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tag: classical

Alvin Curran Finds His (Dad’s) Trombone

And records a tribute to its weathered tone

Alvin Curran, the composer (b. 1938), lost his dad’s trombone, only to have it relocated decades later. In a New York Times essay this past weekend, “The Trombone Comes Home,” Curran tells the story of the instrument’s role in his childhood education and activities, before he switched to piano and, later still, composition. He also tells the story of its reappearance. The discovery provides an emotional end to the tale:

I let it sit for a few days to acclimatize. The with my wife, Susan, snapping pictures I carefully removed the layers of wrappings one at a time with a kitchen knife — and then opened the latches to reveal an unpolished silent brass corpse inside, smelling exactly the same as it did when I surreptitiously opened that case for the first time some 70 years earlier in Providence.

Included alongside the essay is a nearly two-minute composition by Curran, “The Lost Trombone.” It’s described, succinctly, as follows:

A composition built on a single B flat note played on the recovered trombone by the author, electronically processed and produced with Angelo-Maria Farro.

For unclear reasons the essay itself makes no direct connection to the piece, and in no way gets into its existence, let alone its composition and recording process. It’s a riveting miniature of repetition, the threadbare note echoed and layered, its held tone circling round and round, building if not to an orchestral impact, then at least that of a sizable chamber ensemble. You enter into the weathered tone, much as Curran himself was taken by its accrued meaning and experience:

For me, it was the essence of unabashed musical Americana, its mouthpiece an amalgam of chopped liver, Mom’s tuna salad, kosher hot dogs, kasha and planetary garlic breath fused with silver and steel and a century of house mold.

The audio isn’t embeddable, so you’ll need to click through to the nytimes.com site to listen in full. More from Curran at alvincurran.com.

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This Week in Sound: 3D Crimes + Posthuman Postrock

+ caption studies + !@#$ patents + Google metronome + iPad conducting + seismic listening

A lightly annotated clipping service:

3D Crimes: The hum of a refrigerator may not be enough to allow identification of its make and model, and the electric car may have let us to make our engines sound like something else entirely (see the SoundRacer), but more consequentially the rumblings of a 3D printer may contain sufficient detail for the someone “to reverse-engineer and re-create 3D printed objects based off of nothing more than a smartphone audio recording”: 3ders.org, via Barry Threw.

thirdarm

Posthuman Postrock: There is now a “wearable third arm” for drummers, which brings to mind both the opportunities for posthuman postrock, and the kit developed for Rick Allen of Def Leppard after he lost an arm in the mid-1980s. Above photo shows Tyler White accompanied by Gil Weinberg: gizmag.com, via twitter.com/showcaseJase.

[Heavy Breathing]: Last year, Sean Zdenek published Reading Sounds, a book about captions, about how the audio of filmed entertainment (dialog, diegetic sound like a passing car, and non-diegetic sound like a score) is represented with words superimposed on images. Now there’s a two-day “virtual conference” on captions (Caption Studies) scheduled for August 1 and 2 of this year. If you’re the sort of person, like me, who thrills to “[dramatic music]” and “[ninjas panting],” then I’ll see you there. Well, that is, we’ll be online simultaneously: captionstudies.wou.edu.

!@#$ Patents: This sounded like an April Fools joke, but it appeared on Business Insider on March 31, and appears to be the case: Apple has technology that automatically removes the curse words from songs. Filed in 2014, the patent is titled “Management, Replacement and Removal of Explicit Lyrics during Audio Playback.” Keep in mind that two years prior to that, in 2012, the Apple Match service — which adds to your cloud the albums you already own, saving you the perceived hassle of ripping and uploading them — accidentally replaced people’s NSFW versions with the “clean” edits that play in fast-food restaurants and on cautious radio stations — via factmag.com, Scanner, and King Britt

metronome

Google BPM: Well, Google the word “metronome” and you’ll be provided a functioning metronome that allows you to select an integer between 40 and 208 and hear what that click track sounds like: androidpolice.com.

iClassical Pro: Alan Pierson, of the adventurous chamber ensemble Alarm Will Sound, has uploaded to Medium an article first published two years ago on the group’s blog, but it’s new to me. It’s Pierson talking about how he moved from using paper scores to digital scores when conducting. His take: “And while conducting off tablet is safer in many ways, it’s almost certainly more prone to catastrophe on any particular gig than working off of paper scores: a PC crash is probably more likely than music falling off a stand or out of a binder and harder to recover from. But the plusses seem to far outweigh the minuses.” At least now Google can help with the BPM.

Ear on the Apocalypse: “Seismologists at the University of Alaska Fairbanks Alaska Volcano Network have developed a refined set of methods that allows them to detect and locate the airwaves generated by a volcanic explosion on distant seismic networks.” That is to say, scientists are listening for earthquakes: “This study shows how we can expand the use of seismic data by looking at the acoustic waves from volcanic explosions that are recorded on seismometers”: uaf.edu.

This first appeared, in slightly different form, in the April 5, 2016, edition of the free Disquiet “This Week in Sound” email newsletter: tinyletter.com/disquiet.

