Saturday, March 17, 2012

Arthur Jarvinen Birthday Concert

There was a time when Venice, home of canals, was an independent city.  Then in 1925 it was swallowed up by the voracious mega-metropolis Los Angeles.  Today the old Venice city hall is the home of the Beyond Baroque Literary/Arts Center.

Beyond Baroque hosts the very adventuresome new music concerts called Beyond Music.  This series is "curated" (to use a trendient word) by composer Daniel Rothman.   Daniel deserves much credit for his programming.  It is cutting edge and it is a showcase for local artists - at the same time.


Daniel deserves even more credit, in my opinion, for making complete videos of some presentations available online on the Beyond Music YouTube page.  These include both works on the Beyond Music Art Jarvinen birthday concert, Conspiracy of Crows (for three oboes) and 100 Cadences (for string quartet).

You could go back and read the two Mixed Meters posts I wrote before that concert.  One was entitled Beyond Baroque, Arthur Jarvinen and Me - about performances Art and I had given of each other's music there over the years.  The other, Preparing to Hear a Concert of Art Jarvinen's Music, briefly discussed the music and history of each piece.

But now, thanks to the combined miracles of consumer video, YouTube and the Internet, you can watch and listen to the performances of Arthur's music right in the comfort of your own ... well,  these days I guess you can listen almost anywhere.

Arthur Jarvinen: A Conspiracy of Crows - Kathleen Pisaro, oboes - January 27, 2012, Beyond Music


Arthur Jarvinen: 100 CADENCES with four melodies, a chorale, and a coda ("with bells on!") - The Formalist Quartet (Andrew Tholl, Andrew Mcintosh, Mark Menzies, Ashley Walters) - January 27, 2012, Beyond Music



The Jarvinen Birthday concert was reviewed by our own newspaper of record, the L.A. Times.  Critic Josef Woodard concluded:
One couldn’t escape the feeling that this meditative lament of a work was looping back to reflect on its very creator, except that his inventive spirit was alive and well in this intimate room. As if to accentuate that notion, after the applause, someone in the back bellowed out “Happy birthday, Art.”
The "intimate room" - it's small, painted completely black, even the windows - continues to host music and poetry events.  There's two Beyond Music concerts next weekend (March 23 and 24) performances by the youthfully intense "modern music collective" wild Up.

To prepare you for that event, you might watch this beyond-hyper performance video from a previous Beyond Music wild Up concert.   It's just one of the gems posted on Beyond Music's YouTube page.  I hope there'll be more to come.

Clarence Barlow:  Septima de Facto - wild Up - November 19, 2011, Beyond Music


Beyond Tags: . . . . . . . . . . . . . . . . . .

Sunday, March 11, 2012

Floating Rocks

Los Angeles has been witnessing the movements of a large rock.  A boulder which is supposed to weigh 340 tons.  I wonder how they weighed it, not that it matters.


At a reported cost of $10,000,000 (I calculate that's roughly $1 per ounce, considerably more than first class postage) the boulder just finished a very slow, very public journey through urban Los Angeles, picking up not moss but publicity as it moved towards the Los Angeles County Museum of Art.  Public relations-wise the museum must figure the ten mil is money well spent.  We are told this is one of the largest objects ever moved.  A feat of engineering to be sure.  Lots of good pictures of the moving rock here.

Once at its destination, the boulder will be suspended in mid-air.

No, not really.  It will be installed above a trench through which people can walk.  The rock will only seem to be float.  Giving it the appearance of floating is, I guess, what makes this project art.  It will be called Levitated Mass and it is the concept of artist Michael Heizer.

Here's some real art in which a large rock actually does float high in the air.  It's the painting by Rene Magritte entitled The Castle in the Pyrenees.  (click it for an enlargement)


I saw this painting in the Israel Museum in Jerusalem.  I was there in 1987 with my Aunt Marion and Uncle Ben.  In spite of rules against doing just that, they photographed me standing next to it.   I would love to post that picture here but, alas, I can't find it.  It is lost in the decades of my accumulated crap.  Maybe the snapshot will turn up someday.

Here is another floating rock in the Middle East.  It seems that some people in that part of the world believe that large boulders can float in midair.  It's probably a Photoshop trick, don't you know.  Still, the mother and child speaking in this video seem pretty much convinced.


