of similar (i.e. homeomorphic) structure – but at cross-tempi to most of the stage Routing. The second ‘half’ is a modified retrograde of the first ‘half’, at a greater velocity (5:3). Between the two ‘halves’ is a segment (≈ 1/8) which ‘recapitulates’ the whole including itself at 8 times the speed: This is where the ‘Red Curtain’ opens in each of the stage scenarios. Pratt Institute, Brooklyn, New York, 1978 Rugugmool (1979) –{for Kathy Bourbonais} <DESCRIPTIVE NOTES adapted from Station Hill LP M8001 For Elec Kybd, Fl/Pc, Bn, Cl + Chorus: SSSBB + Narrator. The manner of composing this somewhat ‘reactionary sounding’ piece was caused in part by my distaste for kowtowing to academic avant-garde-ism; that is, being forced into the position 'you can't do this because it was already done in 19XX.' Hence the ‘external structures’ of both the poem and the music are based on antiquated forms. The ‘internal structures’ (which produce the ‘external structures’) are highly experimental. The poem is a myth like narrative concerning the passage of the moon through a temporary possession by each of seven animals: Bear Owl Frog Rat Wolf Butterfly Spider Each stanza tells of the doings of all seven of the animals (one animal per line) relative to which of them has the Moon (always the animal mentioned in the first line of the stanza). The order of occurrence of the animals (other than the spider) in successive verses is altered in accordance with the pattern of medieval sestina. The 'Spider lines’ travel through the verses in a manner peculiar to the spider himself. All except for the last stanza (which is owned by the spider) have exactly the same rhythmic structure; hence the musical settings of the stanzas have a fixed 'cellular structure', although the content of these 'cells' varies considerably. The language of the problem is a simple one-to-one code language which, far more than 'Standard English', is suitable to musical usage, and which can easily be understood after three or four hearings. The narrator-chorus sections are partitioned by instrumental interludes in the form of weird little dances: 1. Overture of Traces –'traces' are the 'skins of notes' … almost like mistakes … traces of all the Animals 2. Bear Fugue – Not really a fugue, but some kind of strict processual canonic behavior 3. Song of the Owl 4. Frog Dance 5. Dance of the Rats 6. Wolf Song 7. Transforms and Dance for the Butterfly 8. Chordal –“play a satisfying note, listen to the resulting combinatorial harmony, decide where you'd rather be: play that note next” The 'internal structure' or 'contents' of the dances as well as the accompaniments in the narrator-chorus portions of the composition are far more radical in nature than the 'external structure': all pitches and pitch aggregates are taken from two charts (Butterfly & Bear) which are well differentiated. The processes which are superimposed on these charts are defined in a Book of Animal Models which gives them abstract musical charms, characteristic Animal Behavior Patterns (real and un-) to be used in creating the 'Time zones' as indicated on the parts, which in turn create each area of the peace. This 'Dysrigidity’ (a form of ‘Processualism’) used in the fulfillment of the far more rigid 'cell structures' permits an essential spontaneity of performance throughout the whole while at the same time allowing the composer's crystallization of the overall 'carbuncle' to be of such a nature that precision is experienced within it. Recording is available on a CD along with Behavioral Drift II, US, & Spydr Moon (purportedly to be released by INNOVA.)
Experimental Intermedia Foundation, New York City, 1979 Sonora Festival, Catskills, New York, 1979 Recorded, RCA Studios, New York City, New York, 1979 Broadcast WBAI, New York City, New York, 1981 Missing Compositions Prior to 1979 Spydrs Risk (1977?) <DESCRIPTIVE NOTES from BART BUCH LETTER –{for Kathy Bourbonais} For [[Narr, 3 puppeteers, lighting man, 5–7 musicians???]] The visual aspect of this piece is done on a 12 foot long platform which is divided into 7 ‘stations’ or ‘depots’, each of which can be picked out one at a time by a miniature spotlights. Each depot is a different station of or from life (not all that clear) and consists of a tableau with movable &or puppet-like objects controlled from behind and below. A locomotive engine (the Oomphathalik line) runs from the 0-Depot (a large spider which moves on a web) to various of the other Depots – dependant in part on the position of the spider on the web (or rolls of a ‘dice cage’ … or both … ???.) Accompanied by narrator & sonic performers. [[The Musical (Sonic) parts need to be drastically revised. // The Theatric Materials have been lost.]] Some of the Depots are: the 0-Depot (Spider Web) – the Depot of Gratuitous Sex – the Bone Yard Station – the Martini & Olive – the Wall, Door & Window – the Station of Music – the Animals – Art – the Station of Choice – the Spiders Risk ….. The Depot of Gratuitous Sex consists of an Erica-doll tied to a post who opens her coat (‘flashes’) while pneumatically controlled French ticklers rise up and dance. [August Moon] [Baltimore] [Video Taped by Gary Hill: Stained Glass Studio, Barrytown, NY, 197?] The Unknown Creature with One Sad Eye [from Spygrds Moolgang] –{for Andrew Bolotowsky For solo Pc {{{describe situation}}} Granary Books, New York City, New York, +++ 3 Pieces for Narrators, Flute and Mime: Recording is available on Historic Recordings CD. 1. Egz Bk of Frogs: –{for Eve Rosenthal} For 2 Narr (MF), Fl and Mime Symphony Space, New York City, New York, 197?? Carnagy Recital Hall, New York City, New York, 197?? [[?Synaesthetics? New York City, New York, 197??]] [[??the Barge?? Brooklyn, New York, 197??]] 2. That Borgies Bear: –{for Kathy Bourbonais} For Narr (M), Fl, ‘Wine Glass’, Kaptain Kool Kybd, and Mime. [[?Synaesthetics? New York City, New York, 197??]] [[??the Barge?? Brooklyn, New York, 197??]] 3. The Fish and the Dragonfly: Narr (M), 2 Fl, and Mime –{for Eve Rosenthal & Kathy Bourbonais} [[??the Barge?? Brooklyn, New York, 197??]] Vest-Pocket Sonatina: Piano solo –{for Kathy Bourbonais} [[at Synaesthetics Ltd Show ??? New York City, New York, 197??]] Performance Poems & Theatric Poems (prior to 1983) A Ritual Embedding of the Spider’s Risk into non-Hausdorff M-Space –{for Marie Nesthus} For … [Charlotte Moormon’s Annual Festival of the Avant-Garde, Shea Stadium, NYC, 197?] Agonic Poem [poss 1975 or 1976] –{for Kirby Malone} [[perf: August Moon]] KCCK [poss 1974 or 1975] –{for Kathy Bourbonais & Catherine Skopic} [[August Moon]] The Lone Rider from the South: –{for Kathy Bourbonais} ‘Performance Poem’ for Narr & 3 Readers (in audience.) Recording is available on Scribble Music Sampler CD.
