Re: [MMM] forwarded: concert in troy, ny, usa

Oh cool Paul - equal temperament piano.

----- Original Message -----
From: "wallyesterpaulrus" <wallyesterpaulrus@...>
To: <MakeMicroMusic@yahoogroups.com>
Sent: Sunday, December 01, 2002 5:37 PM
Subject: [MMM] forwarded: concert in troy, ny, usa

> FOR IMMEDIATE RELEASE:
>
> An Impulse/Response Production:
>
> This Thursday!!!
>
> THE SPACE BETWEEN
> feat. Pauline Oliveros, accordian; Philip Gelb, shakuhachi; and
> Dana Reason,
> piano.
> -------------------
>
> The Arts Center for the Capital Region
> 265 River Street Troy
> 12-05-02
> 8pm doors at 7:30pm
> $5/3 students
> -------------------
> http://www.ir-music.org
>
> The final Impulse/Response of part one of our 3rd season is
> indeed an
> exciting one!
>
> From three corners of our grand US of A, come three of the most
> sensitive
> and unique voices in contemporary improvisation. The Space
> Between has been
> mystifying audiences with their unique blend of sonic exploration
> for over 7
> years.
>
> The Arts Center will be a wonderfully intimate space to listen to
> this
> delicate, organic ensemble...come in from the cold and warm up
> your ears!
>
>
> Group Bio:
> THE SPACE BETWEEN
>
> The Space Between trio was formed in the winter, 1996 when
> the Dana
> Reason/Philip Gelb duet invited Pauline Oliveros to join them for
> a concert
> in San Francisco. Utilizing a unique combination of Just
> intonation
> accordion with shakuhachi and piano immediately puts the trio
> in a special
> sonic space. The trio employs timbre and texture as their main
> structural
> units for composition and improvisation. As a result the
> discrepancy in
> tuning systems of the instruments becomes an advantage rather
> than a
> disadvantage. Since the three members live in different cities,
> performances
> have been sporadic; highlights include the Opus 415 festival in
> San
> Francisco, Spruce Street Forum in San Diego and a two night
> stint at the
> Center for New Music and Audio Technologies where they were
> joined by Barre
> Phillips on bass.
>
>
> Individual Bios:
>
> PAULINE OLIVEROS
>
> Pauline Oliveros has become a senior figure in American
> avant-garde. In the
> '50s she was part of a circle of iconoclastic composers, artists,
> poets and
> such gathered loosely around John Cage. Oliveros has been as
> interested in
> finding new sounds as in finding new uses for old ones -
> nowadays she most
> often plays accordion, an unexpected visitor perhaps to musical
> cutting
> edge, but one which she approaches in much the same way that
> a Zen musician
> might approach the Japanese shakuhachi. Pauline Oliveros' life
> as a
> composer, performer and humanitarian is about opening her
> own and others'
> sensibilities to the universe and facets of sounds. Since the
> 1960's she has
> influenced American music profoundly through her work with
> improvisation,
> meditation, electronic music, myth and ritual. Pauline Oliveros is
> the
> founder of Deep Listening, which comes from her childhood
> fascination with
> sounds and from her works in concert music with composition,
> improvisation
> and electro-acoustics. Pauline Oliveros describes Deep
> Listening as a method
> to listen in every possible way to everything possible to hear no
> matter
> what you are doing. Such intense listening includes the sounds
> of daily
> life, of nature, of one's own thoughts as well as musical sounds.
> Deep
> Listening is my life practice," she explains, simply. John Cage:
> "Through
> Pauline Oliveros and Deep Listening I finally know what harmony
> is... It's
> about the pleasure of making music."
>
>
>
>
> DANA REASON
>
> Canadian born pianist, composer and improvisor Dana Reason
> has performed at
> the California Institute for the Arts, Colorado University, Guelph
> Jazz
> Festival, Frau Musica (Nova) Cologne, San Francisco Jazz
> Festival, Beyond
> the Pink Festival, (LA), Knitting Factory (NYC), Music Gallery
> (Toronto),
> and Newfoundland Sound Symposium. Ms. Reason has been
> featured on National
> Public Radio, Radio Canada and has recorded for Music & Arts,
> Red Toucan,
> Deep Listening, Sparkling Beatnik and Ryokan labels. This past
> fall
> Musicworks magazine published a feature article titled The
> Piano Artistry of
> Dana Reaons by Dan Given. Ms. Reason is Ph.D candidate and
> scholarship
> recipient at the University of California San Diego where she
> studies with
> George E. Lewis and Anthony Davis. Her dissertation research
> is titled
> Playing like a Girl: Women Improvisors in the Second Half of the
> Twentieth
> Century: A Cross-Cultural Investigation into Musical
> Performativity. Ms.
