Discussed music alteration software like audacity, spek, and SPEAR. I downloaded Spek and Spear and I hope to do some work with spectrography in the near future.
Taught SS -- Starting on the 3rd today. Trying to figure out how I'm going to survive November with all of my comings and goings.
Read more of Bernstein's SFTMC book, including interviews and thoughts from William Miginnis and Terry Riley. I found out that Riley actually performed at a composer's workshop with La Monte Young HERE in PROVO! That's cool. I'm getting out of the realm of Oliveros with some of these articles -- especially the ones about the Buchla 100 Series. It's a cool thing, and Pauline did write a couple of pieces with it, but it never became her favorite compositional tool and I likely won't need to know too much about it.
Also finished correcting all of the unit 2 tests for 301. Now I just have to enter grades.
Listening to lots of David Guetta today. I think I know what House Music looks like.
Showing posts with label Pauline Oliveros. Show all posts
Showing posts with label Pauline Oliveros. Show all posts
Monday, November 2, 2015
Wednesday, March 4, 2015
Daily Log: March 4, 2015
I wrote three pages of my Haydn paper! I am on a ROLL!
The bad news: It looks nothing like my outline. However, part of this has to do with the fact that I completely changed my thesis. So it's alright, I guess. I should probably chat with Harker and present him a NEW outline.
I decided to just buy the Mockus book. I also finally bought Deep Listening. I figure I should actually own books by or about Pauline Oliveros. They're going to become a big part of me the next three years, and I'd like to be able to mark up the books and keep the bibliographies.
I'm also curious about attending one of Oliveros's Deep Listening Workshops. It doesn't look like they had any since early 2014, so I wonder if I've missed my opportunity. I'll probably have to (*shudder*) call the guy in charge and figure out how I could possibly get a personal one here at BYU (with school funding, of course).
There's actually a lot of funding and such that I should be considering. I can probably do a lot of the travelling at my own expense. A drive down to San Diego or a plane ticket to Houston isn't bad. But I'd like to have stuff paid for by the school if I can get it. I'd also like to work on having Pauline Oliveros come out HERE to BYU. Wouldn't that be cool? I've got about a year and a half to make stuff happen. Better get down to it.
I was the only one to show up for class today in Classical Seminar, so it was cancelled.
We discussed Anthony Braxton's use of symbols as notation for improvisation in 20th-Century Counterpoint today, and were given the assignment to write a piece using this notation. I am excited, because I want to extend the technique one step further using colors.
The bad news: It looks nothing like my outline. However, part of this has to do with the fact that I completely changed my thesis. So it's alright, I guess. I should probably chat with Harker and present him a NEW outline.
I decided to just buy the Mockus book. I also finally bought Deep Listening. I figure I should actually own books by or about Pauline Oliveros. They're going to become a big part of me the next three years, and I'd like to be able to mark up the books and keep the bibliographies.
I'm also curious about attending one of Oliveros's Deep Listening Workshops. It doesn't look like they had any since early 2014, so I wonder if I've missed my opportunity. I'll probably have to (*shudder*) call the guy in charge and figure out how I could possibly get a personal one here at BYU (with school funding, of course).
There's actually a lot of funding and such that I should be considering. I can probably do a lot of the travelling at my own expense. A drive down to San Diego or a plane ticket to Houston isn't bad. But I'd like to have stuff paid for by the school if I can get it. I'd also like to work on having Pauline Oliveros come out HERE to BYU. Wouldn't that be cool? I've got about a year and a half to make stuff happen. Better get down to it.
I was the only one to show up for class today in Classical Seminar, so it was cancelled.
We discussed Anthony Braxton's use of symbols as notation for improvisation in 20th-Century Counterpoint today, and were given the assignment to write a piece using this notation. I am excited, because I want to extend the technique one step further using colors.
Tuesday, March 3, 2015
What I'm Reading: Sounding Out
Today I begin a new book:
Mockus, Martha. Sounding Out: Pauline Oliveros and Lesbian Musicality. New York and London: Routledge, Taylor and Francis Group, 2008.
This oughta be good.
It's due back on March 16, which gives me 13 days or so to read it. 5 chapters (excluding the introduction) means I need to read about half a chapter a day. 172 pages means about 13 pages a day.
This is going to be an intense regimen. But I'll be reading about lesbians, which means it'll go by quickly, I hope.
Mockus, Martha. Sounding Out: Pauline Oliveros and Lesbian Musicality. New York and London: Routledge, Taylor and Francis Group, 2008.
This oughta be good.
It's due back on March 16, which gives me 13 days or so to read it. 5 chapters (excluding the introduction) means I need to read about half a chapter a day. 172 pages means about 13 pages a day.