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Remixing the Chamber Ambient Music of Christina Vantzou

Steve Hauschildt reworks "Stereoscope"

Christina Vantzou’s first three solo albums of chamber ambient music are numbered, like Led Zeppelin’s before hers. There is Nº1, Nº2, and Nº3, the most recent of which was released late last year. Naturally the collection of remixes is seen as an iteration, not a release unto itself. Its title: 3.5. She’s assembled a great crew to rework the originals, and the first track, Steve Hauschildt’s take on her “Sterepscope,” was posted a few days ago as a promotion. Other participants in 3.5 include Robert Aiki Aubrey Lowe (aka Lichens), Loscil, John Also Bennett, Tara Jane O’Neil, the Sight Below, CORIN, and Francesco Donadello. Bennett played all the synthesizers on Nº3, Vantzou told me when I interviewed her last year (“The Bell Jar Filter”). Bennett and Loscil also contributed to the Nº2 Remixes collection, and Loscil was also on the Nº1 Remixes album. If the original “Stereoscope” was quiet and unassuming, with a glitchy undercurrent that suggested rain on a living-room window, then Hauschildt’s rendition is full-on orchestral. (You can stream the original at youtube.com for comparison.)

Track originally posted at soundcloud.com/platform. The album will be available as of March 18 at christinavantzou.bandcamp.com. More from Vantzou at christinavantzou.com.

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The One-Key Piano

And how Google Android explains itself in music

This one is certainly tailor made for the course I teach about the role of sound in the media landscape, which focuses often throughout its 15-week run on the way things — organizations, people, services — express themselves through sound. There’s a recent Android operating system TV commercial from Google in which pianist Ji-Yong Kim plays a piece of music, the third movement of Beethoven’s Moonlight Sonata, on a grand piano, and then alternates between a standard grand piano and a grand piano set up so that each key plays the same note. The “joke” in the ad is a tweak at the perceived uniformity of Apple’s product line. The tagline is “Be together. Not the same.”

One unintended consequence of the advertisement is the rising awareness that there’s an audience out there for such an uber-minimalist music in which rhythm is the closest expression evident to something that approximates melody. The video has had almost one million views since it was posted on February 15. The one-note piano approach, dubbed the Monotune, is now the subject of a 10-track album, available for free from Google Play (play.google.com). Oddly, the Moonlight Sonata doesn’t appear to be on the album, which includes “Three Blind Mice,” “Claire du Lune,” and “Take Me Out to the Ball Game.” All the compositions seem to be, like the Moonlight Sonata, in the public domain.

While the Monotune album is an entertaining peek into the one-note tweak on familiar music, the real pleasure in the TV ad is how it moves back and forth between the extroverted and muted performances. Perhaps a follow-up collection will attempt to capture that quality.

There’s a making-of interview, posted the same day as the Monotune commercial, of how the one-key effect was accomplished. The short version: you can’t tune an entire piano to one note. You have to shorten many of the strings first. There’s a great moment at 1:43 when pianist Kim responds the first time he hears the peculiar responsiveness of the stunted piano:

Found via androidpolice.com.

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Disquiet Junto Project 0214: Microtonal Errata

The Assignment: Bring to the fore the distinction between two specific microtones.

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Each Thursday in the Disquiet Junto group on SoundCloud.com and at disquiet.com/junto, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project was posted shortly after noon, California time, on Thursday, February 4, 2016, with a deadline of 11:59pm wherever you are on Monday, February 8, 2016.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0214: Microtonal Errata
The Assignment: Bring to the fore the distinction between two specific microtones.

Background: There’s a typo in the bible of microtones. The bible in question is Alain Danielou’s 1958 book Tableau Comparatif des Intervalles Musicaux. As reported recently by composer and critic Kyle Gann, “On the right-hand bottom corner of page 48, the interval listed as 569/512 should actually be 567/512.” We’re going to explore the sonic distinction between those two microtones.

Step 1: Choose a pitch and record three things: (a) a base pitch, (b) the mistaken microtone (569/512), and (c) the correct microtone (567/512). Here’s an example: Start with your base pitch (e.g., A440). To get the mistaken microtone, multiply the base pitch frequency by 567/512 (that is, raise the base pitch by one semitone plus 77.6 cents). To get the corrected microtone, multiply the base pitch by 569/512 (that is, one semitone plus 82.7 cents). For reference, here’s a handy conversion tool:

http://www.sengpielaudio.com/calculator-centsratio.htm

Step 2: Record a short piece of music employing the three tones (a, b, and c) from Step 1. Other tones are also welcome, certainly. The only request is that the emphasis in your piece should be on those three tones. The goal of the short piece should be to explore the distinction between the mistaken and correct microtones. Try this: Imagine someone reading about the errata in the Danielou book said, “What’s the big deal?” Your piece should, to the extent possible, answer that question in sound by shedding light on the gap between the two microtones.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the mid-afternoon, California time, on Thursday, February 4, 2016, with a deadline of 11:59pm wherever you are on Monday, February 8, 2016.

Length: The length is up to you, though between 1 minute and 2 minutes is recommended.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0214-microtonalerrata.” Also use “disquiet0214-microtonalerrata” as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 214th weekly Disquiet Junto project (“The Assignment: Bring to the fore the distinction between two specific microtones”) at:

http://disquiet.com/0214

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

The image associated with this project is from Alain Danielou’s 1958 book Tableau Comparatif des Intervalles Musicaux, found via Kyle Gann. Major thanks to Ethan Hein (ethanhein.com) for helping word the project assignment.

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