Ralph Lichtensteiger | 2 Oct 13:12 2004
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[Fwd: new CD project using Derrida's & deLillo's voices]


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From: Ralph Lichtensteiger <lichtconlon <at> t-online.de>
Subject: new CD project using Derrida's & deLillo's voices
Date: 2004-10-02 10:53:46 GMT

Dear all,
check out my new CD project ... percussion music using Jacques Derrida's and Don deLillo's voices... at:

http://www.lichtensteiger.de/schlagzeug_CD.html

Musik für Schlagzeug, Klavier, Elektronik und Tonband (2004)
Music for percussion, piano, electronics and tape (2004)

1 théâtralite...* 4:23
2 ...und öffne das Fenster | ...and opern the window 12:28
3 suppression 5:25
4 Transitional moment between** 9:19
5 Studie für Schlagzeug, Klavier und Elektronik #1 13:28
6 Studie für Schlagzeug, Klavier und Elektronik #2 11:52
7 Strings (B) 10:20
8 Clouds #2 3:42

* Tonband: Stimme von Jacques Derrida

** Tonband: Stimme von Don deLillo (deLillo tells Fresh Air's Terry Gross about writing "Unterworld", October 2, 1997)

“Misstöne: gellen, gröhlen, janken, jaulen, johlen, kläffen, klappern, (Continue reading)

Ralph Lichtensteiger | 2 Oct 18:46 2004
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Philip Glass/arte

arte: Samstag, 2. Oktober 2004 um 22:35
VPS : 22.35

Looking Glass
Dokumentarfilm, Frankreich 2003, ARTE F, Erstausstrahlung
Von: Eric Darmon, Franck Mallet

Die Filmemacher Eric Darmon und Franck Mallet haben Philip Glass, einen der wichtigsten zeitgenössischen Komponisten, in den ersten sieben Monaten des Jahres 2003 mit der Kamera begleitet - von New York nach London, von Paris nach Boston. Der sehr persönlich gehaltene Film zeigt einen vor Energie und Tatkraft sprühenden Künstler.

Philip Glass zählt unzweifelhaft zu den produktivsten zeitgenössischen Musikern. Regisseur Eric Darmon und Autor Franck Mallet haben den Ausnahmemusiker über Monate mit der Kamera begleitet und ein eindrucksvolles und sehr persönliches Porträt geschaffen. Philip Glass, geboren 1937 in Baltimore, studiert Musik an der Universität von Chicago und der Juilliard School of Music in New York, wo er von Darius Milhaud unterrichtet wird. In Paris wird er Schüler von Nadia Boulanger, die ihm die Musik "neu beibringt". Gemeinsam mit Ravi Shankar überträgt er indische Musikpartituren für französische Musiker. Er gründet die Theatergruppe Mabou Mines und komponiert seine erste Partitur für "Comedy" von Samuel Beckett. Dies ist der Beginn einer neuen musikalischen Schreibweise. Glass bereist Nordafrika, Indien und den Himalaja, um andere Musikrichtungen zu entdecken. Er beginnt die orientalischen Techniken in seine Musik einzubinden und wird zusammen mit Steve Reich der Gründer der so genannten "minimalistischen" Bewegung. Um seine Musik unabhängig und abseits vom Konformismus komponieren und präsentieren zu können, arbeitet er als Klempner, Taxifahrer und Möbelpacker. 1976 findet seine musikalische Arbeit einen ersten Höhepunkt mit "Music in 12 Parts" und "Einstein on the Beach" in der Zusammenarbeit mit Robert Wilson. Nach der Komposition verschiedener Opern erscheint 1993 seine Trilogie nach dem Werk von Jean Cocteau - "Orphée", ein Theaterstück, "La Belle et la Bête", eine Oper für den Film und das Ballett "Les Enfants Terribles". Zu seinem umfangreichen Werk zählen neben Opern auch Filmmusiken, beispielsweise für "Mishima" von Martin Scorsese und "Koyaanisqatsi" von Godfrey Reggio. Philip Glass überarbeitet zwei Alben von David Bowie und Brian Eno, beteiligt sich an der Herstellung des 3-D-Opern-Videos "Monsters of Grace" in Zusammenarbeit mit Robert Wilson und komponiert die Musik für "In der Strafkolonie" nach Franz Kafka.