[[at Synaesthetics Ltd Show ??? New York City, New York, 197??]] at the Home of Mr & Mrs Chocolate St. Paul, Minnesota, 1991 (?) 14 Karat Cabaret, Baltimore Maryland, 1992 [[recorded for Scribble Music Sampler, Jefferson Valley, 197??]] Kathys by the Oceanside (197?) –{for Kathy Bourbonais} ‘Theatric Poem’ for Announcer, Illustrator (paint on Newspaper), Picture Hanger, and 8-13 Newspaper Readers ??Synaesthetics ltd at 10 Leonard St, NYC, 197? ??11th Annual Sound Poetry Festival??, Wash Square Church, NYC, 1978?? Evidence of a Reading Show, Nagasaki Park, St. Paul, Minnesota, 05/25/ 1989 Eradification of New York Graffiti by Jacob Lane (1980) Theatric Poem for 8F + 8M Voices & Cond [10th International Sound Poetry Festival, Wash Square Church, NYC, ??1977??] [Annual Retrospective at 10 Leonard St., NYC, prob 1982] 11 Hard Thoughts of the Unmanageable Bear (an erotic nonsense poem) (197??) –{for Alison Dale} <DISCRIPTIVE NOTES from Scribble Music Sampler CD ForDysjunctive Reader & 3 Adjunctive Readers. An Erotic nonsense performance poem in which a Dysjunctive voice reads 11 spaced Erotic Impertinences (of the Unmanageable Bear) against a background of 3 Adjunctive voices. The 3 Adjunctive Readers follow ‘routes’ through 4 ‘word pockets’: “Flowers” – “Anomalies of the Other” – “Lovers’ Accoutrements” – “Under-the-hood lubricants, excretions, fuels & parts”. Each Adjunctive Reader passes through a 5th ‘word pocket’, called “Appurtenances & Environs of the Natural Bear”, on the way to any other ‘pocket’. Each ‘word pocket’ has its own tempos, moods & time constraints. Each Adjunctive Reader passes through each ‘word pocket’ in different orders both internally and externally; each improvisationally making use of such modifactory devices as: ‘loops’, ‘spins’, ‘holes’, ‘rogues’, ‘reverses’ & ‘repeats’. Recording is available on Scribble Music Sampler CD.
[[Small Poets … …]] [[recorded for Scribble Music Sampler, Jefferson Valley, 197??]] Bard College, Brook House, Annandale-on-Hudson, NY, 1992 14 Karat Cabaret, Baltimore Maryland, 1992 St. Marks Church, New York City, New York, 1993 Red 19 (1993) Aleatoric performance Poem for any number of Voices, 14 Karat Cabaret, Baltimore Maryland, 1993 Missing from the List: Compositions from 1979 to 1983 Friends in Boats II: Piano solo (prob. 1982) For Piano solo. Annual Retrospective at 10 Leonard St., NYC, [prob 1982?] Friends in Boats III (prob. 1982) For 2 performers inside ‘Sculptural Construction’. Probably destroyed. [[Charlotte Moorman’s 13th (??) Annual Festival of the Avant-Garde, NYC, [?1982?]]] Annual Retrospective at 10 Leonard St., NYC, [prob 1982?] Old 88 – V: (prob 1982) For Piano solo Annual Retrospective at 10 Leonard St., NYC, [prob 1982?] Old 88 – T (prob 1982) For Piano solo – never performed Eradification of New York Graffiti by Jacob Lane (1977?) Theatric Poem for …………. 10th International Sound Poetry Festival, Wash Square Church, NYC, [1977?] Annual Retrospective at 10 Leonard St., NYC, [prob 1982?] Chorification of Jackson Mac Low’s Phoneme Dances for/from John Cage (1982) –{for Jackson Mac low} <DISCRIPTIVE NOTES from Scribble Music Sampler CD For 2 Narrators (M: Eng., F: Sp.); a choir consisting of 6 males and 6 females, constituted of 6 pairs (m, f) spaced around the outside of the audience + Conductor (at the rear of the Audience); plus an instrumental ensemble (at the front of the Audience): Casio Electronic Kybd, Fl, Cl, Vln. Each of the 5 phonemes derived from the name ‘John Cage’ are rendered one at time by from 1 to 6 of the pairs, thereby creating an aspect of changing directions and directional densities. The densities were derived from the Rand Corporation’s “A Million Random Digits with 1000,000 Normal Deviates”. The phoneme orders and timings in these choral parts are taken from the typewritten manuscript (4 typewriter spaces per second) given to me by Jackson Mac Low. In the instrumental parts, composed independently of the choral parts, the pitches were created by mappings from the same distribution of phonemes and spaces – except a few of the verticals added to derived pitches in the keyboard part were selected by taste. The timings are from the typewritten spacings (3 per second), except for certain segments where improvisation on the given pitches is indicated, thus allowing ‘people to be themselves’ as well as the Cagean ‘sounds being themselves’. The poem read by the 2 Narrators, “Por Toda la Hermosera” by San Juan de la Cruz, is read simultaneously in Spanish and English (translation by Bourbonnais and Kamin.) This poem is treated as a contrapuntal musical line, and thus fades in and out of the general texture. [This piece is currently under minor revision (mostly dynamics.)] Recording available on Scribble Music Sampler CD. Jackson Mac Low’s 60th Birthday, Wash Square Church, NYC, 1982 CAMI Hall, ?……..?, 1983?? JoCiBoLY: John Cage Loves You – Or He is Beautiful: (poss 1982) –{for Jackson Mac Low & John Cage} <DISCRIPTIVE NOTES from Scribble Music Sampler CD For 3 Bedded Norkin Sayers; Child–Controller; Norkin Actress; Norkin Dancer; Stage Crewman; Norkin Instrumentalists (who also function as a Chorus: Kaptain Kool Keyboard - by Vanity Fair Industries, Sound FX Machine - by Remco, 3 Giggle Sticks – by Gabriel, 3 Indian Drums by Rollin Wilson, 4 Sketch-a-Tunes by Ohio Arts. JoCiBoLY (Norkin Theater Operation #1) is constructed from a (hemi-Norkin) ‘Vocabulary’ taken (mostly) from the letters in the name ‘John X Cage’. The process of making a ‘Poetic Vocabulary’ (stolen from Jackson Mac Low) consists of making as many words as possible in English from the all the letters of a given name (subject to various rules.) This ‘Vocabulary’ is ‘Norkin’ because it only vaguely follows any rules. And, ‘hemi-Norkin’ because it is not yet a ‘One-Word-Absorption-State’. The “text” is divided into 10 sections which become scenes in the theater operation. A drunken man, who reads the ‘vocabulary’ with commentary, is lying on a large bed on stage-right along with a woman and another man who are his stupidents (they repeat.) At stage-center are 14 norkin-players of dysfunctional toy instruments, who also function as a norkin-chorus. Their parts indicate different processes for each scene: some ‘linear’, some ‘base generated’, some ‘reactory’. On stage-left is an 8 ft. long plywood Wall: this is the main ‘set’. There is a ‘Stage-Crewman’ (SC) who is a central Norkin performer. He nails stuff up, paints signs, &c (usually not much.) Before one scene, he cuts a window in the Wall using a circular saw (this is considered a ‘musical interlude’.) Behind this window, a light comes on, and a woman (the Norkin Actress) passes back and forth in various stages of undress (Norkin porn.) In another scene the SC opens a tiny hidden door in the Wall and a light comes on displaying a miniature ‘john’ (toilet) inside a cage. The SC also indicates set changes to the Child-Controller (CC) who announces scene numbers &c, and is building wooden block construction at the front of center stage. The CC’s Blocks Norkinly cue something-or-other Norkin… The text was originally published in the magazine ‘Benzene’. Recording available on Scribble Music Sampler CD. Annual Retrospective at 10 Leonard St., NYC, [prob. 1982] – {Trio}{The Old Bear with the Sore Head} (1983?) –{for Marie Nesthus} For bCl, Pf, Fl, [+Narr] CAMI Hall, ?……..?, 1983?? 8 Owlik Samenesses (with Interposed Ads) (1983?) –{for Kathy Bourbonnais} For Mime, (2?) Narr (M,F?), 2 On-stage Stage Crewpersons, Pf, + changeable sets CAMI Hall, ?……..?, 1983?? [[???!!?…theater thing with masks below stage… ???!!?]] (1983?)