The best example of gravity defying stonework, however, comes from the Hitchhiker's Guide to the Galaxy - the original 1980 BBC radio version.

This happens in the fourth episode of the "secondary" phase of programs.  Arthur Dent and his companions Ford Prefect, Zaphod Beeblebrox and Marvin the Paranoid Android land their probability-propelled spaceship in a mysterious white cave with smooth walls.  The cave turns out to be the Nutramatic cup.

Arthur falls from the cave and finds out about its origin from a bird-person on whose back he very improbably falls.  Here's the passage:
Arthur: "It looks like … like … just like a plastic cup hanging in the sky.  It's about a mile long."
Bird: "Looks like plastic.  Carved from solid marble there."
Arthur: "But the weight of it.  What's supporting it?  What keeps it there?"
Bird: "Art."
Arthur: "Art?"
Bird: "It's only part of the main statue.  Fifteen miles high. It's directly behind us but I'll circle round in a moment."
Arthur: "Fifteen miles high?"
Bird: "Very impressive from up here with the morning sun gleaming on it."
Arthur: "But what is it.  What's worth a statue 15 miles high?"
Bird: "It was of great symbolic importance to our ancestors.  It's called Arthur Dent Throwing the Nutramatic Cup."
Arthur: "Sorry, what did you say?"
Bird: "There.  What do you think of it?"
Not enough space or time in this post to explain the entire origin story of the statue of Arthur throwing the cup.  It's quality Douglas Adams.  There's the "Shoe Event Horizon", the Lintilla clones and the Dolmansaxlil Galactic Shoe Corporation publicity film.  Great stuff.

Meanwhile, back here in Los Angeles we will soon have our own floating rock, Levitated Mass.  As mentioned, the rock will be held up by a contraption of concrete and steel. Here's a video showing the trench in its early stages:


The Los Angeles rock will, clearly, not be held up by "art" as Magritte's castle or the Nutramatic cup are. Nor will it float because of any sort of religious faith. It will appear to float by virtue of some sort of optical illusion.  Shortly Los Angeles will discover just how good that illusion is.

It is fair to wonder what the illusion will mean.  I assume that like most art this piece is supposed to have some sort of meaning.  The word monumental is used quite a lot.  Levitated Mass is a monument, I guess.  Monuments are supposed to memorialize things.  And Levitated Mass does.  Here's a quote from a LACMA press release:
It is dedicated to the memory of Nancy Daly, former chair of LACMA’s board of trustees and an influential advocate for children and the arts in Los Angeles.
Nancy died in 2010 and Levitated Mass was conceived of in 1968.  So Nancy Daly is not an intrinsic part of the artistic experience.  She's someone important to the funding.  That's arts reality.

The press release also informs us:
Taken whole, Levitated Mass speaks to the expanse of art history—from ancient traditions of creating artworks from monolithic stones, to modern forms of abstract geometries and cutting-edge feats of engineering.
Ah! So maybe Levitated Mass is a modern day Stonehenge or  Chichen Itza - but one without any astronomical relationship.  That's because you can't see many stars from the Wilshire district.

Maybe it's an abstract geometric work - one which will inspire onlookers to consider its aesthetic form and artistic composition.  Probably not.  It's mostly just a found object - a random, if very large, rock that the artist convinced certain powerful people would look good from underneath.

If nothing else, Levitated Mass will cause us to wonder what we might have done with an extra $10,000,000.

Mostly it will become a conundrum for passers-by who will ask "What's that rock doing there?"  Maybe rock climbers will use it for practice.  It will also be a great target for taggers.

Maybe someday, hundred of years from now, when the steel and concrete under the rock have crumbled, and the people of LA have forgotten the spectacle of moving it through the streets and no one even remembers that LACMA ever existed, and if it hasn't sunk into the tar pits, someone will rediscover the art of stone sculpture and carve faces in the rock.

Those faces could be recognizable ones from late 20th and early 21st century Los Angeles:  faces most likely to survive in popular culture for generation after generation.  I suggest Mickey Mouse, Michael Jackson, Kim Kardashian and O.J. Simpson.



Here's Eagle Rock, an inspiring natural fixture quite near to Pasadena.  The rock doesn't float in the air - but it reminds us of animals who do.  It would cost much more than $10 mil to move.


The picture came from here.

Rolling Rock Tags: . . . . . . . . . . . . . . . . . .

