Jukka-Pekka Kervinen, Small Gestures #1 (2011)
Jukka-Pekka Kervinen, Small Gestures #1 (2011)
A Finnish composer, writer and visual artist who resides in Kitee, Finland. Jukka-Pekka specializes in software and algorythm-driven musical compositions including the programming of 8-bit video game chips. His compositions are distinctively electronic in nature and that is why this piece – ‘Small Gestures #1′ – is something of a surprise to those who are familiar with his music.
‘Small Gestures #1′ is a minimalist piece in the classic sense and here Jukka-Pekka has managed to capture the energy and optimism that characterized the early works of Reich and Glass.
Jukka-Pekka Kervinen contributed a piece to the most recent Roanoke Marginal Arts Festival and the Jyvaskylan taidemuseo (music for videos), Finland, also in 2011. When he is not writing music, Jukka-Pekka is involved in photography, poetry and publishing. Further information here.
Eris – Jon Brenner (2011)
From the composer:
“‘Eris’ was originally written as a wind ensemble piece in late 2006. the piece is named after the dwarf planet that was responsible for the ousting of pluto. This version of ‘Eris’ was recorded in May, 2011, with synthesizers, electric guitars, electric piccolo bass, and electric bass with one on a part.”
Jon Brenner is a Seattle-based composer and musician who writes contemporary art music and performs chamber music, new and old. His works include music for soloists, chamber ensembles, film, art installations, and larger ensembles. Jon plays viola da gamba and harpsichord and has appeared with the New Baroque Orchestra in Seattle.
Artwork for ‘Eris’ by Jon Brenner
Further information at www.jonbrenner.com.
Wash 2 – James Ross (2010)
James Ross is a Brooklyn, NY-based composer and performer who writes music for orchestral and chamber ensembles, as well as solo music for the guitar and the zhongruan (a type of Chinese lute). He has also performed and recorded electronic and improvised music. I find his most compelling work to be reflective looped ambient pieces, of which ‘Wash 2′ is an excellent example.
Ross’ music unfolds slowly into an introspective space that carries the listener along on a gentle current of soft sounds and textures. Even at its full 25 minutes ‘Wash 2′ seems short – the music is fully engaging the entire time.
Embody the Struggle, Evan Kuchar (2010)
Embody the Struggle, Evan Kuchar (2010)
“Chamber minimalism with electronics. Violin, clarinet, cello, bass clarinet, piano, synths, drum machines. Slowly unfolding introspection, building, climaxing, remixing.”
Embody the Struggle by evankuchar
Douglas Leedy: Entropical Paradise (1968)
Douglas Leedy: Entropical Paradise (1968)
six sonic environments created on the moog synthesizer and buchla modular electronic music system
Tracklist (right click to download)
A Entropical Paradise I 20:14
B Entropical Paradise II 20:28
C White Landscape 20:00
D The Harmonarium 19:40
E Star Engine 21:00
F Doria 20:50
notes by douglas leedy
“entropical paradise is different in concept, execution and purpose from most recordings of music. in fact, it isn’t intended as music at all, but as sound, as acoustical environmental “programming” which should be heard but not necessarily listened to. (you may listen to it, however, as music, if you like.)
each record side is the result of a different “program” governing in a random way decisions of pitch, amplitude, duration and to a certain extent timbre, and each creates a different atmosphere when it is played. you may find some sides pleasant, others not, and your reaction may depend on external circumstances – the time of day, where you are, whose company you are in, and so on. you may play the records to your taste – in any order, loudly or softly, a whole side or just a part. if you want more than the twenty-or-so minutes per side and you have an automatic turntable, you may be able to set the mechanism to play one record again and again.
these audio environments, once programmed and set in motion on the moog and buchla electronic music systems, could theoretically run continuously but without repetition indefinitely. that is, the programs are non-repetitive since certain random characteristics have been introduced (owing to limitations of the equipment used, a small portion of several programs had to be realized manually.) there are many analogies in nature to this type of programming, and in fact it is the operation of nature after which these sound environments are patterned. one analogy is the breaking of waves upon an ocean shore: there is an endless succession of waves, and yet each wave is different, even unique. so constant repetition and constant change are one organic process.
entropy is what life and art are said to be continually battling – the inexorable tendency of forces everywhere in the universe, including those within our own bodies, to grow uniform, to come to rest, to achieve a state of equilibrium, to reach the final perfect calm of all things. a paradise, but for whom?