CAMI Hall, ?……..?, 1983?? [[+ ACCOMPANIMENTS for 3 Scribble Deaths: called??? Inst, dates??]] There are NO (?) Compositions from 1983 to 1988 – {there were the HOTEL accompaniments} – for Compositions after 1987, see Below – LIST of All BEHAVIORAL DRIFTS: I) …the Others & the Train Station… theatric poem –{ for John Beaulieu} II) …Black New York… –{ for Marie Nesthus} III) ??? ‘Alchemical Poem’ – performed with ‘Concert of Chairs’ at Arnolfini IV) ??? ‘mini-Lecture-Demonstration’ (possibly connected with the ‘Alchemical Poem’ ) V) ? performance poem – ? ‘Astronomical Poem’ –{ for Jackson Mac Low} VI) …Crash & Transmogrification… –{ for Alec & Julie Bever} ( ) {{?is there one missing here?}} VII) …??AutoThanatopsis?? –[Abandoned Incomplete] –{for Kathy Bourbonais} VIII/IX) …Slo Game… –{ for Richard Gitler & Laura Marie Dyer} X) …Unknowing Games at the HUT… –{ for
XI) …Kids’ Drift… –{ for Cindy Weber} XII) …Slo Train… –{ for Dave Prentice} XIII) …US… –{ for Sarmad Brody} XIV) …BagVLeWiG(3): Viscousation of Sunbars’ Prismoid Shafts… –{ for Milne Kintner-Dee & Nor Hall} XV) …NEWS… (2nd Lecture/Demonstration) –{forXVI) …the STRANGER Redux –{for [[Not completed}} List of Compositions (1988 – 2007) {{Remember, 1st MN perf was at Open Mind Bookstore}} Behavioral Drift VII – AutoThanatopsis (1987-89) –{for Kathy Bourbonais} [?? For Massive forces ??] [incomplete, abandoned] – never performed Corridor (1989) –{for Andrew Bolotowsky} For Fl solo Theatrik Oddities Show, Blair Arcade, fountain chamber, St. Paul, MN, 1991 St. Marks Church, New York City, New York, 1993 Duanne Street Loft, New York City, New York, 12/09/2000 Flying Saucer Café, Kingston, New York, 12/14/2000 Wolf Place IV (1990) –{for Jan Jorde} For Narr, 3 Mimes (Man, Sexy Girl, Wolf), 2 Scroll Bearers, Fl, H, Elec Kybd, Backstage Crew Person + Set with Red Door. A Video exists made by George Quasha. Light & Dark Readings Show, Haupers-Mairs Gallery, St. Paul, MN, 1990 Granary Books, New York City, New York, 1990 SOUP …turn the page (1990) For Narr, Fl, Vln [should be rewritten] Light & Dark Readings, Haupers-Mairs Gallery, St. Paul, MN, 1990 Granary Books, New York City, New York, [[+w/ David Abel as Narr… New York City, New York, ??]]
Flight of 2 Owls & AD: “I Dreamed I was Flying Over Russia in My Maiden Form Bra + Memory: (1990) For Piano solo [3 revised pieces excerpted from “8 Owlik Samenesses with Interposed Ads”] In this form these 3 are part of the ‘Mystik Keyboard’ Pf Cnc VIb–MK. The Flight of 2 Owls [F2O] by itself is part of both the ‘Halloween’ Pf Cnc IVe–H and the ‘20th Century USA’ Pf Cnc VIIIa–Am –{for Kathy Bourbonais} St. Marks Church, New York City, New York, 1993 Scototoxic End Odds Show, Friends’ Meeting Hall, St. Paul, MN, 12/06/03[F2O] BD VI – Crash & Transmogrification (1991) –{for Alec & Julie Bever} Theatric Poem for 2 Actors (MF), Actors’ Assnt, 5 Readers
NO NAME Gallery, Minneapolis, Minnesota, 5/18/1991 Readings & Other Theatrik Oddities, Blair Arcade (Fountain Chamber), St. Paul, Minnesota, 1991 8 Ladder–Angels (1991) For 3 Narr (& Set-Manipulators); Fl, Vln NO NAME Gallery, Minneapolis, Minnesota, 11/30/1991 FAS & SLO Readings & Performances, Kuppernicus, St. Paul, MN, 1992 FAS & SLO Readings & Performances, CBGB’s Club, NYC, NY, 1992 Bard College, Brook House, Annandale-on-Hudson, NY, 1992 14 Karat Cabaret, Baltimore Maryland, 1992 Behavioral Drift 8/9 – the Slo GAME (1992) –{for Richard Gitler & Laura Marie Dyer} For Narr–Translator; 2 Player–Dancers MF; Thread Man & Stain Lady; 6 Choric Depots with 3 members each, totaling 9M 9F, each member with a differently tuned Hand Bell. FAS & SLO Readings & Performances, Kuppernicus, St. Paul, MN, 1992 FAS & SLO Readings & Performances, CBGB’s Club, NYC, NY, 1992 FAS & SLO, First Unitarian/Universalist Church, Baltimore, MD, 1992 Accompaniment to Scribble Death I – Illus (1992) (taped MIDI Realization with Ramon Valle, tech) [may be lost] Kuppernicus, St. Paul, Minnesota, 1992 As Time… (1993) Hybrid Composition for Reader, Cl, Elec Kybd, Guitar – or other Friends Meeting House, St. Paul, 1993 Barrytown, New York, 1993 Granary Books, New York City, New York, 1993 Church of St. Michael and All Angels, Baltimore, Maryland, 1993 Behavioral Drift X – Unknowing Games at the Hut (1993) –{for ??? For 8 Actors, Narr; Fl, Vln, Elec Kybd, Prc, small Brass Band; + Complete Stage Set. A Behavioral Drift in which all actors eventually play all parts. [Even though the piece was performed several times, the instrumental parts were not completed – Under revision] – [Complete Stage Set Lost – Stolen] Friends Meeting House, St. Paul, 1993 Granary Books, New York City, New York, 1993 Church of St. Michael and All Angels, Baltimore, Maryland, 1993 Angerds eng Mudsrooden (1993) –{for Mary Sternbach} Hybrid Composition for 2 Readers (MF), 5 Voices (FFFMM); Fl, Pf, Vlc – or other St. Marks Church, New York City, New York, 1993 14 Karat Cabaret, Baltimore Maryland, 1993 Spydr Moon (1994) –{for Laura Marie Dyer} <<Add some NOTES &+ danced myself>> For Dancer, Gesturalist, Sop, Fl, bTb, Prc Trap-Set +, 4 Photo Flashers Friends Meeting House, St. Paul, 1994 Barrytown, New York, 1994 La Mama Galleria, New York City, NY, 1994 BD XII – Slo Train (1994??) –{for Dave and Diana Prentice & Sidny Monstre Ray} For Reader, 6 Elec Gtr’s or Elec Cb’s, Timer [[Madison [[Sonic Circuit, Landmark Center, St. Paul, Minnesota, 199?? Barrytown, New York, 1995 New York City, New York, 1995 Baltimore, Maryland, 1995 Baltimore Maryland, 1997 (?) Souls’ Lyric: (1995 – ??) –{for Andrew Bolotowsky & Mary Hurlbut} For Sop & Fl. Microtonal song (‘sixth’ tones) on a text by Franz Kamin. Recording is available on Historic Recordings CD. +++ Valentale – the ‘Musical’: Narr, Illus, Fl, Vlc, Hpsechrd, Prc, Cond, Timer (2000) Patrick’s Cabaret, St. Paul, Minnesota, 09/15&16/2000 BD XIII – US: (1998) <DESCRIPTIVE NOTES from J THOME LETTER –{for Sarmad Brody} For 2 Narrators (M, F); Soprano, (+ Glockenspiel, which was originally meant to be played by the soprano, but is probably best having its own performer), Flute, Violoncello, Harpsichord (originally meant for Electric Guitar, but is probably best for Harpsichord) Piano (or less preferably, Electric Piano), Bassoon, Bass Trombone, (+ 2 Bass Drums or 2 Tympani to be played respectively by the Vlc & the b.Tb) – all to be spaced around the outside of the audience, with the 2 Narrators on either side of the stage. *[The problem of spacing the instruments around the outside of the audience could possibly be averted by the use of a ‘Hallo-phone’ (or other similar such device) and multiple speakers.] A MIDI realization was made by Franz Kamin & Ramon Valle in St. Paul, MN, 1999. This was re-made by Sarmad Brody 2000–1, and recorded at ‘Track Recordings’ in