My contribution to the 60x60 contest

Apparently the selections for the 60x60 contest have been made - the list of accepted works is available here:

http://www.icmc2010.org/program.html (Congrats, Ozan!)

Since my submission is apparently not listed (sniff), I feel now safe posting it here.

https://share.ols.inode.at/PHY1NPA4RVSKMV6L82M7G3AZLNLLGE56V47JTGMK

The title is "One minute prelude", and it is, again, a piano piece in, again, 17EDO. (I seem to be stuck in that tuning at the moment...)

The piece explores some of the modulation possibilities of 17EDO, namely the possibility to modulate to keys farther away (measured in steps on the circle of fifths) than would be possible in 12-equal. There is, e.g., a modulation to a key 8 fifths apart, the longest distance possible in 17EDO. (In 12EDO, the longest distance possible is 6 fifths steps). The tonality inside the keys is traditional-sounding minor, but the modulation steps are microtonal.
--
Hans Straub

Thank you Hans!

I'm sad that your piece did not make it. The Prelude is extremely
moving. They should have included it. I would have included it if I
was responsible for the selections.

Now that this has come up, here is the text describing "East Dreams
West" that I entered to the ICMC programme:

-----------------

EAST DREAMS WEST
Dr. Ozan Yarman

"East Dreams West" is a short, yet noble quasi-Waltz for Chamber
String Orchestra reminscent of the Romantic Age and realized in a 12
tone subset out of 17 Equal Divisions of the Octave - Not so
“adventurous” a tuning to work with perhaps, seeing as this is my
first attempt at serious Classical-Maqam style polyphony, but
nevertheless effective.

Aside from the bursting melancholy of the 7-limitish Bb minor entrance
in this tuning, the piece reflects a strong contrast through
Arabicized Huzzam & Rast maqam flavours in 5/8 and 9/8 rhythms toward
the centre. Alas, the haughty fury of the somniferous Orient turns
once again to the envious reverie of the Occident at the end –
tinted, however, with a tell-tale Hijaz murmur.

East Dreams West was composed using Sibelius+Scordatura by H-Pi
instruments and processed with Logic Pro.

Special thanks to Aaron Krister Johnson for his kind invitation and
encouragement.

Do visit www.ozanyarman.com for the score of East Dreams West and even
more treats!

-----------------

Cordially,
Oz.

✩ ✩ ✩
www.ozanyarman.com

On Mar 13, 2010, at 11:40 PM, hstraub64 wrote:

> Apparently the selections for the 60x60 contest have been made - the
> list of accepted works is available here:
>
> http://www.icmc2010.org/program.html (Congrats, Ozan!)
>
> Since my submission is apparently not listed (sniff), I feel now
> safe posting it here.
>
> https://share.ols.inode.at/PHY1NPA4RVSKMV6L82M7G3AZLNLLGE56V47JTGMK
>
> The title is "One minute prelude", and it is, again, a piano piece
> in, again, 17EDO. (I seem to be stuck in that tuning at the moment...)
>
> The piece explores some of the modulation possibilities of 17EDO,
> namely the possibility to modulate to keys farther away (measured in
> steps on the circle of fifths) than would be possible in 12-equal.
> There is, e.g., a modulation to a key 8 fifths apart, the longest
> distance possible in 17EDO. (In 12EDO, the longest distance possible
> is 6 fifths steps). The tonality inside the keys is traditional-
> sounding minor, but the modulation steps are microtonal.
> --
> Hans Straub
>

Is this the NYC show?

My blackberry isn't rendering the page.
Sent via BlackBerry from T-Mobile

-----Original Message-----
From: "hstraub64" <straub@...>
Date: Sat, 13 Mar 2010 21:40:52
To: <MakeMicroMusic@yahoogroups.com>
Subject: [MMM] My contribution to the 60x60 contest

Apparently the selections for the 60x60 contest have been made - the list of accepted works is available here:

http://www.icmc2010.org/program.html (Congrats, Ozan!)