> Reason is a freelance writer for the Twentieth Century Music,
> The Improvisor
> and Musicworks.
>
>
>
>
> PHILIP GELB
>
> Philip Gelb was born in Brooklyn, NY April 12, 1965. He has
> been studying
> shakuhachi since 1988, and performing professionally since
> 1995.
>
> Gelb began studying shakuhachi while a senior in college at the
> University
> of Florida where he recieved a BA in anthropology. His first
> shakuhachi
> teacher was Dr. Dale Olsen bai-o who introduced him to Kinko
> Ryu shakuhachi
> playing. He has also studied Meian Ryu shakuhachi with Ronnie
> Nyogetsu
> Seldin and with Kurahashi Yoshio. His traditional shakuhachi
> studies have
> concentrated on honkyoku, the solo Buddhist repetoire. In
> addition he always
> had a very strong interest in new and experimental music and
> improvisation.
>
> He attended graduate school at the Florida State University
> School of Music
> studying ethnomusicology. While at FSU, he founded and
> directed the New
> World Ensemble. As director of this ensemble he was
> responsible for holding
> several artists in residence, including George Lewis, Richard
> Teitelbaum,
> Wadada Leo Smith, Davey Williams, Derek Bailey, Ladonna
> Smith, Shaking Ray
> Levis and Lawrence "Butch" Morris. The Butch Morris residency
> culminated in
> a CD that was released on New World/Countercurrents as part
> of Butch's 10 CD
> box set. The group also collaborated with several other great
> musicians
> including Kazue Sawai, Jill Burton, Gustavo Matamoros, Scott
> Walton, David
> Durant and Dana Reason. The New World Ensemble continues
> today at the FSU
> School of Music even though it has been several years since any
> of its
> founding members were there.
>
> In November, 1996, Philip Gelb received a grant to attend a
> Japanese
> American artists interchange at the Atlantic Center for the Arts to
> study
> with the brilliant composer, Yuji Takahashi. During this residency
> some very
> important professional and personal connections were made;
> particularly
> meeting dancer, Eri Majima who has become a regular
> collaborator in Japan
> and the US.
>
> Since 1995, Gelb has been performing nationally and
> internationally as a
> soloist and in ensembles. Performance highlights include the
> World
> Shakuhachi Festival, Lincoln Center, Yerba Buena Center for the
> Arts (San
> Francisco), Mills College (Oakland), Knitting Factory (New York),
> Session
> House (Tokyo), Tiara Koto Concert Hall (Tokyo) Munster Neue
> Musik Festival
> (Germany), Earshot Jazz Festival (Seattle), Music Gallery
> (Toronto), Center
> For New Music and Audio Technologies (Berkeley), Gainesville
> Jazz Festival,
> Subtropics New Music Festival (Miami), University Of California
> SanDiego,
> Bard College, Stetson College, Rollins College, University of
> Vermont, and
> Earlham College and two appearances as guest soloist with the
> Seattle
> Creative Orchestra.
>
> Gelb's current projects include The Space Between (a trio with
> accordionist
> Pauline Oliveros and pianist Dana Reason), duets with
> interactive
> electronics composer Chris Brown, a trio with violinist Carla
> Kihlstedt and
> cellist Hugh Livingston. Other musicians with whom he
> frequently
> collaborates are koto master Shoko Hikage, multi
> instrumentalist Joe McPhee,
> and synthesizer player Tim Perkis.
>
> Philip Gelb's recordings are available on various labels: Deep
> Listening,
> Sparkling Beatnik, New World/CounterCurrents, Leo, Music482,
> Ryokan, Abray,
> Twisted Village, Limited Sedition, and Cultural Labyrinth.
>
> Gelb currently lives and teaches in the San Francisco Bay area.
> Apart from
> music, his interests include vegetarian cooking, organic
> gardening, and
> film.
>
> --------------------------------------------------------------------------
> Scott Smallwood - iEAR Studios Technical Director
> Clinical Assistant Professor of Computer Music
> Rensselaer Polytechnic Institute. Troy, NY.
> 518.276.2511 (vox)
> 518.276.4780 (fax)
>
> http://www.arts.rpi.edu/~skot
> http://www.ir-music.org
> http://www.arts.rpi.edu/nyquist
> http://www.ecnedive.com
>
>
> [MMM info]------------------------------------------------------
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>
>
>

David,

{you wrote...}
>Oh cool Paul - equal temperament piano.

Come, come. They *are* exploiting the differences and interactions between disparate tuning systems, and that could have interesting results. Besides, having worked with Pauline Oliveros and having seen her in concert numerous times, I would never reject out-of-hand any musical endeavor she would choose to be a part of. She is one of those singular entities that can make magic appear where no one would expect it!