Wednesday, February 29, 2012

Banksy Speaks

Banksy is the name of an anonymous artist.  At this moment this little essay about advertising, attributed to him and probably from his book Wall and Piece, gets 4500 hits on Google.  I found it here first.

His point of view will not make capitalists happy - and I think that is a good thing.
People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you.
You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity.
Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head.
You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.
- Banksy
These images come from Banksy's website.  (I'd like to have this one on my office wall, especially if turning the handle actually produced some sort of liquid.)


Here's another Banksy quote:
We can't do anything to change the world until capitalism crumbles. In the meantime we should all go shopping to console ourselves.
Banksy, Wall and Piece  


And another:
I mean, they say you die twice. One time when you stop breathing and a second time, a bit later on, when somebody says your name for the last time. 
Banksy


Lots more quotes here and here.
Banksy appeared tangentially in Mixed Meters once before, here.

Can't resist.  One more quote:
One Original Thought is worth 1000 Meaningless Quotes.Banksy
Banksy Tags: . . . . . .

Monday, February 27, 2012

Music that Moves

Here are three videos. Each in it's own way pushes the art of music notation to the breaking point. Fun stuff.

First, a piano piece even Lang Lang could't play - unless he became a computer:


Ever heard of Ferninand Ries? Neither have I. But, judging by this, his music can be a real thrill ride:


Finally: a new form of computer-aided tablature. All you have to do in order to perform this drum solo yourself is to follow the moving lines with your own sticks. But be quick about it.

Read about this video.

Dots and Lines Tags: . . .

Saturday, February 18, 2012

Drink Musical Wines

Like to drink while you listen to music?  Maybe a little libation helps you enjoy your favorite pieces even more?  Here are pictures of six wines and one vodka with music-related names: diva, toccata, cantora ("singer" in Spanish), dynamic, mambo, symphony and Chopin.

I bet these drinks help increase both your buzz and your musical appreciation.

Or not.








Posting pictures of products and businesses and whatever with music-related names is an occasional Mixed Meters tradition.  See all similar posts by clicking this link.

Wine Tags: . . . . . .

Sunday, February 12, 2012

Moby, Duck

Behold the rubber duck. Plastic.  Bright yellow. Wide-eyed.  Buoyant.  Innocent.  Squeezable.  Sensuous with its bright tumescent lips.  A modern icon of the rituals of childhood bathing.

The very first picture I ever posted on my Tumblr blog, Mixed Messages, was of three little rubber duckies, each one riding in an empty cat food tin floating over our kitchen counter. That was on May 8, 2007. Amazingly, nearly 5 years later, these duckies in their protective cans still grace our kitchen, survivors of countless cleanings and purges.  Why haven't we tossed them into the garbage?  I wonder what mysterious rubber duckie enchantment has enabled them to survive so long.


Twenty years ago last month, somewhere in the vast Pacific ocean, a huge ship piled high with containers (containers are the business end of a semi-trailer truck which, divorced of chassis and cab, hitch rides on trains and boats and can be filled with anything; the essential tool for providing Americans with cheap foreign merchandise) endured a powerful storm.  Containers fell overboard disgorging their innards into the water.

And so it happened that out of one such fallen container spilled 7200 boxes of plastic Chinese-made children's bath toys destined for sale to parents of American children in need of bathtime amusement.  Each box contained a red beaver, a green frog, a blue turtle and, yes, a yellow duck.  These critters proceded to follow a new destiny as they floated away on the ocean currents.  The toys had found a bathtub rather larger than anyone might have imagined.


Eventually some of them washed up on beaches where they were found by humans.  Certain of these humans become obsessed with tracking the toy's voyages.  One such human (Dr. Curtis Ebbesmeyer) is shown in this picture with a full set of the escaped toys on his arm.

A different human chose to detail his obsession in a book called Moby-Duck.  The subtitle reveals much:
The True Story of 28,800 Bath Toys Lost at Sea and of the Beachcombers, Oceanographers, Environmentalists, and Fools, Including the Author, Who Went in Search of Them
To me this sounded like it might be an interesting read.  I had heard stories of these drifting bath toys from my resident marine biologist, Leslie, who mentions them in her talks on the Great Pacific Garbage Patch - an area of the North Pacific not far from the toy spill where, thanks to ocean currents, vast amounts of human trash reside permanently.  Leslie has even travelled to the area on NOAA expeditions.