St. Paul in 2001. This MIDI rendition is available on a CD along with Behavioral Drift II, RUGUGMOOL, & Spydr Moon; and is purportedly to be released by INNOVA. And, if this is to be an ‘Illustrated’ performance, as has been the case with a number of my works (Scribble Deaths I, II, & III; Valentale - the ‘Musical’; Crumbs of the Pie; etc.), this is usually done by an Illustrator using oil crayons (via a given pre-planned ‘scribbloid’ format) on very large sheet of paper mounted on an upright backing. The piece is about fifteen minutes in length. The previously mentioned CD recording was made by multi-tracking of ‘direct’ keyboard performances into an Atari MIDI, with each instrumental part being separately ‘performed in’ utilizing a stop-watch and, metronomically setting some of the initiatory tempi, while listening to the other available instrumental lines on headphones and still other parts on speakers. This MIDI recording was originally started after I had composed about 1/3 of the piece in order to discover whether a certain amount of ‘tempo variability’ could be tolerated (as these tempi would have to be established and maintained by each performer alone, and against a number of not-always-rationally-divisible, and often changing tempi emanating from the other instruments – even where such tempi might be initially indicated, if not continued, by the Conductor.) Hence, in the CD performance of the score there are some infractions of linear continuance in some of the parts during the first few pages of the score; these were made on purpose in order to determine whether or not the aforementioned ‘variabilities’ would work out. Hence, in order to assure that there would be enough of a given ‘Prototypical Continuum’ material tendered if necessary to extend an instrumental line to some given ‘tutti-point’ or ‘stoppage’, I supplied more than enough ‘musical line’; the excess of which would simply be omitted if not used.) Once I saw that the foregoing was not going to be a problem, I performed and recorded the remainder of the work more concisely in accordance with the score. Unlike a number of my other Behavioral Drifts, US is completely and conventionally (if ideally) notated. Hence, the written-out realization of the score has been rendered in normal notation which has been proportionally adjusted to fit into a stable grid of seconds which are labeled via appropriate cumulative timings. There were two main reasons for this ‘mode of notation’: First, because of the ‘Tempo Drifts’ (the main parameter being ‘Drifted’), I personally wanted to ‘see’ the collocations of the instrumental lines in order to keep a compositional awareness of the contrapuntally implied harmonies, cross-rhythms, and cross-tempi; And secondly, in order to demonstrate to those of a more technologically conservative or academic bent, that such ‘individually operant’ micro-structures could be notated in a conventional manner, even if it is somewhat at the added expense of a superfluicity of complexification and difficulty of performance – as well as a reduction of a certain ‘musico-libidinal flow’. I believe that it is neither necessary nor ‘democratic’ (in the sense of anti-elitist) to notate complex ‘sound formations’ by way of difficult or elitist notations, iff simpler modes of notation ‘work’ just as well. Because of the instrumental difficulty, the MIDI version has turned out to be the only performance (and recording) though MIDI was never intended to be its preferred medium. The ‘Prototypes’ found in US **[for definitions of ‘Prototype’, ‘Prototypal Continuum’, and ‘Behavior’, see the instructions & score to Behavioral Drift II] are similar to the ‘Animal Models’ as used in RUGUGMOOL. In the case of US, augemusikalischer representations of the letters ‘U’, ‘S’, ‘H’, ‘W’ & ‘A’ and the punctuation mark ‘?’ are used as Prototypes; the ‘Angels’, ‘Sunshine’ and ‘Water’ have a characteristic ‘Qualitypes’; the ‘Web–Map’ is a characteristic Prototypal Complex; the ‘Sisters’, the ‘Spider’, the ‘Un-conscious Bear’, the ‘Monstrous Snake’, the ‘Wolf-Witch’ (in combination with the Prototype for the letter ‘W’), and the ‘Gross Toad’ all have their own Prototypes. There is a ‘Prototypical Additive’ for ‘having Sex’ which can be appended to some of the foregoing (especially the ‘Angels’ and ‘Spider’. The letter ‘S’ has ‘Transformation modes’ which are used to generate the ‘Snake’, and later from that the ‘Stream’, and still later ‘Water’ & ‘Bubbles’. All these ‘Prototypoid Objects’, however, are employed without either the exclusivity or the ‘Behavioral consistency’ such as occurs in Behavioral Drift II. For the most part, what is being ‘Drifted’ in this particular 'BD’ is tempos: Therefore, the conducting job, which consists of initiating the ‘setting’ of a sequence of constantly changing tempos, as well as indicating various ‘tutti points’, is rather difficult and multi-tasked. The score (which is final) currently exists only as a ‘pencil’. There is also in existence a set of 5 short essays on or subject to the ‘letterism’ which is pertinent to both the score and text. – never performed with ‘live’ instruments Song of the Owl: –{for Kathy Bourbonnais} As excerpted from RUGIUGMOOL exists in at least 3 different versions for various instrumental combinations using various ‘RUG charts’ with appropriate instructions: v1 is for flute solo: v2 is for flute & soprano; v3 is for flute, soprano & ottavino or harpsichord. [??check NY ’00 itinerary] , New York City, New York, 12/0X/00 [V2] Scototoxic End Odds Show, Friends’ Meeting Hall, St. Paul, MN, 12/06/03 [V3] The Pervasive Cretin (2000) –{ for George & Susan Quasha} For Narr, Illus, Actress, Contortionist, Balancer of Stones, Sop, Fl, Cl, Tb, Vla, Elec. Kybd, [odd] Prc [[Needs revision – at least because of use of ‘RUG charts’ (& also possibly old ‘Prototypes’.]] Duanne Street Loft, New York City, New York, 12/09/00 Flying Saucer Café, Kingston, New York, 12/14/00 Buffalo Bill’s [#2] (2001) –{for Todd Harper} For Baritone & Piano. This is the second setting of this text by e e cummings. Voice Recital, ??? Hall, St. Thomas College, St. Paul, Minnesota, 03/05/21 0 – Angel slowly shifting (N): (2001) <DESCRIPTION from J T LETTER –{for Michael Mann & Deborah Wexler} For Sop, Vlc; Pf; 3 Prc; Fl, Ob, Cl, Bn, H; Cond, Timer [under revision] (The only recording that has been made is unacceptable.) This composition is for 4 separately operating Ensembles plus Conductor & Timer: 1) Soprano & Violoncello; 2) Wood-wind Quintet (Fl, Ob, Cl, Bn, H); 3) Three Percussionists (mobile); 4) Piano. For the placement of these performers and/or groups, see the two possible diagrams given in the score – one diagram for around (and in) the audience as well as on stage, and an alternative