Tuesday, March 13, 2018

ANAPHORIA: FIRST CONTACT


The Archives of Anaphoria is pleased to present from the very very depth of its archives.....
ANAPHORIA: FIRST CONTACT
Historic Recordings from 1935-1952
Digipak CD only. limited run of 300

Assembled by Banaphshu Tollan and Kraig Grady

Thanks to the miracle of modern audio technology, both wire recordings and early tape recordings made by Richard Tollan, Anaphoria's first long term Western resident, are presented for the first time. The recordings offer a window into a dark distant past forgotten by other traditions on the island as well as more modern styles. Little is known of the context in which this music was created, but it still speaks for itself across time to change how we think and hear the music from Anaphoria. The utmost care was taken to preserve the often lo-fi quality of the originals. For this reason, it has been decided that mp3 or streaming formats would undermine the recordings and will not being offered at this time. This release serves as a prequel to the already existing discography from Anaphoria. These recordings were first heard publicly on Radio Nabu Congul FM on 11/11/2017 to commemorate the 25-year presence online of the Embassy of Anaphoria Island. Order on this page http://anaphoria.com/music.html

Sunday, February 11, 2018

Natural Wanderings for Kris Tiner

Here is a piece originally written and being performed next month that I kept hearing in my mind  being joined by trumpet player Kris Tiner. A quite accomplish composer in his own right who has expanded my own use of various notation methods in which i am thankful. Instead i wrote this 12 tone version to maybe find an outing there. Perhaps a trans-pacific version may happen yet.:)

Thursday, January 25, 2018

Composition for Composers #1

Composition for Composers #1
These compositions seek to address the situation where there are more worthy composers than concert space can accomodate.

Nuclear Simphony #1

for 2 to 18 composers

There are 5 movements maximum in a performance each involving following number of composers. Each movement can be performed separately

Movement A-5 composers
Movement B-2 composers
Movement C-3 composers
Movement D-2 composers
Movement E-5 composers

The following is determined ahead of time.
the instrumentation
a set tempo throughout.
the tuning or tunings

Each movement can be between 90 seconds to approx. 7 minutes.

The composition is constructed in three steps.

A. The construction of a nuclear melody.
The nuclear melody is composed with each composer adding an equal part to the melody in rotation (from 1 to 4 notes) . The goal should be to maintaining enough simplicity for subsequent lines to later be written without disrupting the flow. Multiples of a quarter note with a half note being the common unit. The melody ends when a composer chooses to end for their turn.

B. Once the nuclear melody is written each composer determines where they are going write and where they are going to rest with beginning and ending points coinciding with the nuclear melody. this information is shared between composers and composers are allowed to modify their decisions.

C. final parts are written by composers  and shared either before or in rehearsal with the inserts of further rest allowed and minor changes.

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Nuclear Simphony #2 for percussion
(two versions - pulse based or time based)

for 3 to 16 composers each writing for one percussion player.

The following is to be determined in advance:
A.The instrumentation based on available percussion instruments.
B. The number of movements (1-x) each with a set tempo or time scale

This composition is based on the idea of a nuclear melody except of rhythm. The next step is instead of having a set rhythmic point that is shared by all,  rests or silences are used instead

The composition is constructed in three steps.
A. Taking the set tempo or timescale, each composer in rotation composes points or spans of rest in which will remain silent during the piece. If a pulse is present, A rest should be at least one beat long. A composer chooses the ending of the piece instead of inserting further rest. 

B. Each composer composes their own section incorporating these areas of rest.

C. upon comparison before or during rehearsal slight modifications of each part is possible.
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New party pieces
For any number of composers
starting at the end each composer composes a bar of music plus 2 notes of the preceding measure. and exquisite corpse in reverse.
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The Curved Space of Tetrachords
for any number of composers
(two possible versions)
live version:
instrumentation is determined beforehand.
each composer picks a tetrachord in a specific range and composes up to 20 seconds of music using it solely. volume is determined by the duration with ………..
each composer chooses the duration of rest following it up to 30 seconds afterwards. Pieces are played back in random order.


electronic version:
Each composer picks a tetrachord in a specific range and composes and records it





Wednesday, August 23, 2017

The Term Microtonality: Strict or Loose interpretation.