Herman Melville published Moby-Dick just about a century before I was born.  It is a story of obsession and revenge.  Poor Captain Ahab obsessively sets sail on the dangerous oceans seeking revenge on the white whale, Moby Dick, which had stolen his leg, eventually allowing the colorless beast to get the rest of him as well ... and not a moment too soon.

I first encountered excerpts from Moby-Dick in my hated high school English class.  I immediately, and accurately, predicted that I would never have the interest or patience to read the whole book.  I suppose this was an early example of my lifelong dislike of interminable nineteenth century art.

The author of Moby-Duck, it turns out, was not an avid beachcomber, a professional oceanographer nor a life-long environmentalist.   He was, instead, a high school English teacher who chose to cast himself in the role of Ahab and to play his part against not a white whale but a horde of plastic ducks, frogs, turtles and beavers.  Turns out that the author himself is the real subject of his book.

Instead of setting forth on a whaling vessel the author of Moby-Duck seeks his quarry by voyaging on
  • a coastal ferry in Alaska on his way to beachcomb for toys, 
  • a research catamaran documenting plastic contamination off Hawaii, 
  • a refurbished yacht on a mission to clean garbage from remote beaches, 
  • a container ship braving Pacific storms as it brings us more crap from China, 
  • a research vessel studying ocean currents off Greenland, 
  • and finally, because the poor floating toys just might have found their way through the Arctic into the north Atlantic (but probably didn't), on a Canadian icebreaker as it traverses the Northwest Passage.
Along the way the author picks up trash.  He attends a toy convention.  He visits the very factory where the toys were made.  He discusses ocean currents, our wasteful society, photographs of bald eagles, types of plastic, maritime law, childhood.  He tells stories of his family, his health and his students.  And he writes about other books besides Moby-Dick - books which I certainly will never have the interest or patience to read.

Along the way he meets many colorful characters, whom he describes colorfully.  He carefully details his many largely adventureless adventures.  He wanders off topic.  He tries valiantly to tie everything together.  He weaves a seemingly endless tapestry of verbal flotsam and jetsam.  Or, possibly, he creates a huge garbage patch of beautiful literary tapestries floating on endless waves of words.  So many words, in fact, that the author's most meandering asides are banished to footnotes at the back of the book where they are set in smaller type presumably to shorten the book by a few pages without leaving anything out.  There are no pictures save for the cover - which shows a familiar rubber duckie, not one of those lost-at-sea ducks which the book was ostensibly about.

All in all, I came to think of Moby-Duck as the worlds longest magazine article, bright and cheery, plotless, nearly pointless, perfect for coffee shop or doctors' office reading.   I could pick it up briefly and then put aside for days or weeks during which time I found myself wondering why I didn't put it back on the shelf and read something else.



Confused about why the title, Moby-Duck, has a hyphen in it?  That's because Melville's book, Moby-Dick, has a hyphen.  Confused about why Moby-Dick, the title, is hyphenated but, Moby Dick, the name of the whale, is not?  Read this.

Moby Tags: . . . . . .

Tuesday, January 31, 2012

David's Divot - long or short

A divot is a piece of sod, a combo of dirt and grass, thrown into the air usually by a horse's hoof or a duffer's club.

David's Divot is a chunk of motivic dirt and grass, two short fragments of melody played somewhat contrapuntally with artificial saxophone sounds. It just refused to fit into the longer piece on which I'm working.  It called too much attention to itself.  So I resolved to excise it.  I would perform a motifectomy.

Feeling guilty, lest I be accused of motificide, I decided to use the divot as the beginning of a separate thirty-second spot. In the final version the divot got bumped to the second phrase.  The spot lasts 51 seconds.

Click here to hear David's Divot (short version) © 2012 David Ocker, 51 seconds


But I wasn't satisfied.  I decided to expand this disjointed music into a longer piece. The expansion method was simple - I added a bunch of silence.  I did change some small details and separated some overlapping ideas.  Even so, the music of the two versions is essentially the same.  The short piece became nearly 8 times longer.

Click here to hear David's Divot (long version) © 2012 David Ocker, 398 seconds

This process is similar to what I did to Jingle Bells last December.   Actually it's backward because that time I made the long version first and distilled it into a shorter one.

I've been interested in pieces which are mostly silence with occasional musical eructations.  I enjoy listening to them simultaneously with more conventional music - like from a radio station - and listening for unpredictable combinations of sound.