diagram for ‘all on one front stage’. The first Ensemble (Sop & Vlc) forms a continuum (in this case, functioning as an ‘arcane plasma’) which runs simultaneously backwards & forwards, within which the main musico-dramatic episodes of ‘0–Angel’ are embedded. This plasmoid continuum often consists of mere ‘Traces’ (see instructions preceding the score) which at first strangely emerge from the opening suspended cymbal roll, and then continue throughout the entire piece. This is often overlaid by ‘Bumps’ from the Piano (Ens 4.) The following is a loose outline of the Episodes – from which the rather obvious ‘programmatic’ features of the ‘Prototypal Complexes’ is unavailable to both the performers and the audience… (Lest these ‘hidden programmatic features’ be somewhat ‘looked down upon’ for their lack of ‘musical abstraction’, please be reminded that similar such elements are also suppressed in Beethoven, Chopin, Berg, and Webern; in any case their programmaticism is not in any way actually ‘pictorially evocative’, unless they are interpretively enforced): EPISODE #1: – [woodwinds] Agreement complex of a ‘Motivic’ Prototype {Birds} >> + Transform into Choral {Sun-Shine} EPISODE #2: – [percussion – 2 SD’s] Antiphonal retrograde cannon EPISODE #3: – [woodwinds] Brief ‘Trace’ melody EPISODE #4: – [woodwinds + percussion + piano] Extended Moment-Form Cell {Flame} EPISODE #5: – [woodwinds] Melody – with Machinic Intrusions EPISODE #6: – [piano] Piano Cadenza EPISODE #7: – [percussion] Mini-Drama in ‘SONIC ATTIRE’ >> + Embedded Briefly with [woodwind] ‘Extended Moment-Form Cell’ {Flames} >>> ++ Embedded with [Ø or + Sop] ‘Devastating Silence’ >>>> Ends with ‘Sway Dance & Divesting of Sonic Attire + ‘SONIC ATTIRE’ + mobile ‘Chain Drag’ followed by mobile Glockenspiel Jonathan Townsend EPISODE #8: – [woodwinds & Percussion] [percussionist] ‘Pop-ups’ in Space [WW] Mobile ‘TrikStix’ [Prc](See description at beginning of score) EPISODE #9: – [piano] Piano Cadenza – Retrograde Reprise EPISODE #10: – [percussion – 2 SD’s] Antiphonal SDs ‘wire-brush’ Swirl EPISODE #11: – [woodwinds] Melody (Moonlit) EPISODE #12: – [woodwinds] Extended Moment-Form Cell {Fish} EPISODE #13: – [woodwinds & Percussion – 2 SD’s] Extended Moment-Form Cell {Fish} [WW]: cont. & fade Antiphonal retrograde cannon [Prc– 2 SD’s]: reprise & fade The central feature of the forgoing outline is EPISODE #7: – [percussion]: the ‘Mini-Drama in Sonic Attire’. [See photo above.] This requires a Percussionist of multiple subtle abilities, relative to ‘dramatic interpretation’ incorporating the utilization of ‘body-drama’ as well as ‘discriminatory sound sense’ – an aesthetically sympathetic performer, to say the least! [See the description of sector E, Percussion 1, 2, 3 (complete version) following the ‘General Instructions’ at beginning of the score.] [As can also be seen from the forgoing outline, the woodwind quintet is featured in a number of the Episodes – but the composition was originally written for an amateur group of wind players, and was therefore constructed accordingly, that is by over simplifying many of the parts (the exception being the ‘Flame’ Extended Moment-form Cell which was taught to them by rote along with the use of recorded solo samples. Thus, before considering any further performances of this composition, I feel the need to make some revisions, especially to these woodwind parts, to bring them somewhat away from their current simplified form and closer to my original conception.
Landmark Center, St. Paul, Minnesota, 02/08/01 The Wind-Up Angel: [‘finalized: Xmas 2003 – Feb 2004] –{for Ben Kreilkamp} For Piano solo – The Wind-Up Angel: When you wind it up, it just floats in the air & does Nothing …But – the Really Important Question is: ?What does it Do if you DON’T wind it up? … however, One aspect of it, is well known: On One Day of the year – It becomes The Wind-Up Goblin! – (see below) (FK – 20th Century USA Pf CncVIIIa – ‘house concerts’ – Feb, March & April ‘04) Twin City Society of Friends Meeting Hall, St. Paul MN, 04/25/04 Bryant Lake Bowl, Minneapolis, MN, 04/28/04 [x5 choreographed by Ben K] +AFC Tuesday Salon >>?DATE? BD XIV – BagVLeWiG [3]: a Viscousation of Sunbars’ Prismoid Shafts : –{for Milne Kintner-Dee & Nor Hall) <DESCRIPTION from Joel Thome LETTER For 6 ‘spaced’ ‘Instrumental Depots’: 1) Vl1, Vl2, Vlc 2) Tp(Bb), H 3) Ob, bCl 4) Bn 5) Fl1, Fl2, Fl3 6) tSx(Bb) + 2 ‘spaced’ Prc: 1) Devices that “shake, rattle, roll & shush” 2) Devices that “clank, clatter, clitter & thunder + Pf (used both a ‘Cueing’ Device for the 6 Depots & as an additional Depot) in addition to being an assistant to the ‘Catalytic Adjudicator’ + the ‘Catalytic Adjudicator’ + 5 ‘Character Actors’ (silent gesturalists) located at 5 ‘spaced’ ‘Stations’ (on a circular ‘Route’) demarcated by 5 elastically suspended dirty burlap Bags (≈ height 3½ ft. X girth circ. 2½ ft.) each partially filled with something ‘disgustingly squishy’, to be prodded by 5 conveniently placed 4 ft. long forked poles (from tree branches): ‘X’, ‘Y’ & ‘Z’ (females), ‘P’ & ‘Q’ + 3 Narrators: ‘F’(male), ‘M’ & ‘N’(females) + a Lighting Technician who Cues both the Actors and the Instrumentalists via ‘4-color coding’ + any necessary assistants. [in Progress] May 2003 – As in progress 5/16/03: ‘the 2nd ½ backwards only’: “…Which may (perhaps) illustrate an AutoMorphogenesis arising from ChaoS, under an array of erratically changing 'Moods' ...” [[needs revision for musico-structural clarity (transparency – possibly via ‘Sierpinsky-Menger Windows’]] 1. BD XIV – BagVLeWiG [3]: a Viscousation of Sunbars’ Prismoid Performed as a work in progress 5/16/03: ‘the 2nd half, backwards only’. :.??What is LEFT OUT of the Complete Structure Probably 1st ‘from lower on page: Expo’ {{{SHORT experimental & PROCESSUAL EXPLANATION HERE!!!