Cheers,
Jon

---- Original Message -----
From: "Jonathan M. Szanto" <JSZANTO@...>

> David,
>
> {you wrote...}
> >Oh cool Paul - equal temperament piano.
>
> Come, come. They *are* exploiting the differences and interactions between
> disparate tuning systems, and that could have interesting results.
Besides,
> having worked with Pauline Oliveros and having seen her in concert
numerous
> times, I would never reject out-of-hand any musical endeavor she would
> choose to be a part of. She is one of those singular entities that can
make
> magic appear where no one would expect it!

JI & 12tet sounds ugly to me. No matter who's involved.
Why not tune the piano? Too much trouble? Why bother?

* David Beardsley
* http://biink.com
* http://mp3.com/davidbeardsley

i'd like to see lawrence ball reply to david's comments here. no one
gave lawrence any flak about using a piano in his concert, which was
announced all over these lists. and i assume that piano was in equal
temperament too, since he declined to respond to queries on how it
was tuned.

--- In MakeMicroMusic@y..., "David Beardsley" <davidbeardsley@b...>
wrote:
> ---- Original Message -----
> From: "Jonathan M. Szanto" <JSZANTO@A...>
>
> > David,
> >
> > {you wrote...}
> > >Oh cool Paul - equal temperament piano.
> >
> > Come, come. They *are* exploiting the differences and
interactions between
> > disparate tuning systems, and that could have interesting results.
> Besides,
> > having worked with Pauline Oliveros and having seen her in concert
> numerous
> > times, I would never reject out-of-hand any musical endeavor she
would
> > choose to be a part of. She is one of those singular entities
that can
> make
> > magic appear where no one would expect it!
>
> JI & 12tet sounds ugly to me. No matter who's involved.
> Why not tune the piano? Too much trouble? Why bother?
>
>
> * David Beardsley
> * http://biink.com
> * http://mp3.com/davidbeardsley

--- In MakeMicroMusic@y..., "David Beardsley" <davidbeardsley@b...>
wrote:
>
> JI & 12tet sounds ugly to me. No matter who's involved.
> Why not tune the piano? Too much trouble? Why bother?

ironically enough, david, you yourself posted this:

/makemicromusic/topicId_3844.html#3844

and declined to answer similar questions about *that* piano.

--- In MakeMicroMusic@y..., "David Beardsley" <davidbeardsley@b...>
wrote:

> JI & 12tet sounds ugly to me. No matter who's involved.

such incredible prejudice. before even listening. it's clear that we
have something tantamount to religious fanaticism here.

are you aware that a vast body of hindustani classical music combines
JI & 12tet, due to the use of the harmonium? are you going to dismiss
each and every such performance preemptively, on the grounds that you
already know it'll sound ugly? what about jazz featuring a trumpet --
you have quite a strong JI bias in the trumpet tones, 12tet on the
piano, and generally all-over-the-place tuning on the bass. so
goodbye, miles davis; goodbye, dave douglas. oh wait a minute . . .
didn't you do a glowing review of dave douglas for the downtown music
gallery newsletter? nowhere in that article did you call him
a "traitor" . . . funny.

----- Original Message -----
From: "wallyesterpaulrus" <wallyesterpaulrus@...>
To: <MakeMicroMusic@yahoogroups.com>
Sent: Monday, December 02, 2002 2:48 PM
Subject: Re: [MMM] forwarded: concert in troy, ny, usa

> --- In MakeMicroMusic@y..., "David Beardsley" <davidbeardsley@b...>
> wrote:
> >
> > JI & 12tet sounds ugly to me. No matter who's involved.
> > Why not tune the piano? Too much trouble? Why bother?
>
> ironically enough, david, you yourself posted this:
>
> /makemicromusic/topicId_3844.html#3844
>
> and declined to answer similar questions about *that* piano.

I didn't know anybody asked any questions!

dB

----- Original Message -----
From: "wallyesterpaulrus" <wallyesterpaulrus@...>

> i'd like to see lawrence ball reply to david's comments here. no one
> gave lawrence any flak about using a piano in his concert, which was
> announced all over these lists. and i assume that piano was in equal
> temperament too, since he declined to respond to queries on how it
> was tuned.

I'd say Lisa pushed her playing into 12tet.

dB

----- Original Message -----
From: "wallyesterpaulrus" <wallyesterpaulrus@...>

> --- In MakeMicroMusic@y..., "David Beardsley" <davidbeardsley@b...>
> wrote:
>
> > JI & 12tet sounds ugly to me. No matter who's involved.
>
> such incredible prejudice. before even listening. it's clear that we
> have something tantamount to religious fanaticism here.