Divot Tags: . . . . . .

Thursday, January 26, 2012

Beyond Baroque, Art Jarvinen and Me

This Friday the series Beyond Music will present a concert of the music of Arthur Jarvinen at Beyond Baroque Literary/Arts Center in Venice California.  I've already written about the music on that concert in this post.

Beyond Baroque has a long history of presenting music concerts.  I performed there several times, including at least two solo clarinet recitals.  On one of those I performed Art's piece Goldbeater's Skin, in the arrangement for clarinet and ratchet.

On another concert at Beyond Baroque, the percussion trio The Antenna Repairmen (Arthur Jarvinen, Robert Fernandez and M.B. Gordy) premiered my piece Bombed! which they had asked me to compose for them. More on that below.


My solo concert was given June 11, 1988.  It was reviewed in the L.A. Times a few days later.  I got a pretty good notice, although Terry McQuilken, the critic, liked Art's piece least of all.  He still referred to its "droll humor."  The ratchet, played by my friend David Johnson, elicited laughter from the audience.  You can hear the laughter on the recording.  Apparently I played the piece a month earlier on the Bang on a Can Festival marathon in New York.

Art's catalog lists the date of Goldbeater's Skin as 1987.  It started as an ensemble piece for XTET.  He had received some prestigious grant which allowed him to compose it.  I was a member of XTET then and we played Goldbeater's Skin a lot.   There's a commercial recording of a version for wind quintet.  I do not remember how or why the solo clarinet version came to be.  In fact, until I was looking through my trove of cassettes last year, I had completely forgotten that this version ever existed.  Or that I had performed it.

Goldbeater's Skin consists of many repetitions of the same melody.  The melody gradually changes with one selected pitched transposed down each time, until the melody reappears at the end in identical form, only lower.  The appearance of each changed pitch is highlighted by the ratchet - a surprising sound in this context.  The ratchet makes a raspy, grinding sound.  Harsh.  Ugly.

Like many of Art's serious chamber works, this one requires concentration from the listener.  He used a certain process in the composition of Goldbeater's Skin.  This process is remarkably easy to hear.

Listen to Goldbeater's Skin by Arthur Jarvinen.

version for solo clarinet with ratchet - © 1988 Leisure Planet Music - 535 seconds
David Ocker, clarinet
David Johnson, ratchet
performed June 11, 1988 at Beyond Baroque, Venice CA

If you want, you can listen to Carbon, Art's solo bass clarinet piece which I performed often and which he dedicated to me.  I briefly used the melody of Goldbeater's Skin in my memorial tribute to Art, Solstice Lights.  Art named this piece after goldbeater's skin.  Here's a picture of some goldbeater's skin.  (It came from here.)


My piece Bombed! was written in 1991 for the Antenna Repairmen.  They premiered it at Beyond Baroque - although I don't remember the date.  Or much else, for that matter.  I do remember that at one point in the concert Bob, Art and M.B. sang Papa Oom Mow Mow.

Art played electric bass, M.B. played drum set and Bob played vibraphone.  I dedicated Bombed! to Frank Zappa - this was years after I had ceased working for Frank.  Bombed! contains a lot of Zappa-esque musical devices - metric modulations, mixed meters and the like.  I played it for Frank once.  He was underwhelmed.  He tactfully reminded me that my future was not in rock and roll.  In most instances Frank had always been very supportive of my activities as a composer.

Bombed! is in three movements which explore the idea of bombed-ness from different angles.  The titles are "Into the Stone Age", "Pan Am 103" and "Out of Your Mind".  Here are the program notes for each movement which I worked into a kind of a sort of a plot:
  1. Into the Stone Age – Three young Americans, believing the sound-bites of their leaders, participate in the destruction of a less significant culture.
  2. Pan Am 103 – Wrapped up in their own problems and fears, they have no conception of what is happening around them.
  3. Out of Your Mind – Our heroes, trying to walk home after the bars close, cannot remember the music they heard that day.
This is not a delicate piece.  Not even the very quiet middle movement - which is about bodies falling out of the sky.

I don't have a recording of the live performance.  This particular recording was made in a studio after the concert.  In the manner typical of my career as a composer the recording has gathered dust on a shelf for over twenty years.  This is the first chance anyone other than myself has had to hear it.