This is going to be an intense regimen. But I'll be reading about lesbians, which means it'll go by quickly, I hope.
Saturday, January 17, 2015
Daily Log: January 16, 2015
Quite productive in some ways, but I keep leaving my Haydn studies until last minute, and that could end up hurting me in the long run.
I studied the first Italian Intermezzos in the Oxford History, in preparation for 604. Nine pages in that book fly by.
I also explored some 12-tone rows for 20th-century counterpoint. This assignment worries me; I spent far too much time just thinking about it and dreading it, that I didn't really do much actual composing. I can save more of this work for Monday (MLK Day).
I translated a page of Goethe -- this one was more difficult than past times. I also received a book of shorter Goethe poems from my friend Ingrid. I'm excited to explore this language; I'm thinking of finding the German version of Harry Potter, along with an audiobook in German. Ingrid also suggested that I watch some German films with German subtitles. I received some other tips and tricks for learning a language from her that I'd like to lay out in another post.
I read LaRue's chapter about Melody. It was really interesting. Melody is such a hard thing to describe and quantify, but I think LaRue does a really good job.
I also studied the final song of Oliveros's Three Songs, "Song Number Six," with text by Charles Olson. That was a quick song to analyze; it's only four measures long.
While I did not really look at any new sources for my Creation paper, I did acquire a few, including Sither's History of the Oratorio.
I studied the first Italian Intermezzos in the Oxford History, in preparation for 604. Nine pages in that book fly by.
I also explored some 12-tone rows for 20th-century counterpoint. This assignment worries me; I spent far too much time just thinking about it and dreading it, that I didn't really do much actual composing. I can save more of this work for Monday (MLK Day).
I translated a page of Goethe -- this one was more difficult than past times. I also received a book of shorter Goethe poems from my friend Ingrid. I'm excited to explore this language; I'm thinking of finding the German version of Harry Potter, along with an audiobook in German. Ingrid also suggested that I watch some German films with German subtitles. I received some other tips and tricks for learning a language from her that I'd like to lay out in another post.
I read LaRue's chapter about Melody. It was really interesting. Melody is such a hard thing to describe and quantify, but I think LaRue does a really good job.
I also studied the final song of Oliveros's Three Songs, "Song Number Six," with text by Charles Olson. That was a quick song to analyze; it's only four measures long.
While I did not really look at any new sources for my Creation paper, I did acquire a few, including Sither's History of the Oratorio.
Friday, January 9, 2015
Daily Log: January 9, 2015
-- Discussion of Webern in 20th-Century Counterpoint (see January 8 for specific readings). None of my questions were answered; Dr. Asplund couldn't explain the symmetry in his String Quartet either. I guess stuff like Webern should be saved for more mathematical minds. I spent a little more time on it, but then moved on to other things.
Like Pauline Oliveros. While I didn't read any more of von Gunden's book, I explored her piece Pathways to Grandmothers. I could only find one recording of it, but it's a solid one. Not much information is out there for this drone piece. I collected what I could.
I also pursued her Sonic Meditations. I found the text instructions for about half of them, but the rest are absent from accessible websites I explored. I've inquired Dr. Asplund about where I could obtain a copy of the entire "score" for these pieces.
Reading Update: I finished the first chapter of LaRue's Guidelines for Style Analysis. I'm considering not starting my SHMRF-a-day until I finish this book. It takes too long to both read and SHMRF on the same day. (Some of you are asking "What the heck is SHMRF?" I promise I will tell you in a later post. It's gold.)
Paper Update: No significant progress, but Dr. Harker gave me the ultimate go-ahead today. I'm thinking I'll listen to the whole oratorio over the weekend and find some parts I may want to research. I also found two books that are solely about The Creation. These will probably really help me in finding an angle.
German Update: :( I'll do six pages tomorrow. It's Saturday tomorrow.
Like Pauline Oliveros. While I didn't read any more of von Gunden's book, I explored her piece Pathways to Grandmothers. I could only find one recording of it, but it's a solid one. Not much information is out there for this drone piece. I collected what I could.
I also pursued her Sonic Meditations. I found the text instructions for about half of them, but the rest are absent from accessible websites I explored. I've inquired Dr. Asplund about where I could obtain a copy of the entire "score" for these pieces.
Reading Update: I finished the first chapter of LaRue's Guidelines for Style Analysis. I'm considering not starting my SHMRF-a-day until I finish this book. It takes too long to both read and SHMRF on the same day. (Some of you are asking "What the heck is SHMRF?" I promise I will tell you in a later post. It's gold.)