Das kleine Extra
Der Film erzählt den Lebensweg eines Mannes voller Sensibilität, Leidenschaft, Integrität und Treue. Gleichzeitig ist es ein Film über das musikalische und zeitliche Erinnern, ein Blick auf das Schaffen im Alltäglichen und die Enthüllung einer Musik, die zu schnell als "minimalistisch" angesehen wird. Philip Glass hat bis heute nichts von seiner wunderbaren Energie verloren. Er erkundet immer noch vielfältige Wege. Und durch seinen Erfolg beim Publikum gehört er zu den wenigen Künstlern, die bereits zu Lebzeiten eine Legitimität erreicht haben.

http://www.arte-tv.com/de/woche/244,year=2004,week=41,day=1,broadcastingNum=408148.html
Ralph Lichtensteiger | 3 Oct 20:37 2004
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Le langage de l'espace (1st part, 2004)

Dear all,
check out my new CD project ... Le langage de l'espace (1st part, 2004)

1 minéralisation 1:37
2 la voix et le phénomène #1 [jacques derrida] 5:92
3 the sand-grain manyness of things [can’t be counted] 0:56
4 the art of interruption #1 2:56
5 la voix et le phénomène #2 [jacques derrida] 1:54
6 couleur de grille 0:28
7 the art of interruption #2 6:53 | listen mp3
8 le cycle des grenouilles 2:29
9 dissemination 2:53
10 technological [william s. burroughs] 10:25
11 les mots qui saignent 1:52
12 ten minutes 1:17
13 métamorphoses 14:52 | listen mp3
14 la révolution astronomique 2:10
15 photomontage [william s. burroughs] 5:24
16 pianomorph 3:38
17 l’eau et la folie 1:15
18 the microfilm principle [william s. burroughs] 5:23 | listen mp3
19 exit footage 0:47

http://www.lichtensteiger.de/CDs_DVDs.html

kind regards,
Ralph Lichtensteiger
http://www.lichtensteiger.de/

Cornelius Dufallo | 7 Oct 23:04 2004
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Joan La Barbara and Ne(x)tworks Oct. 11

Hi,
 
In case you're interested I'm sending you a notice about an upcoming performance. If you would like to be taken off my list, just let me know! Otherwise I hope to see you Monday!
 
Joan La Barbara
WoolfSong, an opera in-progress
Frederick Loewe Theatre at NYU
35 West 4th Street
Monday, October 11, 2004 at 8pm
Admission Free
September 11, 2004, New York, NY - NYU and Electronic Music Foundation present Joan La Barbara's Woolfsong, an opera-in progress, as the first event in EMF's 10th anniversary season.

Renowned as a performer of contemporary vocal music, this evening focuses on Joan La Barbara as composer. WoolfSong explores the artistic process and the creative mind, focusing on Virginia Woolf as the basis of La Barbara's inspiration. In her words, "As I read through Woolf's works, I select phrases that have particular resonance for me, and then reflect back on these as I compose. My vision is that the musicians onstage are players and actors; all are Virginia Woolf and all are characters in her mind."

La Barbara will perform her work and she will be joined by video artist Kurt Ralske and musicians from Ne(x)tworks, including Kenji Bunch - viola, Neil Dufallo - violin, Steve Gosling - piano, Tim Kiah - bass, Rubin Kodheli - cello, Jesse Mills - violin, Taimur Sullivan - saxophone
 
Formed in 2003, Ne(x)tworks is a boundary-breaking group of performing composers generating original avant-garde music. Varying in size from two to eleven players, Ne(x)tworks specializes in open form music, almost always involving some elements of improvisation
 
 

Do you Yahoo!?
Yahoo! Mail
Ralph Lichtensteiger | 2 Oct 12:53 2004
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new CD project using Derrida's & deLillo's voices

Dear all,
check out my new CD project ... percussion music using Jacques Derrida's and Don deLillo's voices... at:

http://www.lichtensteiger.de/schlagzeug_CD.html

Musik für Schlagzeug, Klavier, Elektronik und Tonband (2004)
Music for percussion, piano, electronics and tape (2004)

1 théâtralite...* 4:23
2 ...und öffne das Fenster | ...and opern the window 12:28
3 suppression 5:25
4 Transitional moment between** 9:19
5 Studie für Schlagzeug, Klavier und Elektronik #1 13:28
6 Studie für Schlagzeug, Klavier und Elektronik #2 11:52
7 Strings (B) 10:20
8 Clouds #2 3:42