Listen to Bombed! by David Ocker

© 1991, 2012 David Ocker - 515 seconds
Performed by The Antenna Repairmen
Robert Fernandez, vibraphone
M.B. Gordy, drums
Arthur Jarvinen, bass

Movement I: Into the Stone Age
Movement II: Pan-Am 103
Movement III: Out of Your Mind

On the playback page you can find a link to download pdfs of the score and parts to Bombed!  A bit of the third movement "Out of Your Mind" is quoted in my own piece This Is Not The Title.

BB Tags: . . . . . . . . .

Sunday, January 22, 2012

Star Wars Uncut

Not a Star Wars fan? I suggest that you skip this post.

This is about Star Wars Uncut, Director's Cut.  It's a remake of Star Wars, A New Hope, which (chronologically, at least) was the first Star Wars movie.  Star Wars, of course, is the saga that made George Lucas into a billionaire, made Harrison Ford into such a big star he never had to learn another part, and ended the career of Mark Hamill.

This version was produced by crowdsourcing.  Someone split the original movie into 15-second long segments. Then they let just anyone pick a segment and film it again, using any style, any technique, any actors, any props, any reference, anything they could think of.  All the segments were then reassembled into the full movie.  And you can watch it on the web. 

The final result probably won't make a lick of sense if you aren't familiar with the original.  But if you are a fan and you enjoy pop culture mashups which are so intensely mashed that they border on chaos, then you will love watching this.  I did.  I even burned it onto a DVD and inflicted it on Leslie. (Sadly, she was not impressed.)


In this era of SOPA and PIPA (along with other past and future attempts by a few big corporations to own all of popular culture for the purpose of maximizing their own profits), this movie is an object lesson of how the widely available inexpensive technologies (like video and Internet which have transformed our lives since Star Wars appeared in 1977) let people take their favorite stories and make them grow.  Okay, maybe "grow" is not the right word.  "Mutate" would a better description.

Lots of people spent a lot of time doing this because they love this story.  Star Wars owes a large part of its popularity to the fact that it deals human-scale themes like adventure, honor, religion and love.  It paints these onto a vast galaxy-sized canvas of space travel, alien cultures and high technology.  Throw in revolution and politics, pitting a few good people against evil corporate governments.  Like Lord of the Rings, it is a Ring Cycle of our times, one with actual inspiration for living humans. 

John William's music is in evidence throughout this movie.  In fact, it forms a familiar touchpoint that glues this mess together.  Only few sections parody the music one way or another.

To give you a flavor of just how diverse the art direction of this movie is, I've assembled a few random screen grabs of the two droids - R2D2 and C3PO - into this photomontage.  It's a small sampling of the vast visual variation to which every character is subjected.


(click the picture for an enlargement)

To reference another science fiction classic (that would be The Hitchiker's Guide to the Galaxy) when watching this you should Expect the Unexpected.  Check out variety of methods used to recreate Princess Leia's hair buns.  Or Obiwon's beard.

Here's a picture of the initial entrance of Darth Vader with her four sexy storm troopers as they strut and pose high fashion style onto the captured rebel vessel.  (Notice that their blasters are really hair dryers.)


(don't waste your time clicking this one)

That's enough movie review for now.  Go ahead - watch it!


Or go to Vimeo or YouTube to watch.



If you have ever considered recreating the Star Wars movie using animated ASCII characters ... Sorry, someone has beaten you to it. Visit ASCIIMATION. (Only half the movie, but still an impressive waste of time.)

A previous MM article about Space Opera.

Uncut Tags: . . . . . .

Thursday, January 12, 2012

Preparing to hear a concert of Art Jarvinen's music

January 27 of this year would have been composer Arthur Jarvinen's 56th birthday.  On that date there will be a concert celebrating his life and music: 9:00 P.M. at Beyond Baroque in Venice California. (You can find temporal, geographical and economic details for the event here.

The concert is part of a critically acclaimed series entitled Beyond Music.  It is programmed by composer Daniel Rothman, a close friend of Art's.   Daniel has made performances from past concerts available on video at the Beyond Baroque Music YouTube Channel.

There will be two works on this concert.  They are excellent examples of Art's chamber music and will serve as a fine introduction to his more serious endeavors.  Of course Art wrote in many other styles and genres.  No one should imagine that this concert, or any two pieces, could provide an overview of his complete body of music.