}}} The words ‘Modern’ and ‘Experimental’ were both used before 1900 to describe any of the arts; but they became ‘buzz words’ from the period of 1900 to 1920; and along with ‘avant-garde’ continued as such up through the 1960’s, especially relative to music. The word ‘experimental’ was used mostly by critics and others ‘not in the know’ as a pejorative meaning that the composer was merely ‘fooling around’ or ‘trying to shock’, and didn’t really know what he was doing. Many composers did not like the label: Varese said “I do my experimenting before I compose the piece!” By the 1950’s, however, the term ‘experimental’ had become an accepted genre, and was a way of identifying what a composer was doing. In most cases, prior to the early 1950’s, the only actual experimentation involved was to find out whether an audience could be made to accept this or that radical innovation (or even whether they had accepted many well-established conventions.) In spite of the forgoing general acceptance, in 1974 Michael Nyman completely redefined the word in his book Experimental Music. He said basically that it could only refer to those compositions wherein, for a number of (carefully catalogued) different reasons, the composer could not or did not know the exact nature of the outcome of the composition. The word ‘experimental’ was accepted in this new way only by some of those few elite who had read that book, all others being content that the word was already in the vocabulary with a given set of meanings. Nevertheless, Nyman’s new definition of ‘experimental’ still did not carry the kind of meaning that it had for scientists. That is, for scientists, when an experiment was completed, the results were to be ‘judged’, and if they were found to be unacceptable, the experiment was considered to be a failure, and was discarded. Part of the reason for the policy of ‘non-judgment’ and ‘non-discard’ in music, was a ‘Cagean’ willingness to accept any and all results (a principle which even Cage eventually did not entirely adhere to.) Less radical than Cage, Stravinsky, when asked about whether or not he could actually ‘hear’ certain of the high-density sections in the Orchestral Variations (1965), he indicated that he could not, but said that <<Note on PROCESSUAL Here!!>> “…certain calculations can be made…” Kreneck said, in speaking of such calculations in certain of his own pieces “…if the calculations do not work out, it must be thrown out…” (In my estimation, he did not ‘throw out’ nearly enough.) The purpose of all the forgoing exposition is in order to be able to discuss the ‘failure’ of many of the necessary experiments attempted in Behavioral Drift XIVe – BagVLeWiG [3]. ****[Much could be said about my relation to ‘failure’, however, this is not the proper place.] I will now list and discuss some of these experiments and their success or failure. Before-hand, however, it must be stated that, in BD XIVe, too many different experiments were attempted simultaneously, thus the whole was most likely bound to fail (which is the first and primary failure.) ++List of EXPERIMENTS++ 1. Moods via House Lights (or Panel) In the subtitle ‘BagVLeWiG’, the ‘VLWG’ is a modified acronym for the ‘mood list’: Violence, aLoneness or Love, Waiting, and Game(s), in addition to their matrix of ‘after-inflections’: e.g. ‘Waiting after Violence’, ‘Waiting after Love’, ‘Loneliness after Violence’, ‘Violence after the Game’, … , etc. The use of this ‘Mood Set’ (or Row) and its ‘After-Mood Matrix’ first appeared in my ‘Structure #2’ (‘Symphony #2’ from around 1966-7 – abandoned.) Various modifications and expansions of such ‘Mood Overlay Systems’ have occurred in a number of other compositions, but this is the third one utilizing the specific aforementioned ‘After-Mood Matrix’: hence, ‘BagVLeWiG [3]’. In this case, the ‘Mood Set’ was cued by colored gels on the ‘staging area(s)’ lights. This lighting system also cued the ‘Routed Drifts’ of the ‘Character Actors’ (‘CA’s) from ‘Station’ to ‘Station’. The house light cues worked well for the ‘CA Drifts’; but not for the ‘Mood Sets’, which in any case are very subtle, and would require much more rehearsal than was allotted for the piece in its single performance. 2. Self-Emergent New Sound Complexes within a Given Homeostatic Structuring System 3. Multi-Performer Depots each Using Single Prototypes During a performance of BD II at Pratt Institute (where the sound of individual performer Depots was lost in the huge auditorium) I first considered the notion of at least two instruments per Depot (always on the same prototype) as at least a way to amplify if not enrich and embellish the Prototypal emanation from each Depot. 4. [[Actors set up to carry Control Messages – espc relative to ‘2’]] 5. Actors ‘Drifting through all the character roles [[Needs revision for musico-structural clarity (i.e. transparency – an ‘auditory view’ into single Depots at arbitrary times – possibly via the use of ‘Sierpinsky-Menger like Windows’, such as are eventually to be found in Behavioral Drift XVI – Stranger Redux … ]] [[++ Pf (as cuing device is unsubtle ….. iff performed again, I would use ORCHESTRAL CHIMES (poss electronic with kybd controller) !!!!!]] The ‘Catalytic Adjudicator’ (‘CtAj’) is ‘Catalytic’ because he sounds signals only through the Pf. And he is called an ‘Adjudicator’ because he judges the current over-all content of the Depots relative to the predominance of specific Prototypes. He then signals (via the Pf) ‘changes’ of content which further promote the occurrence of the more predominant Prototypes: The Catalytic Adjudicator first judges which Category of Prototype (‘Cat’) is predominant within a chaotic mix of Prototypes (‘Pt’s) currently emanating from the Depots. He then signals an all-Depot Agreement on that Category. From that Category-Agreement, the Catalytic Adjudicator then judges which Prototype is predominant within the chaotic mix of Prototype from the Agreement. He then signals an all-Depot Agreement on the adjudged Prototype. This Prototype is then entered into the ‘first variable sub-group indexed slot’. In this ‘slot’, the newly chosen Prototype either replaces a previously existent Prototype, or is filled into the empty space of the ‘slot’. … Three part Programming Narrative: X1. 3 Narrs – 2. CAs – 3. ??? The Character Actors (CA’s) who are mobile on a rotating Route that takes each one to the next successive Station where they are cued as to which Sequence of Characters (SC) to perform. Each C in the S lasts only a few seconds. There are 5 C in each CS. Each Station has at any one time various combinations of different SC’s, same SC’s in different orders. There are a total of 25 different Characters (C) that can be performed. As the composition progresses, a number of C’s are eliminated. By the end all C’s have be absorbed into one C. –[Since the C-Stations are near the Instrumental Depots, the CA’s could also could have been used as another Cueing system!] –[<<‘Drifting Actors’ were first used in the multiple Roles in ‘BD X – the Hut’ wherein every actor eventually plays every part.