* Tonband: Stimme von Jacques Derrida

** Tonband: Stimme von Don deLillo (deLillo tells Fresh Air's Terry Gross about writing "Unterworld", October 2, 1997)

“Misstöne: gellen, gröhlen, janken, jaulen, johlen, kläffen, klappern, klirren, knarren, knirschen, krächzen, kreischen, piepsen, plärren, quäken, quaken, quiek(s)en, quitschen, rasseln, reiben, schaben, schettern, schlagen, schnarren, schnarchen, schreien, schrillen, zischen, brummen, flöten, flüstern, keuchen, niesen, rascheln, rauschen, sausen, säuseln, schnalzen, schnaufen, schnorcheln, schnüffeln, schnuppern, schwirren, sirren, summen, sumsen, surren, zischeln, zischen, zirpen. Missklang: dissonieren, misstönen, das Ohr beleidigen, verletzen, geht durch Mark und Bein, ächzen, brüllen, detonieren, gröhlen, jaulen, johlen, knödeln, knautschen, krächzen, leiern, missklingen, misstönen, orgeln, piepsen, plärren, quietschen, molieren, duddeln, klimpern, die Saiten, die Tasten maltretieren, ausrutschen, daneben greifen, sich vergreifen, falsch spielen, überschnappen, atonal, falsch, futuristisch, melodiearm, melodielos, stimmlos, taktwidrig, unharmonisch, unmelodisch, unmusikalisch, unrein, verzerrt, zu hoch, zu tief, ohrenzerreissend, Tonverwirrung.” — Franz Dornseiff, Der Deutsche Wortschatz nach Sachgruppen, 1943

kind regards
Ralph Lichtensteiger
http://www.lichtensteiger.de/




 
Mitch Renner | 8 Oct 18:41 2004
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(unknown)

i was just wondering...
 
is it possible to write unintentional music without chance operations involved?
 
in the context of no improvisation, particularly, and excluding pieces
in the vein of 4'33".
 
any comments appreciated.
 
 
mitchell renner
 
Breandán Ó Ruaidh | 9 Oct 17:48 2004
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silence...

I would love to know more of what you envision yourself here, and also 
why there were no responses. Sounds like a worthy discussion to me. 
Silent group...

Breandán.

On 8 Oct 2004, at 17:41, Mitch Renner wrote:

> i was just wondering...
>  
> is it possible to write unintentional music without chance operations 
> involved?
>  
> in the context of no improvisation, particularly, and excluding pieces
> in the vein of 4'33".
>  
> any comments appreciated.
>  
>  
> mitchell renner
>  
> mitchellrenner <at> msn.com
Ralph Lichtensteiger | 9 Oct 20:29 2004
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[Fwd: Jacques Derrida gestorben - Jacques Derrida died]


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From: Ralph Lichtensteiger <lichtconlon <at> t-online.de>
Subject: Jacques Derrida gestorben - Jacques Derrida died
Date: 2004-10-09 18:19:10 GMT

Frankfurt | October 9, 2004 | Der Philosoph Jacques Derrida ist gestorben...
The philosopher Jacques Derrida died (74) in Paris ...

tagesschau.de
http://www.tagesschau.de/aktuell/meldungen/0,1185,OID3690110_TYP6_THE_NAVSPM11174_REF3_BAB,00.html

Google news
http://news.google.de/news?q=derrida&hl=de&lr=&ie=UTF-8&sa=N&tab=nn&oi=newsr

Spiegel.de
http://www.spiegel.de/kultur/gesellschaft/0,1518,322418,00.html

faz.de
http://www.faz.net/s/RubF7538E273FAA4006925CC36BB8AFE338/Doc%7EEAD844AE78FDD4DF4BFC0B1273EA9966E%7EATpl%7EEcommon%7EScontent.html

"All my writing is on death. If I don't reach the place where I can be reconciled with death, then I will have failed. If I have one goal, it is to accept death and dying." Jacques Derrida
http://www.lichtensteiger.de/death.html

Destruktion/Dekonstruktion
http://www.lichtensteiger.de/dekonstruktion.html

Jacques Derrida by Mitchell Stephens
http://www.lichtensteiger.de/death_deconstruction.html
"There is even a more radical responsibility before questions, on the subject of ethics for example, that are not intrinsically ethical." JD
http://www.lichtensteiger.de/derrida.html

The Three Ages of Jacques Derrida
http://www.lichtensteiger.de/derridathreeages.html

CD using Jacques Derrida's voice | Ralph Lichtensteiger | Musik für Schlagzeug, Klavier, Elektronik und Tonband (2004)
http://www.lichtensteiger.de/schlagzeug_CD.html

kind regards,
Ralph Lichtensteiger
http://www.lichtensteiger.de/diary.html



Mitch Renner | 10 Oct 08:24 2004
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unintentional music (how to proceed in duality?)

getting rid of intention was cage's intent (just as a buddhist's desire is to get rid of all desires), to create "selfless" music.  as if to apply a counterweight the history of western music, in which projecting the self (and all ideas inflated by self) was (and still tentatively is?) the modus operandi.
 
he rejected the idea of self-expression in art, but not reflection.
 
he sought to rid his music of convention in a contrived sense - by giving up much personal choice.
 
yet, his music was a means, not an end in itself.  like beethoven's 9th was an end.  i tend to like to think that he wrote chance music so he could find a way to choose himself.  so he could discover the path to selflessness, where buddhists reach enlightenment (acceptance of all things as they are).
 
anyone that thinks his music destroys the concept of all music is still attached to the idea of music.  have to get beyond that so we can take cage's ideas a step further.
 