Since my submission is apparently not listed (sniff), I feel now safe posting it here.

https://share.ols.inode.at/PHY1NPA4RVSKMV6L82M7G3AZLNLLGE56V47JTGMK

The title is "One minute prelude", and it is, again, a piano piece in, again, 17EDO. (I seem to be stuck in that tuning at the moment...)

The piece explores some of the modulation possibilities of 17EDO, namely the possibility to modulate to keys farther away (measured in steps on the circle of fifths) than would be possible in 12-equal. There is, e.g., a modulation to a key 8 fifths apart, the longest distance possible in 17EDO. (In 12EDO, the longest distance possible is 6 fifths steps). The tonality inside the keys is traditional-sounding minor, but the modulation steps are microtonal.
--
Hans Straub

[Non-text portions of this message have been removed]

BTW - congrats on the submission being accepted Ozan!

I confused this with the Chicago show,.

Chris

On Sat, Mar 13, 2010 at 4:54 PM, Ozan Yarman <ozanyarman@...>wrote:

>
>
> Thank you Hans!
>
> I'm sad that your piece did not make it. The Prelude is extremely
> moving. They should have included it. I would have included it if I
> was responsible for the selections.
>
> Now that this has come up, here is the text describing "East Dreams
> West" that I entered to the ICMC programme:
>
> -----------------
>
> EAST DREAMS WEST
> Dr. Ozan Yarman
>
> "East Dreams West" is a short, yet noble quasi-Waltz for Chamber
> String Orchestra reminscent of the Romantic Age and realized in a 12
> tone subset out of 17 Equal Divisions of the Octave - Not so
> “adventurous” a tuning to work with perhaps, seeing as this is my
> first attempt at serious Classical-Maqam style polyphony, but
> nevertheless effective.
>
> Aside from the bursting melancholy of the 7-limitish Bb minor entrance
> in this tuning, the piece reflects a strong contrast through
> Arabicized Huzzam & Rast maqam flavours in 5/8 and 9/8 rhythms toward
> the centre. Alas, the haughty fury of the somniferous Orient turns
> once again to the envious reverie of the Occident at the end –
> tinted, however, with a tell-tale Hijaz murmur.
>
> East Dreams West was composed using Sibelius+Scordatura by H-Pi
> instruments and processed with Logic Pro.
>
> Special thanks to Aaron Krister Johnson for his kind invitation and
> encouragement.
>
> Do visit www.ozanyarman.com for the score of East Dreams West and even
> more treats!
>
> -----------------
>
> Cordially,
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
>
> On Mar 13, 2010, at 11:40 PM, hstraub64 wrote:
>
> > Apparently the selections for the 60x60 contest have been made - the
> > list of accepted works is available here:
> >
> > http://www.icmc2010.org/program.html (Congrats, Ozan!)
> >
> > Since my submission is apparently not listed (sniff), I feel now
> > safe posting it here.
> >
> > https://share.ols.inode.at/PHY1NPA4RVSKMV6L82M7G3AZLNLLGE56V47JTGMK
> >
> > The title is "One minute prelude", and it is, again, a piano piece
> > in, again, 17EDO. (I seem to be stuck in that tuning at the moment...)
> >
> > The piece explores some of the modulation possibilities of 17EDO,
> > namely the possibility to modulate to keys farther away (measured in
> > steps on the circle of fifths) than would be possible in 12-equal.
> > There is, e.g., a modulation to a key 8 fifths apart, the longest
> > distance possible in 17EDO. (In 12EDO, the longest distance possible
> > is 6 fifths steps). The tonality inside the keys is traditional-
> > sounding minor, but the modulation steps are microtonal.
> > --
> > Hans Straub
> >
>
>
>

[Non-text portions of this message have been removed]

At 01:40 PM 3/13/2010, you wrote:
>Apparently the selections for the 60x60 contest have been made - the
>list of accepted works is available here:
>
>http://www.icmc2010.org/program.html (Congrats, Ozan!)

Graham, you made it!

Carlo too. And Christopher Bailey, Joseph Pehrson, George Secor,
Chuckk Hubbard, Prent Rodgers, Warren Burt, Aaron Johnson,
Kraig Grady, Andrew Heathwaite, and probably several I missed on
this big list.