Paper Update: No significant progress, but Dr. Harker gave me the ultimate go-ahead today. I'm thinking I'll listen to the whole oratorio over the weekend and find some parts I may want to research. I also found two books that are solely about The Creation. These will probably really help me in finding an angle.
German Update: :( I'll do six pages tomorrow. It's Saturday tomorrow.
Daily Log: January 8, 2015
Yes, I'm posting this January 9th...
-- A lot of time was spent yesterday studying Webern for 20th-Century Counterpoint. I read several excerpts and articles:
Important Lesson Learned: Title your lectures well.
--Instead of SHMRFing, I just decided to analyze Webern's Piano Variations, Op. 27, 2nd movement. This involved hand-transcription, determining of rows, and some additional research on the use of mirror symmetry and canon within the work. Wolff's article discusses this piece's use of space and linearity. I also did some heavy work with his String Quartet, Op. 28, which is discussed in great detail by Stockhausen. There are still a few puzzles I don't quite understand about these two works, mostly in the assigned readings about them. They'll have to wait another day to be answered.
--302 was about Pergolesi and Hasse today. We discussed the differences between opera seria and opera comique.
--First GEM rehearsal. We performed variations of Pauline Oliveros's Sonic Meditations, as well as a couple of original ideas from class members. I'm now interested in accessing all of Oliveros's Meditations and studying them. (Thesis?)
Paper Progress Report: Found about ten sources on Haydn for my Creation paper.
Reading Progress Report: Read "Beginnings" in von Gunden's book on Oliveros. Read some LaRue; almost done with the first chapter.
German Progress Report: No Goethe today, but some texts by Webern, which were much easier to translate.
Thesis Report: Recorded source material from the von Gunden chapter.
-- A lot of time was spent yesterday studying Webern for 20th-Century Counterpoint. I read several excerpts and articles:
Moldenhauer, Hans, comp. "Introduction: A Decade Later." In Anton von Webern: Perspectives, edited by Demar Irvine. Seattle: University of Washington Press, 1967: xix-xxvii. [Interview with Igor Stravinsky about Webern.]
Pousseur, Henri. "Webern's Organic Chromaticism." Die Reihe 2 (1958): 51-60. [In-depth look at use of chromatic intervals in the first of Webern's Six Bagatelles for String Quartet.]
Schönberg, Arnold. "Foreword to Anton Webern's 'Six Bagatelles for String Quartet Op. 6'." Die Reihe 2 (1958): 8. [Short, powerful homage statement to Webern and his Six Bagatelles.]
Stockhausen, Karlheinz. "Structure and Experiential Time." Die Reihe 2 (1958): 64-74. [In-depth look at time sensations in Webern's String Quartet, Op. 28.]
Stravinsky, Igor. "Foreword." Die Reihe 2 (1958): vii. [Short foreword: ..."the day of... Webern's death... should be a day of mourning for any receptive musician."]
Wolff, Christian. "Movement." Die Reihe 2 (1958): 61-63. [Discusses the dual forces of controlled linear movement and free spacial relation in the works of Webern.]-- I attended the Oscarson Lecture by Dr. Daniel Henderson. I entered with low expectations. The title of the lecture was something like "Jazz for Kids," which was VERY misleading. I thought it was going to be some kind of jazz education lecture. Instead, it was an amazing overview of the children's music written by Billy May. Turns out he was using jazz techniques before jazz musicians were even using them. I took lots of notes, and I'm interested in looking at some of the Capitol Records scores we have here at the Harold B. Lee Library. What a blessing it is to have these sources!
Important Lesson Learned: Title your lectures well.
--Instead of SHMRFing, I just decided to analyze Webern's Piano Variations, Op. 27, 2nd movement. This involved hand-transcription, determining of rows, and some additional research on the use of mirror symmetry and canon within the work. Wolff's article discusses this piece's use of space and linearity. I also did some heavy work with his String Quartet, Op. 28, which is discussed in great detail by Stockhausen. There are still a few puzzles I don't quite understand about these two works, mostly in the assigned readings about them. They'll have to wait another day to be answered.
--302 was about Pergolesi and Hasse today. We discussed the differences between opera seria and opera comique.
--First GEM rehearsal. We performed variations of Pauline Oliveros's Sonic Meditations, as well as a couple of original ideas from class members. I'm now interested in accessing all of Oliveros's Meditations and studying them. (Thesis?)
Paper Progress Report: Found about ten sources on Haydn for my Creation paper.
Reading Progress Report: Read "Beginnings" in von Gunden's book on Oliveros. Read some LaRue; almost done with the first chapter.
German Progress Report: No Goethe today, but some texts by Webern, which were much easier to translate.
Thesis Report: Recorded source material from the von Gunden chapter.
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