Hello Paul?

Hello?

I've heard the CD.

Hello? I didn't like it.

I wish it was as good as Lisa and Lawrence playing together.

What makes you so sure I haven't heard the CD? Do you read minds Paul?
Do you know what I'm thinking about this right now?

> are you aware that a vast body of hindustani classical music combines
> JI & 12tet, due to the use of the harmonium?

I'm not too excited about the harmonium. And from my
experience, there's a vast body of Indian music that doesn't
use a harmonium. Quite rare in my Raga CD collection and
in the concerts I've heard in the past 25 years.

>are you going to dismiss
> each and every such performance preemptively, on the grounds that you
> already know it'll sound ugly? what about jazz featuring a trumpet --
> you have quite a strong JI bias in the trumpet tones, 12tet on the
> piano, and generally all-over-the-place tuning on the bass. so
> goodbye, miles davis;

Miles never made it a point to advertise he was a JI musican. Did he?
It's kinda pointless to to tune in JI and the play with musicans who are
out of tune with you. I do enjoy the Deep Listening Band, but
this group doesn't work for me. Can you deal with that Paul?
Have you even heard this band?

> goodbye, dave douglas. oh wait a minute . . .
> didn't you do a glowing review of dave douglas for the downtown music
> gallery newsletter? nowhere in that article did you call him
> a "traitor" . . . funny.

I never wrote a review of a Dave Douglas CD. I'm not even that familiar with
his
playing. I don't even own a cd that he's on. Sorry Paul, dream on.

* David Beardsley
* http://biink.com
* http://mp3.com/davidbeardsley

--- In MakeMicroMusic@y..., "Jonathan M. Szanto" <JSZANTO@A...> wrote:

/makemicromusic/topicId_3946.html#3947

> David,
>
> {you wrote...}
> >Oh cool Paul - equal temperament piano.
>
> Come, come. They *are* exploiting the differences and interactions
between
> disparate tuning systems, and that could have interesting results.
Besides,
> having worked with Pauline Oliveros and having seen her in concert
numerous
> times, I would never reject out-of-hand any musical endeavor she
would
> choose to be a part of. She is one of those singular entities that
can make
> magic appear where no one would expect it!
>
> Cheers,
> Jon

***Quite frankly, for a new project I'm considering combining
Blackjack with 12-equal (via 72) since nobody seems to want to play
it otherwise... :)

JP

----- Original Message -----
From: "Joseph Pehrson" <jpehrson@...>

> --- In MakeMicroMusic@y..., "Jonathan M. Szanto" <JSZANTO@A...> wrote:
>
> /makemicromusic/topicId_3946.html#3947
>
> > David,
> >
> > {you wrote...}
> > >Oh cool Paul - equal temperament piano.
> >
> > Come, come. They *are* exploiting the differences and interactions
> between
> > disparate tuning systems, and that could have interesting results.
> Besides,
> > having worked with Pauline Oliveros and having seen her in concert
> numerous
> > times, I would never reject out-of-hand any musical endeavor she
> would
> > choose to be a part of. She is one of those singular entities that
> can make
> > magic appear where no one would expect it!
> >
> > Cheers,
> > Jon
>
>
> ***Quite frankly, for a new project I'm considering combining
> Blackjack with 12-equal (via 72) since nobody seems to want to play
> it otherwise... :)

Sorry to hear that. This is why I'd rather work alone at my music.

* David Beardsley
* http://biink.com
* http://mp3.com/davidbeardsley

--- In MakeMicroMusic@y..., "David Beardsley" <davidbeardsley@b...>

/makemicromusic/topicId_3946.html#3956
> >
> > ***Quite frankly, for a new project I'm considering combining
> > Blackjack with 12-equal (via 72) since nobody seems to want to
play
> > it otherwise... :)
>
> Sorry to hear that. This is why I'd rather work alone at my music.
>
>
> * David Beardsley
> * http://biink.com
> * http://mp3.com/davidbeardsley

***Hi David!

Well, it's kind of tricky stuff... for what *you're* doing,
obviously, the "purity" of the JI is part of the gig. Anything
outside of that is *never* going to sound "good..." It's not in the
esthetic, obviously... I imagine Catler is a bit like this, too,
although I *believe* he's used 12-equal in some of his ensemble
pieces for the other players besides his solo guitar... (Dunno, but
I *think* I'm right on that...)

My *own* style, however, is considerably more eclectic, so I'm trying
to shove all the great stuff I've learned from *you* guys into
my "larger corpus..."

(That's a rather painful process... :)

JP