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.
| 1. Antique Door |
10. Door of Lions & Embers (**) |
| 2. Vault Door |
11. 2 Burnt Doors & a Window |
| 3. Ice Cream Door |
12. Door in Solitude |
| 4. Red Door with 10 Holes |
13. Car Door |
| 5. Door of Janie Z [& ‘broken Chair’] [marked by ‘tall chair’] |
14. Buried Parts of the Door of Janie Z |
| 6. Theo |
15. Miniature Reflection of the Red Door with 10 Holes |
| 7. Screen Door |
16. Tiny Door |
| 8. ‘Pull the String’ Door [+ ‘Toilet’] |
17. Null Door |
| 9. Dreams Door |
…there was an 18th Door which was discarded into a ditch near the perimeter of the Woods… |
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,
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) –{for
XVI) …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,
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]