i won’t attempt to describe in words, other than the titles, any of the six environments, since experiencing them makes description unnecessary. two programs, however, were influenced by personal readings in science fiction: “the harmonarium” was suggested by the creatures of which kurt vonnegut, jr., wrote in “the sirens of titan,” creatures who lived in huge underground caverns on the planet mercury and fed upon that planet’s musical vibrations. the creation of “star engine” brought back to my mind c. s. lewis’s sci-fi novel, “out of the star planet.”
the sounds on these records were made by the moog synthesizer and the buchla modular electronic music system of the electronic music studio at the university of california, los angeles. because of the nature of this recording, no attempt has been made to eliminate or reduce electronic background noises such as hiss, hum and occasional unexpected transients. these are ordinarily considered a plague in recording, but here they function as an integral part of the recorded experience.
i am indebted to chris shelton and wadley j. brood for technical assistance, and to the same two and gerald strang, steve soomil, craig buhler, ken yapkowitz, dennis matthews and bob richardson for inspiration, encouragement, cooperation, and for the free sharing of ideas and enthusiasm that has taken place at the ucla electronic music studio. though they may be unaware of it, they have all contributed a great deal to these recordings.”
Derek Rogers: Boxing Demons in Sleep (2010)
Derek Rogers: Boxing Demons in Sleep (2010) “I wrote this piece to demonstrate the five phases of sleep; that is, the moment of awareness before relaxation, the transition from lighter to heavier sleep, and the creation of dreams in the final REM sleep stage. ‘Boxing Demons In Sleep’ was created utilizing guitar, synthesizer, and electronics [...]
anonymousremains-a-hack-in-a-trance (2010)
anonymousremains-a-hack-in-a-trance (2010)
“a music boffin enunciates Shostakovich’s signature motif, this is doubled up as 2 loops of different length
producing a phasing effect, loops of voice,mouth organ,and harp add an swirling impressionistic wash.
The title is a ‘fellow’ composers critique of Shostakovich.produced in Soundforge.”
O – anonymousremains – a hack in a trance by anonymousremains
Martin White (Bonang): Pools (2009)
Martin White (Bonang): Pools (2009)
“This piece is based around rhythmic and melodic permutations. I love the idea of winding up processes and seeing where they go. One day someone’ll figure out the title… which has nothing at all to do with water”
James Ross-Undifferentiated Light (2010)
James Ross-Undifferentiated Light (2010)
Solo electric guitar and Boss RC-50 looper. Inspired by Aldous Huxley’s 1961 MIT lecture, “Visionary Experience.”
Undifferentiated Light by jrossmusic
James Ross at Goodbye Blue Monday, on Fri., August 20.
also performed (on video) were Alex Carpenter and Michael Waller with help technical help from Richard Lainhart, Jim Goodin and the folks at ImprovFriday for helping to make it a great night.
Paul Bailey: Obsessive Love (2002)
Obsessive Love (Music for Summerland EP, 2002) explores the juxtaposition of pop song forms and harmonies through post-minimalism. Summerland refers to a mythical-emotional place where we escape daily routine by making music; composing, rehearsing and performing. This music lies somewhere between art music (music meant to be contemplated) and pop music (music meant for mass consumption).’
curated via Jim Perkins from his twigetticast (itunes podcast)
Heinali-Ave Moog (2009)
notes via the composer:
“Ave Moog is a sort of ode to the legendary rich and powerful sound of analog synthesizers. It could remind of Vavilov’s or Bach’s “Ave Maria” but the chord progression isn’t actually based on any of them, though it was inspired by Vavilov’s (Caccini) version. Dedicated to Robert Moog”
curated by paul bailey
Frederic Rzewski: Coming Together (1970)
Frederic Rzewski: Coming Together (1970)
performed by Group 180 (Hungary)
“The design of “Coming Together” is simple, even minimal: Steve ben Israel reads and rereads one of Sam Melville’s letters from Attica over a jazzy, repetitious vamp. Yet the result is political art as expressive and accessible as Guernica. In ben Israel’s interpretation, Melville’s prison years have made him both visionary and mad, and the torment of his incarceration is rendered more vivid by the nagging intensity of the music. The other side features a less inspiring political piece and a percussion composition, each likable but not compelling, but that’s a cavil. “Coming Together” is amazing. A-”
curated via Paul Bailey (via ubuweb)
James Ross: Winds and Strings (2007)
James Ross: Winds and Strings (2009)
“Winds and Strings” is concerned with the possibilities of composition with a very limited number of pitch classes; each instrumental part has its own pitch material (though there are some common tones), and the entire gamut of pitches was derived by combining the pool of tones. The piece is completely multicyclic–every instrumental part travels in a 3-, 5- or 7-bar orbit of 3/4 time.”
Mark Harris: I Am A Long Way From Home (2009)
“a live improvisation. based around a recoding I did of wind in the trees”