>>] A Video is available on Line on Google Video. Patrick’s Cabaret, St. Paul, Minnesota, 05/16&17/03 Coilular Angel (Nov 2003 – revised by Feb 2005) –{for Nor Hall} For 2 amplified Narrs + Sop, Fl, Cl in Bb, H, Tro-u or Vln or Vla, Pf ‘spaced around the outside of the audience’ Reading with ‘emergent wallpaper’. A MIDI version of this piece is also available on CD. A Video made by Robert Burke is available on DVD. Scototoxic End Odds Show, Friends’ Meeting Hall, St. Paul, MN, 12/06/2003 [[Aphrodite …Southern Theater, Mnpls, MN, DATE???]] Apotheosis of David C. Brown – ‘ADCB’: (Incomplete – 1st projected in 1967 – but not continued until 2004) The Wind-Up Goblin (2004) For Piano solo. The Wind-Up Angel: When you wind it up, it just floats in the air & does Nothing …But – the Really Important Question is: ?What does it Do if you DON’T wind it up? … however, One aspect of it, is well known: On One Day of the year – It becomes the Wind-Up Goblin! – (see above) Halloween Concert Friends’ Meeting Hall, St. Paul, MN, 10/30/04 ACF Salon @ Zeitgeist studio , St. Paul, MN, 11/16/04 The Lone Rider from the South (2004) –{in Memoriam for Jackson Mac Low} This is musical setting of 1981 performance-poem (for Narr + 3 Readers in the audience) plus flute, clarinet, baritone saxophone & piano (surrounding the audience.) A Video is available on Line at Google Video. ACF Salon @ Zeitgeist studio, St. Paul, MN, 12/14/04 Behavioral Drift XV – NEWS (lecture/demonstration #2) (2005) –{in Memoriam for Jackson Mac Low} <DESCRIPTION from J T LETTER> For 2 Amplified Narr.s, Fl, Tro-u [or Vln], Vlc, Cl, aSx. For 2 Amplified Narrators, Flute & Violin [or Tro-u], Violoncello, Clarinet, alto Saxophone, 3 Percussionists, [+Piano]. As in the cases of the previously discussed Behavioral Drifts II & XIII, the instruments are placed in specific locations in the space called ‘Depots’. In this particular case, however, the instrumental Depots must be located such that each ones’ sound emanates from a different cardinal direction: the Clarinet is to the North (Cl: N); the Flute & Violin [or Tro-u] (which function as a single ‘Depot’) are to the South (Fl & Vln: S); the alto Saxophone is to the East (aSx: E); and the ‘Cello is to the West (Vlc: W). Thus Cl, Vlc, aSx, Fl-Vln: N, E, W, S = NEWS. The Percussion, which functions as a coactively separate ensemble, consists of 3 performers: 1. The large Tambourine is at the front-stage-right and leads the group when necessary. 2. The suspended small Metal Junk is located either in the center aisle or the audience-left-aisle 1/3 aisle-distance from the stage. 3. The large Maracas is located either in the audience-right-aisle 1/3 aisle-distance from the rear or in the rear at audience-right, dependant respectively on the location of the Suspended Metal Junk. The Percussion functions as a secondary or obbligato part, and does not even have presence until past the ¾ point in the composition. Amplified-Narrator 1 is on stage somewhat right. (During the only attempted performance Narrator 1 also played the Piano, as it is considered a portion of his part and is very slight.) Amplified-Narrator 2 is either audience aisle left or rear left. *[The problem of spacing the instruments around the outside of the audience could possibly be averted by the use of a ‘Hallophone’ (or other similar such device) and multiple speakers.] The two Narrator parts constitute a double lecture-demonstration. The First Narrator gives a straight-forward talk on three subjects: 1. ‘Silence’ as a projective manifold, that is, Silence as an all-encompassing aural space (hence, an aural manifold) on which the after-images of sounds can be projected from the ‘real’ sounds. This Silence, however, is a ‘limited projective manifold’ in that it is asked not to be aware of unintended sounds (unless they suit the milieu). It is therefore ‘non-Cagean’, nevertheless, both Lectures are themselves included in the Silence: It is therefore a ‘quasi–Colored Silence’, and yet it is a pure and deep Silence as preserved in its abstraction. This Silence also includes a mental or psychic aspect (as no silence can not) relative as to how long an after-image lasts, how it contorts or modifies, whether or not it returns (has itself an after-image); And whether that Silence seems to be interrupted by the next ‘real’ sound, or that Silence becomes fraught with anticipation, tension, waiting, boredom, etc… Additionally, this Silence has a virtual roaring ‘sound’ of its own – which is psychic rather than physiological. […This explanation is actually longer than its respective part of the lecture … but then you know I get to talking…] 2. The second lecture topic concerns ‘Prototypes’, ‘Behaviors’, ‘Drifts’ and ‘Behavioral Drifts’ in general. **[For definitions of ‘Prototype’, ‘Prototypal Continuum’, ‘Behavior’ and ‘Behavioral Drift’, see the instructions & score to Behavioral Drift II – without at least some grasp of these definitions, many parts of the descriptions of compositions given in this letter will be incomprehensible!] 3. The third lecture subject concerns Behavioral Drift XV specifically, its’ salient features being defined as they occur: There are 5 Prototypes, 4 of which are each ‘characteristic’ of some primary poetic or metaphysical aspect of its respective Cardinal Direction. When such a Prototype is ‘Drifted’ from its primary Depot to a foreign Depot, say the Northern Prototype (PtN) is Drifted to the Southern Depot (DptS), it keeps its primary (Northern) characteristics while concurrently assuming a modicum of secondary characteristics from the foreign (Southern) Depot. (Most of these Prototypes are ‘Compound’ as opposed to ‘Naïve’ and/or ‘Singular’.) The order of the Drifts is pre-set, unlike BD II, but as is the case with ‘US (BD XIII)’. The fifth Prototype, which does not fall within the ‘symmetric group structure’ of the Drifts of the other 4, is called the ‘Stranger’ (PtX). Its character is uninfluenced by and foreign to all other Depots, and alien to all other Prototypes. PtX may occur in any Depot at any time (i.e. PtX is not part of the given group-symmetrical Behavioral cycle.) The PtX Prototype is very subtle, and needs careful training, but then the double conundrum of primary characterization of each Prototype and its overlay of that with a secondary set of characteristics is already a problem of subtle proportions. The training and exposition of such subtleties is one of the tasks that falls to the Conductor. The second Narrator gives a more lyrical and reiterative discourse in which changes flow along with the multilateral Drift in its invasion of the Cardinally Directional Depots by Directionally Alien Prototypes (e.g. “When the North moves to the South: –| the Dead walk the land … flames erupt … there is Great Fear …) …and the Stranger. ‘BD XV’ is in need of some revision from its current just-under-10-minute format to one of 13-or-more minutes. This, in order to give certain events (both Narrator and Instrumental) a little more time to develop and to allow for greater audience-comprehension. Although, in essence, these revisions will not actually alter the ‘contents’ of the instrumental parts, they will enlarge the temporal spacing, and overall timing. They will also add some reiteration and other slight expansions to the Narrator 1 part, mostly for purposes of clarification.