The two works are A Conspiracy of Crows for three oboes, which will be performed by Kathy Pisaro - two of the parts will be on tape - and 100 CADENCES with four melodies, a chorale, and a coda ("with bells on!")  for string quartet, performed by the Formalist Quartet.


I have found two interviews in which Art discusses A Conspiracy of Crows.  The first can be found in this fascinating 2007 online interview with musician John Trubee.
Then there's A Conspiracy Of Crows. It's a piece for three oboes in which I didn't consciously choose or compose any of the notes. I just used a series of numbers based on the years of the 20th Century - 1900 1901 1902...1999 - translated into fingering diagrams. I had no way of knowing what would come out, but I had a very good idea of what I thought the piece would "probably" sound like. I never heard a note of it until it was recorded here at my house last summer. It's one of the most beautiful things I've produced, and it fully matched my expectations. My wife is almost frightened by things like that, that I can intuit or anticipate these things. That's why I'm a composer, and some people aren't. 
The second, longer, less edited quote comes from a radio interview with the duo Kalvos and Damien.  Look for show #539 - it's a wide-ranging discussion with Art highlighting a variety of his music. There are plenty of recordings including a segment of A Conspiracy of Crows.  (It's the last piece in the two-hour show.)
The piece is called A Conspiracy of Crows.  To me, one of the intriguing things about this piece, is that, over the course of its twenty minutes, the three oboes are playing such a fascinating range of odd timbres, weird things that sound almost like they were meticulously composed, beautiful random textures, microtones, multiphonics.  The complexity of the sound of the piece, and the kind of richness of texture and timbre and so forth -- I could never have composed.  And literally, there is not one single sonority in the piece that was deliberately selected or chosen by me for any musical or compositional reasons.

All I did was come up with a mindlessly simple progression of numbers which is just the Twentieth Century - 1900, 1901, 1902, 1903 all the way up to 1999.  And assigned each digit from zero through nine to one of the fingers that an oboe player uses to play the oboe.  And it was a short step from there to just produce 400 fingering diagrams with absolutely no thought whatsoever to what comes out of the oboe when you blow into it with your fingers in that position.

It's my most Cagean piece in that it's using a kind of completely unpredictable, well organized - there is this progression of numbers so there are recurring motifs.  Zero is always a reset, so as you go through 1900, 1901, 1902, 1903 there is a logic to the way the fingers are moving and the kinds of fingering diagrams that are being produced.  But no intention or even no concern on my part as to what comes out of the oboe as a result.  So it's very Cagean in that I couldn't predict the results.

I just think its one of my most successful pieces and kind of unique in that it does rely so heavily on non-intention on my part.

The second piece on the program is Art's string quartet entitled 100 CADENCES with four melodies, a chorale, and a coda ("with bells on!")   The recording of this piece by the Formalist Quartet, who will also perform it on January 27, takes nearly 50 minutes.  They recorded it in composer Lou Harrison's hay bale house near Joshua Tree, a place with which Art felt a strong spiritual connection.

Art dedicated 100 Cadences to Stephen "Lucky" Mosko, in memoriam.  Lucky Mosko (1947-2005) was Art's composition teacher at CalArts and someone Art respected highly.  Art felt a great loss at Lucky's death and I know that he felt great responsibility in the writing of a piece to honor and remember Lucky.

It seems quite reasonable to look for clues to 100 Cadences in Art's comments about Lucky's music.  In 1995 Art wrote this biographical sketch of Lucky.  Here's a quote:
When speaking about his own music and methods Mosko often refers to "games". Not the usual games we all know, but self-devised rules of procedure and methods of personal amusement.
Art's own description above about about his method in A Conspiracy of Crows seems like a similar "game" method.  Presumbably such compositional activities went into 100 Cadences as well - although I have no clue what they are.  (I find it interesting that both pieces on this concert involve the number 100 in their structure.)

Art also wrote about the perception of time in Lucky's music:
This moment-form is an outgrowth of Mosko's enduring fascination with music's ability to alter conciousness, especially our temporal perceptions. Ideally, for him, the listener will not be able to say with certainty whether a piece just heard was five minutes or five hours long.
Art must have approached a piece of such length with careful thought.  Choosing to divide the work into 100 sections and to make each one a "cadence", a fundamental element of music theory which appears at the end of a musical phrase, reveals a good deal about how Art wanted a listener to experience musical time.