Is this the most inclusive / most public program of xenharmonic
music ever!?

Congrats to all,

-Carl

I didn't notice all of the names.

Quite an elite group here on the tuning list :-)

Chris

On Sat, Mar 13, 2010 at 6:15 PM, Carl Lumma <carl@...g> wrote:

>
>
> At 01:40 PM 3/13/2010, you wrote:
> >Apparently the selections for the 60x60 contest have been made - the
> >list of accepted works is available here:
> >
> >http://www.icmc2010.org/program.html (Congrats, Ozan!)
>
> Graham, you made it!
>
> Carlo too. And Christopher Bailey, Joseph Pehrson, George Secor,
> Chuckk Hubbard, Prent Rodgers, Warren Burt, Aaron Johnson,
> Kraig Grady, Andrew Heathwaite, and probably several I missed on
> this big list.
>
> Is this the most inclusive / most public program of xenharmonic
> music ever!?
>
> Congrats to all,
>
> -Carl
>
>
>

[Non-text portions of this message have been removed]

thanks!
here's my submission:
http://www.seraph.it/dep/det/Glorious60.mp3

--- In MakeMicroMusic@yahoogroups.com, Carl Lumma <carl@...> wrote:
>
> Graham, you made it!
>
> Carlo too. And Christopher Bailey, Joseph Pehrson, George Secor,
> Chuckk Hubbard, Prent Rodgers, Warren Burt, Aaron Johnson,
> Kraig Grady, Andrew Heathwaite, and probably several I missed on
> this big list.
>
> Is this the most inclusive / most public program of xenharmonic
> music ever!?
>
> Congrats to all,
>
> -Carl
>

Much appreciated.

It is a dual performance for those who find a way to get their piece
heard in the ICMC show. I get to have my piece played in both 60x60
events, I think...

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Mar 14, 2010, at 1:04 AM, Chris Vaisvil wrote:

> BTW - congrats on the submission being accepted Ozan!
>
> I confused this with the Chicago show,.
>
> Chris
>
> On Sat, Mar 13, 2010 at 4:54 PM, Ozan Yarman <ozanyarman@...
> >wrote:
>
>>
>>
>> Thank you Hans!
>>
>> I'm sad that your piece did not make it. The Prelude is extremely
>> moving. They should have included it. I would have included it if I
>> was responsible for the selections.
>>
>> Now that this has come up, here is the text describing "East Dreams
>> West" that I entered to the ICMC programme:
>>
>> -----------------
>>
>> EAST DREAMS WEST
>> Dr. Ozan Yarman
>>
>> "East Dreams West" is a short, yet noble quasi-Waltz for Chamber
>> String Orchestra reminscent of the Romantic Age and realized in a 12
>> tone subset out of 17 Equal Divisions of the Octave - Not so
>> “adventurous” a tuning to work with perhaps, seeing as this is my
>> first attempt at serious Classical-Maqam style polyphony, but
>> nevertheless effective.
>>
>> Aside from the bursting melancholy of the 7-limitish Bb minor
>> entrance
>> in this tuning, the piece reflects a strong contrast through
>> Arabicized Huzzam & Rast maqam flavours in 5/8 and 9/8 rhythms toward
>> the centre. Alas, the haughty fury of the somniferous Orient turns
>> once again to the envious reverie of the Occident at the end –
>> tinted, however, with a tell-tale Hijaz murmur.
>>
>> East Dreams West was composed using Sibelius+Scordatura by H-Pi
>> instruments and processed with Logic Pro.
>>
>> Special thanks to Aaron Krister Johnson for his kind invitation and
>> encouragement.
>>
>> Do visit www.ozanyarman.com for the score of East Dreams West and
>> even
>> more treats!
>>
>> -----------------
>>
>> Cordially,
>> Oz.
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com

Well done all, my work will be joining yours also. Thanks to Untwelve I'm predicting that more than enough people will leave these concerts enlightened and fascinated. :-)