A Video is available on Line at Google Video. ACF Salon @ Zeitgeist studio , St. Paul, MN, 01/18/05 Crumbs of the Pie – illustrated – The Musical (2006) For Narr, Illus, Vln, Cb, Fl, Cl, Ob, Sop, Tro-u [Vln], 2 Prc & Pf. A Video is available on Line on Google Video. Patrick’s Cabaret, St. Paul, Minnesota, ??????/06 Behavioral Drift XVI – the STRANGER Redux (2007 … unfinished) <DESCRIPTION from J THOME LETTER Ensemble I (Control): Snare Drum (+ ‘Density Adjudicator’ iff separately necessary), & Oboe (ambulatory), & Light Panel – as described in BD II, 3rd Tier for light Panel or a 2nd Light Panel or Variable Stage lighting in 6 colors. Ensemble II (6 Depots of instrumental pairs): 2 Fl, 2 Cl, 2 H or H + Sousaphone, 2Vl, 2Vlc, Piano 4-hands. (∀Depots specifically arrayed around the outside of the Audience.) Ensemble III: 4 Small percussion Depots of the same composition [Tibetan finger Cymbals, rosined Bird tweeters, Chain on various surfaces, & Laugh-Box + wood block + sandpaper blocks] -- ∀Depots specifically arrayed around the outside of the Audience. Ensemble IV: Conn or Hammond Electronic Organ. ‘Behavioral Drift XVI – Stranger Redux’ (which makes use of the same Prototype, the ‘Stranger’ PtX, as ‘BD XV’) has been about half completed. [‘BD XVI’ repeats many of the ‘experiments’ made in the failed ‘Behavioral Drift XIV – BaGVLeWiG: The Viscusation of Sunbars’ Prismoid Shafts’.) The Conductor’s function in ‘BD XVI’, in addition to the usual concise training tasks during rehearsal, can also take on any number of the control Ensemble parts (except for the Oboe) (e.g. signaling ‘density piercing’ via Snare Drum tattoos – this has to do with a new experiment involving what I call ‘Sierpinsky-Menger-like Windows’; and/or the various Light Panel Tiers – having to do with ‘statistical Interval control’ and ‘Drift shifting’.) [[piano piece for Richard Cameron-Wolfe]] (2007 … unfinished) –{for Richard Cameron-Wolfe} Various Performance Poems & Theatric Poems (after 1988): 4 Angel Nor Flower (1989) –{for Nor Hall} Performance Poem for Narr & 3 Readers Nor Hall’s ‘back woods, St. Paul Day by Day Café, St. Paul, Minnesota, 0. [??Sat 03/11, 1989] Corridor (1989) Theatric Poem for Narr, 8 amplified Readers (4M4F), Illustrator, Puppeteer, [Mime], Fl or Synth Day by Day Café, St. Paul, Minnesota, 0. [??Sat 03/11, 1989] TURNs (1989) –{for Alec & Julie Bever} ‘Theatric Poem’ for Narr, 2 Commentators (MF), 5-8 ‘Turners’
Evidence of a Reading Show, Nagasaki Park, St. Paul, Minnesota, 05/25/ 1989 Nightflower (1989) ‘Performance Poem’ for Narr & 6+ Readers Evidence of a Reading Show, Nagasaki Park, St. Paul, Minnesota, 05/25/ 1989 Middle-Bridge Witness (1990 – ) For 3 readers FAS & SLO Readings & Performances, Kuppernicus, St. Paul, MN, 1992 FAS & SLO Readings & Performances, CBGB’s Club, NYC, NY, 1992 Bard College, Brook House, Annandale-on-Hudson, NY, 1992 That Which Thrills Them (1993) Performance Poem for Narr & 5 F Readers Kuppernicus, St. Paul, Minnesota, 1993 Granary Books, New York City, New York, 1993 Composers Forum Salon, St. Paul, Minnesota, 199?? Church of St. Michael and All Angels, Baltimore, Maryland, 1993 She Turns Alone (1993, 2003, 2004) –{for Lola Lesheim) Theatric Poem for Gesturalist & Narr & 5 others spaced around the outside of the audience (1993) – This piece exists (so far) in three distinct ‘Versions’: V1 & V2 include parts for 5 male non-singing vocalists (bass) spaced around the outside of the audience; V3a (2003) includes parts for 5 ‘tape sound sources’ (realized by James M Brody in accordance with FK instructions) instead of the male voices; V3b which is a revised reconstruction & simplification of V3a (and which may itself be made in 2 versions, one for centralized multi-track tape with spaced speakers, and the other for 5 separate tapes to be played simultaneously on 5 spaced machines) is currently under construction. Relative to the ‘performance listings’ (which may be incomplete) the first three may have been either V1 or V2; the fourth (Composers Forum Salon, St. Paul) was V2; and Dec 06 ’04 (Friends Meeting Hall) was V3a Kuppernicus, St. Paul, Minnesota, 1993 Granary Books, New York City, New York, 1993 Church of St. Michael and All Angels, Baltimore, Maryland, 1993 Composers Forum Salon, St. Paul, Minnesota, 199?? Scototoxic End Odds Show, Friends’ Meeting Hall, St. Paul, MN, 12/06/03 Red 19 (1993) Aleatoric performance Poem for any number of Voices 14 Karat Cabaret, Baltimore Maryland, 1993 Common Objects Ordinary Acts (1994) Theatric Poem for Performer & Assistant, + Complete Theatric Set The Bad Habit Café, St. Paul, Minnesota, 1994 Barrytown, New York, 1994 Patrick’s Cabaret, Minneapolis, Minnesota, 199??
Colors (2000?) –{for ??? For Narr & 8F + 8M Readers spaced around the outside of the audience. [published in Open Space #…? ] Composers Forum Salon, Minneapolis, Minnesota, ??date?? Scototoxic End Odds Show, Friends’ Meeting Hall, St. Paul, MN, 12/06/2003 Da’GummaMan (2000) –{for Peter & Vanessa Warner} For Reader & 3 Drummers – 2 sets of low Toms & a set of Bongos Duanne Street Loft, New York City, New York, 12/09/00 Flying Saucer Café, Kingston, New York, 12/14/00 Patrick’s Cabaret, Minneapolis, Minnesota, 199?? Scototoxic End Odds Show, Friends’ Meeting Hall, St. Paul, MN, 12/06/2003 [Prhps Performance & Theatric Poems shld have Own List] !!??What about UNDECIDABLES??!! Reviews & Descriptions 155. "Behavioral Drift #8/9 (The Slo GAME)" (by Franz Kamin)
173. Red 19 & Angerds engMudsroodn (by Franz Kamin)
174. She Turns Alone & Unknowing Games at the Hut (Behavioral Drift 10) (by Franz Kamin)
MPR: Comparing Notes with Paul Cantrell [01/24/05 Franz's pieces are difficult. No, no, not difficult in the sense of being too complex or too weird to understand -- you might fool yourself into thinking it's difficult in that sense, but, well, you'd be wrong. His basic concepts are simple, elemental, and quite graspable. They're also fun. What's difficult is getting comfortable enough listening to hear that simplicity, letting go of the fear of the unfamiliar. His pieces are part theater and part psychological experiment in perception -- he often has musicians stationed all over the space, multiple narrators reading different things all at once, maybe even props and dancers -- the sort of stuff that prompts obnoxious philosophical questions like "Is that music?" and "What it art?" It's that darned familiarity barrier again. Smart fellow that he is, Franz realizes this problem, so the piece he did last week was designed to help people through the barrier. Franz explained the piece as it happened -- and this was part of the piece. While he narrated into the microphone, musicians around the room started doing what he described: a sound happens, then ceases, but continues in the mind. A recognizable pattern moves between players at different positions in the room. You may become bored, or confused, or impatient; this is also part of the piece. ...and so forth. And apparently, it worked; the barrier went down: the audience was enthusiastic, and even perpetually dissatisfied Franz seemed pleased. MPR: Comparing Notes with Paul Cantrell Posted by Paul Cantrell at February 12, 2005 04:59 PM The City Pages has a very entertaining and surprisingly true-to-life article on local composer / poet / fascinating personality Franz Kamin. It's encouraging to see the pop-centric City Pages get their genre blinders off enough to cover someone like Franz -- they even manage to use a derisive "your musical world is elitist" word only once (it's "highbrow"). And to top it all, it's good article. It doesn't actually explain anything about Franz's music itself and how it works, but it does show a genuinely respectful interest in somebody whose music borders on the ... gasp! ... classical tradition. For a paper that prides itself on its more-eclectic-than-thou music coverage and yet hasn't managed to give any of the local orchestras more coverage than a one-line mention in "Best of the Twin Cities" in years, devoting a whole article to a local composer represents a major branching out. And for Franz, it's some well-deserved recognition. I'm performing in one of his pieces at the Southern in a Valentine's Day show. It's the show that they called "too hot for public radio!" OK, so maybe I'm making that last bit up just a little -- but Franz's piece is delightfully weird, quite original, and well outside the bounds of what you'll hear on the radio. Actually, I'm not sure it's something you could hear on the radio: it involves having players distributed around the audience, and begins with everyone playing the same note, some growing softer as others grow louder, which creates the acoustic illusion of the note moving in space. In spite of the fact that his rhythms confuse the pudding out of my poor brain, his pieces are quite fun to participate in -- and, if we do our job right, it should be something quite fine to experience as well. Which reminds me, I need to go practice. |