finds (14): sales

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1) Wandelweiser late summer sale: September 22-October 3
€50 euros for 10 CDs (double and triple CDs count as one CD), including international shipping. (That’s about $56 total with today’s US exchange rate.)

This is a great opportunity to try out a range of titles. Be sure to check your order against the list of sold-out CDs at the link. Here is the complete catalogue.

2) Bloomsbury Academic is running a 30% off sale through Friday on all of the titles I recommended recently, as well as my book and many earlier publications. Here are a few titles:

After Sound: Toward a Critical Music
Audio Culture: Readings in Modern Music
Experimentations: John Cage in Music, Art, and Architecture
Into the Maelstrom: Music, Improvisation and the Dream of Freedom
The Process that is the World: Cage/Deleuze/Events/Performance
Sinister Resonance: The Mediumship of the Listener
Word Events: Perspectives on Verbal Notation

Shipping within the US is $3.50 for the first item, $1 for additional items.

Feel free to chime in with your own recommendations.

3) Huddersfield Contemporary Records is having a 20% off sale through Friday. Just add the promo code HCR20 at checkout. There are many great titles here, one of which was the subject of a series of interviews here on sound expanse.

4) The price of the major 3-CD Julius Eastman release, Unjust Malaise, has dropped significantly in the past few days. It may not be a coincidence that price drop coincides with the great success of Femenine, released by Frozen Reeds.

5) Changing the System: The Music of Christian Wolff, edited by Stephen Chase and Philip Thomas, is now in paperback at a much reduced price – and an extra 20% off. It’s a very useful book and I’ve wanted to buy it many times over, but opted for library consultations instead. This is a great time to get it.

system

 

a series of starting points

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When I saw the line, “a rare negative review,” attached to a link about Experimental Music Since 1970, I assumed that it referenced the general—though by no means complete—positivity of public responses to my book so far. It turns out that Bradford Bailey was saying that in relation to his own writing, rather than to my text. “I never write negative reviews, but here I make an exception as warning.” He also wrote, “I was uneasy with this one. I hate writing negative reviews.” I can completely relate to that, and want to say first of all, then, that from my standpoint it’s useful and interesting. It wouldn’t be honest to say that I read it in an entirely detached way, but negative reactions on my part are far outweighed by an interest in the in-depth nature of this response and the opportunity that it provides to think through the larger project of presenting and discussing experimental music.

If I understand correctly, the book that Bailey hoped for would have provided a greater social and cultural context for experimental work. That is not the book that I was prepared, best suited, or most excited to write. I say in the introduction that the book is written from a maker’s standpoint, and at the outset that experimental music is “a position—of openness, of inquiry, of uncertainty, of discovery.” In my view, this is primarily a creative position, rather than a cultural, social, or political position. In writing about numerous practitioners from a maker’s standpoint, those positions sometimes come into view but they are not my focus. The book is centered around sounds, pieces, and projects. There may be a dizzying array of them, but that is part of my effort to accurately represent the field as not being dominated by a few people but as having many different voices. I wanted to point to many of those voices, and possibly did so at a pace that minimized my own voice as an author. That may be a weakness of the book, but I haven’t been convinced yet that I should regret it. My motivation for this project was to support the field by providing multiple points of entry into it. The various pieces and projects I discuss can be likened to points on a map. They don’t mark out the entire map, they aren’t the only points, and many of them could be located elsewhere. They are landmarks of certain areas of practice. I am happy for the book to be considered as a partial map, especially if it proves useful to some people in that way.

I also recognize that it is not for everyone. It was not meant to educate or change the minds of people who already have a strong sense of the field, but it could be a potential resource for them, as well as for so-called outsiders. (Aren’t we all outsiders, one way or another?) My intention was to articulate something of the richness and openness of a field which often appears esoteric and narrow. That potential openness may be a point of disagreement between me and some of its other participants.

The most provocative aspect of my book may be the title. I think of it as the simplest possible description of scope, rather than as a declaration. It is a survey of experimental music since 1970. It is not the survey, or the definitive point of view. It is not, as I pointed out in the introduction, an attempt to establish a canon, but a series of starting points—pathways on a map that no one has attempted to draw for decades. That’s a risky thing to try to make, but I felt willing to take that risk because I felt I had nothing to lose. (I have never pursued an academic position, and my income has come from other sources.) In my more defeatist moments, I told myself that if it were not useful in some way, people wouldn’t pay much attention to it. But it seems to have generated some dialogue, both positive and negative. I hope that that dialogue will lead to an articulation of other contrasting perspectives on the field, and I said so around the time the book was released.

I agree that the personal context of people’s engagement in the field is missing. I have begun a series of interviews for this site that are an attempt to get at that question. It is a very different sort of project, and not one that I could have woven into Experimental Music Since 1970. I’ll begin posting those regularly soon. I also agree that there is a bias towards work that has been written about already. I didn’t want to make assumptions about people’s projects without sufficient context. But I did not just lift quotes and put them in, but made sure to track their relevance to the sounding examples. The listening links are posted so that readers can easily do so for themselves. The sounding examples are essential, and the book is not meant to stand without them.