Sean Archibald

--- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Much appreciated.
>
> It is a dual performance for those who find a way to get their piece
> heard in the ICMC show. I get to have my piece played in both 60x60
> events, I think...
>
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
> On Mar 14, 2010, at 1:04 AM, Chris Vaisvil wrote:
>
> > BTW - congrats on the submission being accepted Ozan!
> >
> > I confused this with the Chicago show,.
> >
> > Chris
> >
> > On Sat, Mar 13, 2010 at 4:54 PM, Ozan Yarman <ozanyarman@...
> > >wrote:
> >
> >>
> >>
> >> Thank you Hans!
> >>
> >> I'm sad that your piece did not make it. The Prelude is extremely
> >> moving. They should have included it. I would have included it if I
> >> was responsible for the selections.
> >>
> >> Now that this has come up, here is the text describing "East Dreams
> >> West" that I entered to the ICMC programme:
> >>
> >> -----------------
> >>
> >> EAST DREAMS WEST
> >> Dr. Ozan Yarman
> >>
> >> "East Dreams West" is a short, yet noble quasi-Waltz for Chamber
> >> String Orchestra reminscent of the Romantic Age and realized in a 12
> >> tone subset out of 17 Equal Divisions of the Octave - Not so
> >> “adventurous” a tuning to work with perhaps, seeing as this is my
> >> first attempt at serious Classical-Maqam style polyphony, but
> >> nevertheless effective.
> >>
> >> Aside from the bursting melancholy of the 7-limitish Bb minor
> >> entrance
> >> in this tuning, the piece reflects a strong contrast through
> >> Arabicized Huzzam & Rast maqam flavours in 5/8 and 9/8 rhythms toward
> >> the centre. Alas, the haughty fury of the somniferous Orient turns
> >> once again to the envious reverie of the Occident at the end â€"
> >> tinted, however, with a tell-tale Hijaz murmur.
> >>
> >> East Dreams West was composed using Sibelius+Scordatura by H-Pi
> >> instruments and processed with Logic Pro.
> >>
> >> Special thanks to Aaron Krister Johnson for his kind invitation and
> >> encouragement.
> >>
> >> Do visit www.ozanyarman.com for the score of East Dreams West and
> >> even
> >> more treats!
> >>
> >> -----------------
> >>
> >> Cordially,
> >> Oz.
> >>
> >> ✩ ✩ ✩
> >> www.ozanyarman.com
>

On 14 March 2010 03:15, Carl Lumma <carl@...> wrote:
> At 01:40 PM 3/13/2010, you wrote:
>>Apparently the selections for the 60x60 contest have been made - the
>>list of accepted works is available here:
>>
>>http://www.icmc2010.org/program.html (Congrats, Ozan!)
>
> Graham, you made it!

Sure, I got an email about it. But they also want me to register for
the conference, for a special $60 rate, or supply a mix in barter.
And there is a note on the website saying ". . . you will need to be a
conference registrant in order for your piece to be played." It would
be strange if that applied to 60x60 pieces (it'd be $1 for every
second of recorded music) but I can't find anything to say it doesn't.
So it's like one of those Reader's Digest competitions, where
everybody wins, but you have to pay to "release" the prize.

Maybe I'm misinterpreting it somewhere. We'll see.

http://x31eq.com/music/dingshi.mp3 should be the piece. It's one
magic comma pump.

Graham

Graham wrote:

>> Graham, you made it!
>
>Sure, I got an email about it. But they also want me to register for
>the conference, for a special $60 rate, or supply a mix in barter.
>And there is a note on the website saying ". . . you will need to be a
>conference registrant in order for your piece to be played." It would
>be strange if that applied to 60x60 pieces (it'd be $1 for every
>second of recorded music) but I can't find anything to say it doesn't.
> So it's like one of those Reader's Digest competitions, where
>everybody wins, but you have to pay to "release" the prize.
>
>Maybe I'm misinterpreting it somewhere. We'll see.
> http://x31eq.com/music/dingshi.mp3 should be the piece. It's one
>magic comma pump.
> Graham

I wasn't one of the ones who saw a problem with the fee for the
original Untwelve competition - it was upfront and honest. This
seems worse - downright dishonest - if you are interp'ing the
docs correctly. Is Carlo expected to come from Italy? etc.