Wikipedia defines cadence as: "a melodic or harmonic configuration that creates a sense of repose or resolution [finality or pause]." A cadence has the essential quality of conclusion.  Art made this idea the central focus of his piece.

Of course, Jarvinen's cadences are a far cry from the schoolbook dominant/tonic jobs you might have studied.  They move slowly, avoid simple harmonies and mostly keep all the voices in restricted ranges.  The slow progress of the cadences is broken by solo cadenzas for each player.  These are the Four Melodies.

Midway through 100 Cadences is the Chorale, which Art subtitled "The Hymn of All Life Changing".  The Formalist Quartet has shared their recording of the Chorale on their Bandcamp page.  Here it is:



You can find several definitions of the idiom "with bells on!".   Art appended this phrase to the title of his piece in both parentheses and quotation marks, sometimes even adding the exclamation point.  All meanings of "with bells on!" point to excess enthusiasm or intensity of experience.  While the coda to 100 Cadences does end with the players ringing small bells, it is not an ending of energy.  Rather, it is a conclusion of sober reflection and great loss. 

100 Cadences is discussed in this paper entitled Listening to Nothing in Particular: Boredom and Contemporary Experimental Music by Eldritch Priest.  As you might guess from the title, the notion of time passing and how it is perceived comes up.   Priest writes:
I heard a string quartet a while ago by Los Angeles composer Art Jarvinen titled 100 cadences with four melodies, a chorale, and coda ("with bells on!"). As the title suggests, the piece keeps ending, over and over again, each time promising to conclude a musical adventure that never was. Over forty-eight minutes, the consecution of endings, punctuated by solos and glimmering silences, draw out an irritatingly radiant array of mock-perorations. And I am always more or less aware of this: More aware when the sheer materiality of these several endings intrudes upon my sense of contemplation, and less aware when, like Swann listening to Vinteuil's sonata, I am taken away by time passed. I am alternately with the music, my attention buoyed by a procession of simulated extinctions and untimely non-events, and beside the music, dreaming counterfactuals, shifting backward, forward, side to side in fantasies of otherwise. Buoyed in the messy imminence of a perpetual conclusion, my attention floats on nothing in particular, nothing but a series of loose intensities that are now and again interesting, or boring, or both.
Priest provides a pdf score of the first dozen cadences of this piece together with an mp3 of the same.  Here's the first system of the score (click to enlarge):


Priest's telling notion that "I am alternately with the music, ... and beside the music" speaks volumes about how to listen to and, ultimately, understand 100 Cadences.



Articles about Arthur Jarvinen have appeared often on Mixed Meters since the beginning.  Click here to see all Art Articles on Mixed Meters.

Art briefly wrote articles for Mixed Meters under the pseudonym Mister ComposerHead. These, equally briefly, became the Mister ComposerHead blog









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Saturday, December 31, 2011

"Not The Title" Pieces Available Again

On a recent walk my iPod decided that I needed to hear my piece entitled This Is Not The Title EITHER. I hadn't listened to it in quite a while, probably more than a year.  I enjoy hearing my own music after long periods of absence because it's as close as I can get to experiencing it with the ears of someone who hasn't composed my own music.

I enjoyed it.  It's a wacky piece.  Really wacky.  I admit that as a composer - heck, as a person - I have a wacky streak.  This music comes fright out of that streak.  I only hope that music of this sort will infuriate dogmatic minimalists and doctrinaire, close-minded fans of classical music.



You might remember that This Is Not The Title EITHER is the sequel to another piece This Is Not The Title.   I composed them in 2008.  It's hard to say which piece is the wackier.

Links to the music site (which shall MOG remain nameless) where you once could hear these pieces have long since stopped working.  So I have uploaded them both anew.  I'm happy to report that they are available for listening once again - just in time for 2012. 

I knew you'd be thrilled - especially if you are a dogmatic minimalist or a doctrinaire, close-minded fan of the classics.

Click here to to hear This Is Not The Title
Copyright (c) 2008 David Ocker - 337 seconds.
Read the original post here.

Click here to hear This Is Not The Title EITHER
Copyright (c) 2008 by David Ocker - 400 seconds
Read the original post here.

The sound quality is, as they say, medium crappy at best.  Think of it as a feature, not a bug.  It helps accentuate the wack.


Want to hear the piece which I think is my wackiest?  Click here.



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