Filed under book | Tags: · composing, composition, djs, electroacoustic music, electronic music, experimental music, improvised music, listening, minimal music, music, music criticism, music history, music theory, musique concrète, noise, silence, sound
“Audio Culture maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, the book traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture.
Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, ambient music, hip hop, and techno. Instead of focusing on the putative “crossover” between “high art” and “popular culture,” Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another.
Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction.”
Publisher Continuum, September 2004
Second, revised edition, Bloomsbury, 2017
ISBN 9781501318351, 1501318357
Filed under artists publishing, book | Tags: · chance, composing, composition, ecology, mushrooms, music, sound
“John Cage: A Mycological Foray draws readers across the idiosyncratic, mushroom-suffused, innermost landscape of celebrated American composer John Cage. Upon the remarkable journey with Cage, one encounters assorted photographs, compositions, and contemplations; all in the very same unexpected fashion one encounters various flora and fungi species while mushroom foraging.
Volume I encompasses Cage’s mycological-oriented Indeterminacy stories, Diary excerpts, and essays; and the complete transcript of Cage’s 1983 performance, MUSHROOMS et Variationes.”
Volume II offers the inaugural reproduction of Cage’s 1972 portfolio, Mushroom Book, printed in 1972 in the limited run of 75 copies. The book is a study of fifteen different species of mushrooms, and each folio includes Cage’s poetry, sketches, and drawings (placed on the page by chance operations); scientific information about the mushrooms by Alexander H. Smith; and botanical illustrations by Lois Long.
John Cage: A Mycological Foray is developed in collaboration with the John Cage Trust.
With essay by Kingston Trinder and texts by Isabelle Bucklow.
Edited by Ananda Pellerin
Publisher Atelier Éditions, New York, 2020
ISBN 1733622004, 9781733622004
via Alexandra Fanning, HT Georges Vantongerloo
PDF (watermarked file from publisher’s Dropbox, contains both volumes; no longer available as of 2 July 2020)Comments (9)
Filed under book | Tags: · composing, composition, computer music, graphic notation, music, music history, notation, software
“In the late 1970s, an interdisciplinary team led by the composer Iannis Xenakis developed the UPIC (Unité Polyagogique Informatique CEMAMu) out of an effort to transform drawings into synthesized sound. The composers can draw waveforms and envelopes straight onto an electronic tablet interface and translate them into sound through the computer. The revolution in graphic composition triggered by Iannis Xenakis and carried forward by other established computer musicians such as Jean-Claude Risset or Curtis Roads continues forty years later in modern computer programs.”
“Together with the Centre Iannis Xenakis, the ZKM is now addressing the genesis of this unique computational instrument and traces its technical, social, institutional, and educational significance up to the current practice of contemporary composers.”
Contributors: Richard Barrett, Rodolphe Bourotte, Pierre Couprie, Cyrille Delhaye, Alain Després, Julio Estrada, Kiyoshi Furukawa, Rudolf Frisius, Hughes Genevois, Kosmas Giannoutakis, Dimitris Kamarotos, Henning Lohner, François-Bernard Mâche, Guy Médigue, Chikashi Miyama, Lukas Nowok, Gerard Pape, Marcin Pietruszewski, Brigitte Robindoré, Julia Rommel, Julian Scordato, Takehito Shimazu, Victoria Simon, Andrey Smirnov, Ronald Squibbs, Katerina Tsioukra, Peter Weibel.
Edited by Peter Weibel, Ludger Brümmer and Sharon Kanach
Publisher Hatje Cantz, Berlin, and ZKM, Karlsruhe, 2020
ISBN 9783775747417, 3775747419