-Carl

The fee stopped me from submitting my entry even though by being accepted by
the untweleve / 60x60 for the April Chicago show it was eligible to seek
acceptance to the New York show - $60 is a bit much considering I'm still
unemployed in chemistry.... obviously I'm quite employed though dreadfully
underpaid musically. :-)

And anyway I don't think my piece was up to the standards of all of the
pieces mentioned here in this thread.

Chris

On Mon, Mar 15, 2010 at 1:51 PM, Carl Lumma <carl@...> wrote:

>
>
> I wasn't one of the ones who saw a problem with the fee for the
> original Untwelve competition - it was upfront and honest. This
> seems worse - downright dishonest - if you are interp'ing the
> docs correctly. Is Carlo expected to come from Italy? etc.
>
> -Carl
>
>
>

[Non-text portions of this message have been removed]

I haven't heard all the pieces yet, but I was just listening
through them and I still think your 17-ET Jazz is one of the
best.

Charging a fee after the fact is pretty low. Claiming it's
for a conference, which you must attend, is disgusting.

-Carl

At 10:58 AM 3/15/2010, Chris wrote:
>The fee stopped me from submitting my entry even though by being accepted by
>the untweleve / 60x60 for the April Chicago show it was eligible to seek
>acceptance to the New York show - $60 is a bit much considering I'm still
>unemployed in chemistry.... obviously I'm quite employed though dreadfully
>underpaid musically. :-)
>
>And anyway I don't think my piece was up to the standards of all of the
>pieces mentioned here in this thread.
>
>Chris
>
>On Mon, Mar 15, 2010 at 1:51 PM, Carl Lumma <carl@...> wrote:
>
>>
>> I wasn't one of the ones who saw a problem with the fee for the
>> original Untwelve competition - it was upfront and honest. This
>> seems worse - downright dishonest - if you are interp'ing the
>> docs correctly. Is Carlo expected to come from Italy? etc.
>>
>> -Carl
>

I told Robert Voisey that I thought the $60 fee was too steep to have my piece played at ICMC and I am not going to pay it.
I guess the Chicago microtonal event does not require a fee to partecipate.

--- In MakeMicroMusic@yahoogroups.com, Carl Lumma <carl@...> wrote:
>
Is Carlo expected to come from Italy? etc.
>
> -Carl
>

To play Devil's advocate - 60x60 isn't the only one.
The John Lennon song writing contest charges as well. - I still owe them the
fee for the first one because they tried to institute and collect the fee
after submissions were made! (It was a royal mess apparently - this was 97
or 98)

On the other hand many (most?) on line remix contests are free. But there
the band benefits.

On Mon, Mar 15, 2010 at 2:40 PM, Carl Lumma <carl@...> wrote:

>
>
> I haven't heard all the pieces yet, but I was just listening
> through them and I still think your 17-ET Jazz is one of the
> best.
>
> Charging a fee after the fact is pretty low. Claiming it's
> for a conference, which you must attend, is disgusting.
>
> -Carl
>
>
> At 10:58 AM 3/15/2010, Chris wrote:
> >The fee stopped me from submitting my entry even though by being accepted
> by
> >the untweleve / 60x60 for the April Chicago show it was eligible to seek
> >acceptance to the New York show - $60 is a bit much considering I'm still
> >unemployed in chemistry.... obviously I'm quite employed though dreadfully
> >underpaid musically. :-)
> >
> >And anyway I don't think my piece was up to the standards of all of the
> >pieces mentioned here in this thread.
> >
> >Chris
> >
> >On Mon, Mar 15, 2010 at 1:51 PM, Carl Lumma <carl@...<carl%40lumma.org>>
> wrote:
> >
> >>
> >> I wasn't one of the ones who saw a problem with the fee for the
> >> original Untwelve competition - it was upfront and honest. This
> >> seems worse - downright dishonest - if you are interp'ing the
> >> docs correctly. Is Carlo expected to come from Italy? etc.
> >>
> >> -Carl
> >
>
>
>

[Non-text portions of this message have been removed]

Honestly, I don't see a problem with fees, as long as they are
collected upfront and not conditional on winning! Putting someone
through the suspense of 'am I going to win', then getting a
supposed honor, only to find out it's about money, is awful.
For shame!

