By Maurice Lieberman
Unique from the collage of California, Digitized Mar 19, 2009
Read Online or Download Keyboard Harmony and Improvisation (Volume 2) PDF
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Additional info for Keyboard Harmony and Improvisation (Volume 2)
This limited circle of pure sounds must be broken, and the infinite variety of noise-sound conquered. We Futurists have deeply loved and enjoyed the harmonies of the great masters. For many years Beethoven and Wagner shook our nerves and hearts. Now we are satiated and we find far more enjoyment in the combination of the noises of trams, backfiring motors, carriages and bawling crowds than in listening again, for example, to the Eroica or the Pastorale. Away! Let us break out since we cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face, discarding violins, pianos, double-basses and plaintive organs.
This gave much of their music its detached, disembodied serenity. Vexations (1893) was Satie’s most enigmatic and abstract work. ” This previously unknown work was brought to 32 ELECTRONIC AND EXPERIMENTAL MUSIC the attention of John Cage in 1949, and in 1963 Cage produced its first performance using a relay team of ten pianists. The performance took more than eighteen hours. Had the term “minimalism” been in vogue at the time, Vexations would no doubt have been branded as its granddaddy. Cage summed up the performance in this way: The experience over the 18 hours and 40 minutes of those repetitions was very different from the thought of them or the realization that they were going to happen.
Once it hit the drone, I would pull the plug on the machine and the whole thing ended. It’s the ultimate process piece. It’s me making my peace with Cage. It’s audible sculpture. 22 What began as a straightforward compositional process ended with the cacophony of an opposing process: uncontrolled electronic feedback. 1949) has been creating electronic music using only feedback for over twenty years. His is not feedback of the acoustic variety, however, for the sound does not result from the interference of a highly amplified signal in the proximity of a loud-speaker.