I haven’t taken up every point in Bailey’s review, but this post is meant as a response, not as a defense. I’m happy to continue the conversation.

addendum:

Since I drafted this post, Bailey has written a follow-up post which makes some aspects of his point of view much more clear to me. I wholeheartedly agree that collective support is infinitely preferable to infighting. I think it’s totally possible to disagree, and even drill down to the exact nature of a fundamental disagreement, without attacking people on a personal level. I wouldn’t expect someone I had never interacted with before to have an accurate sense of my motivations for writing the book. But I’m glad to see how Bailey has further articulated his own motivations, not just for writing the review but for engaging in the field. And I’ll be interested to learn more about the kinds of work he associates with a more inclusive experimental practice by reading past and future posts on The Hum.

resource guide 28: Antoine Beuger

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reference:
wandelweiser
academia.edu
recordings

talks and interviews:
2004
October 2011
MBMF
Word Events

articles/books:
Antoine Beuger Werkanalysen und Hintergründe (library)
Antoine Beuger, unwritten page – Unschärfe des Scharfen, Schärfe des Unscharfen
Grundsätzliche Entscheidungen
Immer wieder anders – überraschend neu (library)
Die Kunst, die Liebe
MusikDenken: Texte der Wandelweiser Komponisten (library)
MusikTexte 130
Neunstündige Insel
Programmnotiz
Silence, Environment, Performer
Über den Komponisten Antoine Beuger

pieces:

solo in difference (1976)

musik Nr.1 (1989)

schweigen, hören (1990)
play

schweigen, hören 2 (1990)

lesen, hören – buch für stimme (1991)

zu hören viel, andenken (1991)

ashes (1991)

from ashes (1991)

silent understanding (1991)

koor (1991)

für kurze zeit geboren (1991)
openbook disc

alphabet (1992)

l’attente l’oublie (1992)

sandmusik (1992)
comment openbook openbook

die geschichte des sandkorns (1992)
disc play

la part du peu (1992)

silences (1992)

avec ferveur (1992)

serra (1992)

serra Nr. 2 (1992)

klavier, aus serra (1992)

klavier, aus serra 2 (1992)

die stille, die zeichen (1993)

wahrscheinlich ein fremder (1993)

bien fait, mal fait, pas fait (robert filliou) (1993)

ich habe meinen schirm vergessen (nietzsche) (1993)

things happen – different music for orchestras (1993)

things happen (1994)
YouTube play

ein eichhörnchen war uns gefolgt und beobachtete uns von einem niedrigen zweig (1993)

etwas (nicht alles, nicht nichts) (1993)

de vis – die is in de zee (hans faverey) (1993)

dialogues (silences) (1993)
disc YouTube play

things taking place (1994)

weniger, mehr (1994)

moins, plus (1994)

first music for marcia hafif (1994)

second music or marcia hafif (1994)

streichtrio (1994)

l’âge du temps (1994)

variations (silences): goldberg (1994)

variations (silences): kunst der fuge (1994)

third music for marcia hafif (1994)

unwritten page (1994)
disc Vimeo play

calme bloc (1994)

etwas (lied) (1995)
disc

variations (silences): duport (1995)

quite still and solitary (1995)

still, solitary (95/08)
YouTube

calme étendue (1996-7)
play
(spinoza) (1996)
disc
(oboe) (1997)
disc

place (1996/97)

mauser (1997)

place (mauser No.2) (1997)

fourth music for marcia hafif No.1 (1997)

fourth music for marcia hafif No.2 (1997)

fourth music for marcia hafif No.3 (1997)
play

lesen, schreiben (spinoza) (1997)

sound (1997)

touw (voor joop) (1996)
play

50 stücke (1997)

namlos geblieben (1998)

éventail und autre éventail (1998)

one tone. rather short. very quiet (1998)
YouTube comment openbook

ins ungebundene – für orgel (1997-99)

ein ton. eher kurz. sehr leise (1998)

l’ horizon unanime – für ensemble (1998)

zeami (pracht von blüt) (1998)
Vimeo

tout à fait solitaire (1998)

tout à fait solitaire – für singstimme (1998)

tout à fait solitaire – für violoncello (1998)

tout à fait solitaire – für klavier (1998)

aus dem garten (1998)

aus dem garten:zwei (1998)

fourth music for marcia hafif No.4 (1998)

hell, heiter, still (1999)

zhaowen (1999)

schnee (1999)

nur einen augenblik (1999)

ein klang (1999)

long periods of silence (1999)

between (2000)

