The Necks at the Sydney Opera House

One of the great fringe benefits of setting up our outpost in Australia was to see one of my favorite groups live for the first time. We caught the first night of a four-day run at the Studio Theatre at the Sydney Opera House. For those not familiar with them, the trio stems from a combination of jazz with an organic inclination toward minimal forms of gradual development over extended time periods. Most of their CDs feature single pieces exploring that length. These in turn vary from more traditional harmonic/melodic constructs to pure excursions into color and texture. They never fail to bring something new to wherever their interests are at the moment. There are no traces of systems though, being guided by their musical intuition
This performance definitely drew more upon their adventuresome explorations expanding more into texture and color than any conventional scheme. Yet these elements were there. From an almost Feldmanesque beginning, as it they were defining some environment we are all in, they quickly shifted to their own language and vision and built a series of waves that would slowly build and transform. There was a section of some kind of 5 beat feeling ‘ expanding out where I found myself counting a 17 in the bass. The music was not intellectually focusing on such details; these were more the outcome of a more driving force into a highly melodic texture lead from the piano. While the piano would possibly ‘lead’, it was not so much that the others followed, more like a whole wave together with maybe foam being pushed along on the top. Here cascades of weaving lines sometime blurred yet holding concise shape. The video paralleled the structure of the music, likewise coming from three locales, and like the playing, one was constantly surprised by where the next development would come from. In the second even more abstract set the video went from an individual in a pool toward more prominence of the bubbled turbulence they would create

Mesotonal

This seems to be a better term and allows a certain distance from what is known as microtonal music. 'Meso' is in between the micro and macro. Many of my other interest also are. The areas between pitch and noise (or just sound), the areas in between tempo and non tempo, tonality and non tonality, between melody and long durations and maybe most important as myself as a human being between the infinitely small and large. Perhaps it relates also to the Bardo, that island in between and the realization that this state is always with us.

Gendhing Popper

Pure form-
Imitate a swarm of gnats*. Players move in and out of being within the whole as they feel fit ( this can be physically but not limited to) . Being drawn back by some undetermined energy. It is understood that the group itself will transform, as is not a static entity

Translation A (for percussion)
'Tempo' becomes initial center of gravity. This works best outdoors where distance influences the ability to synchronize or not

Translation B (possibly for rock/jazz or other improvisers)
Let a groove (probably scale/melodic ideas as well as tempo) start the initial gravity within a group then each exploring moving away and towards as one wishes

Translation C (Microtonal)
Pitch (consonance/dissonance) becomes initial center of gravity. A grid is agreed upon before hand, although the application to Harrison’s concept of intonational ‘free style’ would be quite in keeping. Likewise, Diamonds, Lambdomas extended matrixes, combination product sets etc. all possible. Each ventures closer of further way as one wish. It might be conceivable to have central set in which is ventured from in unique individualistic ways an/or methods

Translation D ( any ensemble used to playing music based on a nuclear melody)
Keeping the above in mind. A pitch is chosen in which all player play at the same time with each recurrence being twice the length what it was the time before. In between, each player to free to play anything. Each duration or group of, or progressing sequences can be implemented or repeated in some predetermined manner. The progression should remain outward in time length and should not reduce.

Translation E (Psychological study )
Keeping the above in mind. Players move toward or away from the others by degrees of camouflage, in other words hiding their relationships with others by disruptive patterns.

Any or all of the above can be combined in any fashion even within a single performance. Other translations welcomed.

*Karl Popper used this image to describe an example of a working anarchistic system.

The Uzawa Noh Troupe in Wollongong

It was a great pleasure to be able to represent Anaphoria Island during this groups three-day presence in Wollongong sponsored by its sister city Kawasaki. Ms Hisa Uzawa heads the troupe, maybe the most highly respected female Noh artist today. She is, I believe, the second female to have made this end road into one of the most exclusively male professions. For this visit, three other females joined her, including her daughter, Hikaru Uzawa, a very accomplished actor herself. The other two actors performed the role of the chorus. I was struck how the chorus commanded that role equal and quite fitting to any that I had heard. The musicians were male, and a very tight group that acted as one but there did not seem to be any real separation of energy between any of the sexes.
The evening performance of “Hagoromo” was to a sold out audience at the Illawarra Performing Arts Centre. This was only the second time in my life I have seen Noh Theater live and while I have many recordings, I walked away with some new understandings. One was deeper how the drama builds in a way unlike western theater. Besides the restraint of it all, any increase in musical thickness and/or stage gesture, is seldom static for much longer than needed. It struck me with the similarity it has with various shamanistic practices of circulating around some point without going at it head on or it so not for long. . It is quite remarkable about how some small detail will be removed and only then do we realize how much of a ‘pillar’ it might have been acting as. Or in an opposite case, the lowest drum, the Taiko did not enter until the it seemed the halfway point and the when it does come in, it is hidden and done lightly and immediately covered but the two others drums who stood in force. Maybe others did not notice it, but it was still very dramatic and one could immediately feel how change became immanently implied. The complexity of the music is achieved by simple means, almost like chameleon adapting to the shifting energy at hand. Nothing is repeated very much or does not appear in the same way.
I had had a conversation with the Hip drummer about the use of the vocal sounds they intone before they strike. I had understood this as being the sound of a spiritual energy descending to our material world with the actual strike being the arrival. He stated that Noh represents reality and does so by using unrealistic means. Already in the previous days I had occupied myself with the relevance of ‘camouflage’ to music. As an aside it was a word that had been imposing itself upon me for some reason I could not explain. Here it seems to be one of the higher incorporations one could have of this idea.
I still remember my other live Noh encounter that included Maki Ishii’s piece for a single masked Noh actor who had to change expression in response to two recordings on separate speakers of a person laughing and crying but alternating in volume. It showed the power and capability of an actor to use the same mask yet change the expression. The day time performance of Lady Aoi, has a demon, and miraculously Ms Hisa Uzawa manage to invoke much beyond the initial horror, to where one could see how the demon was eating itself up and became almost pathetic. Here one could see how it represented many of human weaknesses that effect so many if not all of us, and what it does to it owner.
I was able to participate in the workshop where Hisa Uzawa quickly through us into quite a bit of detail and movement. This quite put me into a trance state that I immediately recognized as what is conveyed to the audience.

