Kronos playing 'Barstow'

[John deLaubenfels, TD 181.4]
> I feel I must strongly oppose a "purist" notion in music. New
> variations on another's themes are the backbone of musical
> creation.
> No one has the right to forbid them, and the world is a more
> barren place without them.

I've been keeping quiet in this debate so far, mainly because
Jon Szanto is a good friend and he has very strong views on
this, but I feel that I have to agree at least partly with
John's opinion.

I can respect the fact that Partch was indeed an absolutely
unique composer, and also the fact that any listener of his
music deserves to become familiar with it in the way Partch
intended (i.e., on his own instruments in a live performance).

However, as a composer myself, I must also state that I think
there's nothing wrong with 'arrangements', 'transcriptions',
or 'adaptations' of a composer's music by other people.

Once I create a musical work, it's got a life of its own.

IMO, the most creative music that's ever been put on a rap
album was on Public Enemy's _It Takes A Nation Of Millions To
Hold Us Back_. Not one note was original. The entire thing
was blended from disparate samples of James Brown and others,
and I think it's brilliant.

Another good example along these lines is John Oswald's
_Plunderphonic_, which has been banned and is available on
the web.

And of course, redoing someone else's tunes in your own way
is standard practice in jazz and pop music. (The tunes are
even called 'standards'.)

> And if Kronos makes a profit, isn't that ok? Unless they're
> absolute hacks in their transcription, which for some reason I
> don't expect.

Ben Johnston is the person who actually made the transcription,
and he's no hack. I know him personally, and he knew Partch
personally, and has too much love for Partch as a composer and
as a person to intentionally misrepresent him.

I'm sure that part of the reason he did this was to expose more
people to Partch's music. (Another reason was probably to make
some $$$ himself - just another aspect of being an American
composer.)

[Kraig Grady, TD 181.11]
> Go ahead and do "impressions" of Partch or a homage that's the
> thing to do! It is not being presented as a variation.

Exactly.

The important thing here is to present these 'arrangements'
with a banner proclaiming that they *are* arrangements, and
not to imply in any way that they were intended or sanctioned
by Partch.

Again, before the bricks start flying my way from Jon Szanto,
anyone wishing to learn Partch's music absolutely should seek
out a live performance of it on his own instruments. But when
is that happening any time soon?

Joseph L. Monzo monz@juno.com
http://www.ixpres.com/interval/monzo/homepage.html
|"...I had broken thru the lattice barrier..."|
| - Erv Wilson |
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monz@juno.com wrote:

> I can respect the fact that Partch was indeed an absolutely
> unique composer, and also the fact that any listener of his
> music deserves to become familiar with it in the way Partch
> intended (i.e., on his own instruments in a live performance).
>
> However, as a composer myself, I must also state that I think
> there's nothing wrong with 'arrangements', 'transcriptions',
> or 'adaptations' of a composer's music by other people.

As long as its presented as such! Once again, you have to realize that
Partch was a Greek Revivalist and created theater. A string Quartet is not
a part of his theater!

> Once I create a musical work, it's got a life of its own.

Hopefully your colleges wont throw them to the dogs.
As for me, go ahead, I'm used to it:)

> IMO, the most creative music that's ever been put on a rap
> album was on Public Enemy's _It Takes A Nation Of Millions To
> Hold Us Back_. Not one note was original. The entire thing
> was blended from disparate samples of James Brown and others,
> and I think it's brilliant.

I think if I hear another James Brown or Al green sample I'll scream!
It easy to make things with great original. What does it say about an
artist that they have to steal. So much for ones self esteem. I enjoy much
more a horrible original turned into something great. Personally I thought
that Nancy Sinatras and Lee Hazelwoods "Some Velvet Morning" would be the
perfect basis for a mass in the 16th century practice of borrowing from
popular music. listen to it It's just ready for picking! What do you think
Margo!

> Another good example along these lines is John Oswald's
> _Plunderphonic_, which has been banned and is available on
> the web.

Cleaver. All Very Cleaver. I am sick of clever! It is not the same as good
art even though in our society they are often mistaken one for the other

>
> [Kraig Grady, TD 181.11]
> > Go ahead and do "impressions" of Partch or a homage that's the
> > thing to do! It is not being presented as a variation.
>
> Exactly.

That is not what they are doing!!!

> The important thing here is to present these 'arrangements'
> with a banner proclaiming that they *are* arrangements, and
> not to imply in any way that they were intended or sanctioned
> by Partch.

agreed. Anyway aren't there some good microtonalist whose music they should
be playing!

> Again, before the bricks start flying my way from Jon Szanto,

I'm standing behind him with a wheel barrow. Better watch out for the PRA
(the Partch Liberation Army) they are rougher than us!

> anyone wishing to learn Partch's music absolutely should seek
> out a live performance of it on his own instruments. But when
> is that happening any time soon?

The recordings are there too, but yes, it is theater. Allow it to be unique
in the same way as Peter Brook presentations, or any of the other one time
only theater events. Shadow plays, Performance art is the same way!

Briefly we're here, then we're gone!-Partch

-- Kraig Grady
North American Embassy of Anaphoria Island
www.anaphoria.com