éloigné, écarté, isolé (2000)

with a slightly different intonation (2000)

cadmiumgelb (2000)

saftgrün (2000)

coelinblau (2000)
SoundCloud

cadmiumscharlachrot (2000)

cadmiumscharlachrot (2001)

marsgelb (2001)

landscapes of absence (1) (2001)

cyaninblau (1) (2001)

cyaninblau (2) (2001)

cyaninblau (3) (2001)

sans briser la glace (2001)

landscapes of absence (2) (2001-2)

teishin ryokan (2001)
Vimeo

aber die spra- (2001)

que le lieu (2001)

que le lieu (2) (2001)

que le lieu (3) (2002)

silent harmonies in discrete continuity (fifth music for marcia hafif) part one (2002)
disc play

silent harmonies in discrete continuity (fifth music for marcia hafif) part two (2002)

silent harmonies in discrete continuity (fifth music for marcia hafif) part three (2002)

für kurze zeit geboren (2) (2002)

ce qui passe (2002)

gebrannte siena (2002)

antwerpener blau (2002)

die freude der fische (2002)
play

wort für wort (geraum) (2001/03)

landscapes of absence (3) (2001/02)
play

carthamrosa (2003)
play

kegonkyoyama (2002/03)

galene (2003)

dedekind duos (2003)
disc

cantor quartets (2003)
disc disc YouTube play

tombeau (2003)
play

monodies pour mallarmé (2004)
play play play

sixteen stanzas on stillness and music unheard (2004)
disc
(excerpt)

en una noche oscura (2004)

peckinpah trios (2004)
SoundCloud play

kiarostami quintets (2004)

jankélévitch sextets (2004)
SoundCloud play

florenski septets (2004)
YouTube play

ockeghem octets (2005)

meinong nonets (2005)

ashbery tunings for ten (2005)
YouTube play play play

routley tunings for eleven (2005)
play

tschirtner tunings for twelve (2005)
disc SoundCloud

ozu tunings for thirteen (2005)

faverey tunings for fourteen (2005)

van riel tunings for fifteen (2005)

gerhardt tunings for sixteen (2005)

basho tunings for seventeen (2005)

badiou tunings for eighteen (2005)

leopold tunings for nineteen (2005)

ihwe tunings for twenty (2005)

karminrot (2005)

spectral canticles, series 1 (2005)

spectral canticles, series 2 (2005)

spectral canticles, series 3 (2005)

spectral canticles, series 4 (2005)

three drops of rain/east wind/ocean (2006)
YouTube SoundCloud Vimeo Vimeo play play

ba da duos (2006)
SoundCloud

lieder der luft (2006)

rêveries (2006)

sekundenklänge (2006)
YouTube disc

un lieu pour se perdre (2007)

quelque chose qui nous attire (2007)
play

un lieu pour être deux (2007)
disc SoundCloud play play YouTube YouTube Vimeo

tanzaku (2007)
disc YouTube YouTube

lieux de passage (2008)
disc disc YouTube play play

aus den liedern (2007/08)
play

klanken dwalen (2008)

memory waves (2008)
Vimeo

two (for erwin josef speckmann) (2009)
disc play

wünschelrute (2009)

un feu qui n’est pas celui du soleil (2009)

pour être seul(e), sans réserve (2009)
YouTube

24 petits préludes pour le piano jouet (2009)

24 petits préludes pour la guitare (2009)
disc SoundCloud Spotify play

24 petits préludes pour le petit piano jouet (2009)

little more than a whisper (2010)
YouTube play

keine fernen mehr (1) (2010)
disc

keine fernen mehr (2) (2010)
disc play play play play

clouds parting, worlds unfolding (2010)

laub (2010)

twirled around a central silence (2010)

vater unser (2011)
disc

ô monde sur deux tiges (2011)

chants de passage (2011)
Vimeo

s’approcher s’éloigner s’absenter (2011)
disc comment

méditations poétiques sur “quelque chose d’autre” (2012)
play disc

nach der mitte folgt ein schweigen (2012)
YouTube

dass das, was ist, nicht alles ist (2012)
(denn alles kann auch anders werden)

eingedenk (ein strohhalm: woher weht der wind) (2012)

y todos cuantos vagan (2012)
play openbook

this place / is love (2013)
disc SoundCloud

night music (2013)

we are voices (2013)

paths (2013)
YouTube play

you (2013)
YouTube play
 
un lieu pour être deux (2) (2013)
YouTube

endings (2013)

long distance call (2013)

beginnings (2013)

pour être seul(e), sans réserve (2) (2014)

un lieu pour faire sonner l’éternité (2014)

traces of halt and hesitation (of love and intimation) (2014)

vegetable rustling (2014)

desert into dwelling place (2014)

domains of radical receptiveness (2014)
SoundCloud YouTube

modes of dispossession, levels of affinity (2014)

lieder vom fröhlichen leben I – IV (2015)

nichts Unerwartetes mehr (2015)

on continuity III (2006/15)

…of being numerous (2015)
play SoundCloud

el cantico espiritual (2016)

gentle traces of transient being (2016)