John Cage, Sonatas and Interludes, for prepared piano, composed in 1948
The piano preparations (nuts and bolts between the strings) create unexpectedly inviting, gentle buzzes, bells, resonant gongs, extended piano sonorities.
209 East Jay St.
In-between the piano’s strings are pieces of rubber and plastic,small, medium, large bolts, furniture bolts, screws, hardware nuts, an eraser . . .
. . . and out of the piano come . . . delicate bells . . . expansive gongs . . . hi-hat cymbals . . . drums
suspended in t i m e &
s p a c e . . .
This year I’ve been working at the Contemporary Music Research Centre, at the University of York, in the UK, investigating ways to listen to spatial interactions among animal sounds, and to how sound changes as it travels through air and water.
How might music composition facilitate an exploration of our perception of animal voices and our connections to them?
Listen to Dawn’s Chorus (from where I started) . . .
and Imagined Environments
Gesture and relationship as compositional materials in two pieces by Christian Wolff
Discussion of Wolff’s Dark as a Dungeon and Edges
Merle Haggard: Dark as a Dungeon
Christian Wolff Study Day
28 September 2015
Orpheus Institute, Ghent, Belgium
for Cheryl Gobbetti Hoffmann
Leonardo Music Journal 22: Acoustics
Made from animal sound recordings…
a utility aMong
thEy produce it mid-air
to avoid coLliding.
—John Cage, 32 Mesostics re and not re Marcel Duchamp
* the issue’s editor is composer Daniel J. Wolf of Material Press, who is also an entertaining and enlightening Facebook friend…
* * * * * * * * * *
Ellen Fullman and Theresa Wong come to visit Ithaca in February. Ellen’s article is in Leonardo’s Acoustics issue also. I made some sonic images from her Long String Instrument…
Also, Angelin Chang performed Messiaen’s piano piece l’Alouette Lulu from Catalogue d’Oiseaux with some Raven spectrograms I made to visually illustrate connections between the structures of this bird’s vocalizations and structures of the piano composition.