(i have nothing against convention in music until it is used conventionally, for one.)
 
instead of unintentional music, selfless music.
 
cage's most popularized quote is that he had nothing to say and was saying it, and that was poetry as he needed it.  the word nothing needs quotation marks around it, though.  in duality, we state things two ways, positively and negatively.  the other less-circulated side to this quote was cage's acceptance that music was to sober and quiet the mind, making it susceptible to divine influence.
 
so, we can devise tricks to force us to write selflessly, but we can also engage the self, directly, to write selflessly.  just as one might force tricks on the self to live selflessly, or engage the self, directly, to live selflessly.
 
how does one cautiously proceed in dualism?  imperfections in paper?  the paper is manufactured so cleanly these days.  should i buy a magnifying lense?
 
theorists talk of four characteristics of any sound, but there is also environment, and there are social aspects:  intent and function.  the latter is what most 20th century "art" music composers have neglected.  does one write for an audience?  one should ask, why am i avoiding a perfect fifth (3:2 frequency ratio) because i think it implies tonality?  convention doesn't have to be conventional.
 
before studying music, pitches were pitches and rhythms were rhythms.
while studying music, everything became confused.
after studying music, pitches were pitches and rhythms were rhythms again.
 
what changed?  we aren't attached to them.  so once we let go, i think selfless music is possible without chance operations.  but the test is ultimately in the act of composition itself.  it will reflect who we are.  it's a shame cage didn't write more music without chance operations.
 
 
mitchell renner
 
Russell Goodwin | 12 Oct 03:10 2004
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RE: unintentional music

Mitch,

I apologize for not responding as quickly as I would have liked. I hope your 
question is
not 'old news' already. I was suprised to see that it hadn't sparked debate 
on the list
because it is a very interesting question.

I've been thinking about your question and my answer depends on what you 
mean by 'chance
operations'. If you are referring to the conventional understanding of 
chance operations
(where a composer uses chance to determine performance actions that are 
intended to be
performed the same way each time - what David Cope calls music that is 
"indeterminate
with respect to its composition"), then I believe it is possible to create 
an
indeterminate composition without chance operations or improvisation. One 
only needs to
look to Cage's Imaginary Landscape #4 and Inlets to see indeterminacy (if 
one ignores
the chance operations used to create these works - more on that below) that 
is different
to both conventional chance operations and improvisation. The indeterminacy 
(or to use
your word, unintention) that is part of these works comes from the use of 
unpredictable
instruments (radio and conch shell). Cage called this approach to 
indeterminacy,
'Contingency'. Perfomers are 'locked' into a performance situation where 
they must
adhere to the directives given in the score. Musical results are contingent 
on forces
beyond the composer's and performer's control during perfomance. Cage used 
this
technique in order to thwart performer's using improvisation that relied on 
their "taste
and memory".

Cage did use chance operations to create Imaginary Landscape #4 and Inlets 
(although I'm
not 100% sure about Inlets) but I don't think he neccessarily had to in 
order to create
indeterminacy in these works. When musical results are contingent upon 
forces beyond the
composer's or performer's control (in the case of these two works, the 
unpredictable
nature of the instruments), indeterminate musical outcomes result regardless 
of the
indeterminacy or determinacy of the material.

As mentioned above, this answer depends on what you mean by 'chance 
operations'. The
reason for this is that one school of thought might be that music that is 
contingent on
outside factors during performance is just another example of a chance 
operations or, in
other words, Contingency is an operation of chance. If your question was 'Is 
it possible
to create unintentional works that do not rely on chance or improvisation?', 
it would be
much more difficult to answer in the affirmative.

I hope this somewhat rambling answer has helped you with your query.

Cheers,

Russell Goodwin

void_co <at> hotmail.com

>From: "Mitch Renner" <mitchellrenner <at> msn.com>
>To: <silence <at> list.mail.virginia.edu>
>Date: Fri, 8 Oct 2004 11:41:57 -0500
>
>i was just wondering...
>
>is it possible to write unintentional music without chance operations 
>involved?
>
>in the context of no improvisation, particularly, and excluding pieces
>in the vein of 4'33".
>
>any comments appreciated.
>
>
>mitchell renner
>
>mitchellrenner <at> msn.com

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