I thought the Lennon estate and Yamaha were fully funding that
contest, which is aimed at kids. Boo!

-Carl

At 11:48 AM 3/15/2010, you wrote:
>To play Devil's advocate - 60x60 isn't the only one.
>The John Lennon song writing contest charges as well. - I still owe them the
>fee for the first one because they tried to institute and collect the fee
>after submissions were made! (It was a royal mess apparently - this was 97
>or 98)
>
>On the other hand many (most?) on line remix contests are free. But there
>the band benefits.

??? the 60x60 shows were upfront from the first: no fee for the Chicago show; fee (or exchange) for the NY show. (And not participating in the NY mix doesn't disqualify you from the "international mix".)

I would guess that plenty of people at the NY show wouldn't be paying that fee themselves, rather, an institution would.

On 16 March 2010 09:17, cameron <misterbobro@...> wrote:
> ??? the 60x60 shows were upfront from the first: no fee for the
> Chicago show; fee (or exchange) for the NY show.
> (And not participating in the NY mix doesn't disqualify you from the
> "international mix".)

It's not like I care much about this, so I'm not writing out of
grievance, but from where I'm sitting what you say is not true. The
call I answered is here:

http://www.untwelve.org/60x60collaboration.html

I see no mention of a fee. I knew nothing about it until I got the
email, and that didn't make it clear that it wasn't the Chicago event
that I remember submitting the piece for. Does anybody here know what
happened with that?

I don't know about this "international mix" either although it keeps
getting mentioned.

> I would guess that plenty of people at the NY show wouldn't be paying
> that fee themselves, rather, an institution would.

Sure, and some of our pieces won't be there because our vanity doesn't
extend to paying somebody $1 per second for supervising a CD player.
Which means this superb opportunity will presumably be made available
to more composers. All will be winners!

Graham

I didn't notice the shows until quite late, and it is possible that
it was explained most clearly somewhere else- csound list maybe? but the setup was clear to me. It's also possible that I simply asked first, as I had been completely unaware that the previous (untwelve) concert had a fee until after it was over. That fee (more nominal IIRC, 20$?) I would have been glad to pay if possible. I'd donate to csounds.com too, if I had a penny to spare (did buy the book and DVDs, a fairly heavy investment from my position).

--- In MakeMicroMusic@yahoogroups.com, Graham Breed <gbreed@...> wrote:
>
> On 16 March 2010 09:17, cameron <misterbobro@...> wrote:
> > ??? the 60x60 shows were upfront from the first: no fee for the
> > Chicago show; fee (or exchange) for the NY show.
> > (And not participating in the NY mix doesn't disqualify you from the
> > "international mix".)
>
> It's not like I care much about this, so I'm not writing out of
> grievance, but from where I'm sitting what you say is not true. The
> call I answered is here:
>
> http://www.untwelve.org/60x60collaboration.html
>
> I see no mention of a fee. I knew nothing about it until I got the
> email, and that didn't make it clear that it wasn't the Chicago event
> that I remember submitting the piece for. Does anybody here know what
> happened with that?
>
> I don't know about this "international mix" either although it keeps
> getting mentioned.
>
> > I would guess that plenty of people at the NY show wouldn't be paying
> > that fee themselves, rather, an institution would.
>
> Sure, and some of our pieces won't be there because our vanity doesn't
> extend to paying somebody $1 per second for supervising a CD player.
> Which means this superb opportunity will presumably be made available
> to more composers. All will be winners!
>
>
> Graham
>

Cameron wrote:

>??? the 60x60 shows were upfront from the first: no fee for the
>Chicago show; fee (or exchange) for the NY show. (And not
>participating in the NY mix doesn't disqualify you from the
>"international mix".)

I didn't read the fine print and I didn't participate, so please
take this with a grain of salt. The difference is, the fee is only
relevant if you "win".

-Carl