I try to avoid the word Microtonality like the plague. I never mention it on releases except for one time i included one sentence for which I was called out for by one critic (sic?).
If though we are going to tolerate the term , which encompasses more and more each day, perhaps it might be good to draw the line in the sand somewhere.
As a start and to get to the point:

 It should be intentional. For instance, accidental deviations from say, the standard scale need not apply. A lack of directionality might also be in keeping here, say not the result of a random choice of objects or even a process. A scale though determined by ear should be included as a valid method even if no math is involved.

 It should be a feature in the approach to the music. If not then perhaps we might start calling the miked acoustic guitar of a folk singer, electronic music. Technically it is, but also trivially too. Basically if it can removed without changing the character and expression of the music, we might be better to refer to the music what features the music is actually using.

In terms of other cultures, for the time being, it seems ok to refer to any intonational practice outside one's own as microtonal. In turn those in those culture should in turn be allowed to return the favor. In the long run, it might be better to limit it to being outside the cultures at hand, assuming an uncentered norm, even if the practice seems limited to one cultural practice at the moment.

For myself , I am going to use my own term Mesotonal explained back here



Monday, August 21, 2017

Monday, May 22, 2017

Book recommendations on Microtonality

This blog post is basically a handy list of written resources for those interested in Just intonation and microtonality starting from the simplest to the more specialized and detailed. We suggest owning hard copies as all serve as important references.


The Just intonation Primer by David B. Doty
http://www.dbdoty.com/Words/Primer1.html

Just Intonation Explained By Kyle Gann
http://www.kylegann.com/tuning.html

On The Sensations of Tone. Hermann Helmholtz
http://store.doverpublications.com/0486607534.html
   
Genesis of a Music by Harry Partch
https://monoskop.org/images/b/be/Partch_Harry_Genesis_of_a_Music_2nd_ed.pdf

Divisions of the Tetrachord by John Chalmers
http://eamusic.dartmouth.edu/~larry/published_articles/divisions_of_the_tetrachord/

Microtonality and the Tuning Systems of Erv Wilson by Terumi Narushima (available in Octotober 2017)
https://www.routledge.com/Microtonality-and-the-Tuning-Systems-of-Erv-Wilson/Narushima/p/book/9781138857568

Musical Mathematics by Cris Forster
https://www.amazon.com/Musical-Mathematics-Science-Acoustic-Instruments/dp/0811874079

Harmonic Experience by W. A. Mathieu
https://www.amazon.com/Harmonic-Experience-Harmony-Natural-Expression/dp/0892815604

'Temperament' and 'Temperament; or the Divisions of the Octave' R.H.M. Bosanquet
 http://anaphoria.com/library.html

Greek Musical Writings: Volume II, Harmonic and Acoustic Theory. Edited by Andrew Barker.
https://www.amazon.co.uk/Greek-Musical-Writings-Cambridge-Literature/dp/0521616972

Multiple Division of the Octave and the Tonal Resources of 19-Tone Temperament. Mayer Joel Mandelbaum. Thesis
http://anaphoria.com/mandelbaumthesis.pdf

The Greek Aulos by Kathleen Schlesinger
https://archive.org/details/KathleenSchlesingerTheGreekAulos

Augusto Novaro Musica Natural and approximation (Two editions) 1927-29 and 1951
http://anaphoria.com/novaro.html

Tuning and Temperament: a Historical Survey. Barbour, J.Murray 1951
https://archive.org/details/tuningtemperamen00barb

This list also covers much of a Just Intonation nature that best is seen there as opposed to copying.
http://sacredrealism.org/catlamb/tuninginformation/resources.html
I will be updating this as i am sure i am forgetting many