Toward an Empirical Music

Music is about people listening to sound forms out of a desire to satisfy THE EAR. I prefer this hedonism to the puritanical rejection of it.
THE EAR holds the supreme place. It has it own domain independent of and thus not subservient to other mediums and disciplines. To the argument that all is Political or Philosophical, I answer that all is Musical. THE EAR has its own worldview, which might be its ‘tastes’. Yet these ‘tastes’ have nothing to do with ego. We are here finding out what it can tell us. It is not the slave to other disciplines.
What we know of the Ear is by empirical experience, not through rational means, although the two often, but not always coincide. And it is here that music has gotten itself into trouble.
As music took on more ambiguous forms, it became possible for rational methods to produce satisfactory results yet strayed from the empirical experience. In other words, ‘what worked’ had been found as a byproduct of the rational but did not rely on it. Still the rational offered the opportunity of charting ways into unexplored territory, and rational methods will always be useful in this way. Since this ‘rational’ is associated with ‘scientific’ it became an end in itself, especially in institutions. Promising falsely that this art would and could become a ‘science’ or that a ‘scientific’ approach would be a path of progress. In fact this ‘diversion’ turned its back on the perceived and the experienced. Somehow the empirical child remained locked in the cellar. This has been the result of turning against the ear in favor of upholding a ‘rational method’ at all cost. The question should always be why something works or not.
It is not that the ear is irrational, quite the contrary. Empirical approaches have led for instance to how rational numbers coincide with harmonics and in turn influence the formation of chords. Patterns in scale formations have also been discovered. Yet even here, there has been resistance in realizing that other harmonies or scales in the world are equally based on other acoustical phenomena. This has been done empirically in the field, I might add, by less “scientific” cultures. It is this arrogance and bias toward viewing these cultures as underdeveloped that marks our own dark age.

Let us look at some false assumptions that persist owing to a ‘rational’ approach:

1. Good (logical) ideas = good music.
Good (logical) ideas and syntax are no guarantee of good music. Many great and transcendental works have been based on simple or little ideas. Philosophy has been useful, yet empirically it has manifested as varied forms of sonic monotheism. The concept of total freedom has empirically produced little beyond the sonic domain already in place. With the hippies, you could do anything but you better stay in the key; atonality is a mere extension of this concept to more pitches. Like a swarm of gnats, each is free to do what they want as long as they turn back if they go too far. We need not look further than other cultures to see exactly what musical realities it does not envision. It is only by imitation that it would ever be approached. Not that we are against the free idea, but the empirical results have not led to a free music. How one would get there remains to be seen. It seems best to follow the extent of where the ear has to lead us before we get rid of it.

2. Interesting rational methods/processes = interesting/compelling music.
Interesting rational methods and processes are no guarantee of interesting or compelling music. Often very different and complex methods will produce sounds that are indistinguishable from other methods often banal in methods or sound. Some of the most engaging and mysterious examples of music and timbre we find around the world are created by some of the most simple (yet we must add refined) ways. Hence there are opposite approaches whose interest cannot be attributed to the process.

3. Complex music = developed music.
These are not synonymous. The empirical difference between the two lies in the capacity of recognition allowing an interaction with memory. Complex music (especially when ambiguous) will create divisions into sections in only the most simple and crude ways. It is only by changes in density, volume and timbre that any shape or form is realized. When these elements are static, it quickly degenerates into homogeneous fields of limited scope and expression. In a sense it is the most ‘primitive’ of music possible. In the past, complexity and development were capable of being realized empirically with the use of recognizable elements. This is due to the mere fact that the manipulation of these could be followed in more different and subtle ways. Yet we know that it is something we often can ‘sense’ or ‘feel’ more than define, and this subconscious recognition has yet to unveil its full horizon. It is this very area that the ‘rational’ is useful in giving us examples of both success and failure. It is time to assimilate what has already been done as ‘rational’ experiments, or perhaps that work will be in vain. It is without a doubt that ‘rational’ constructs have expanded the type and ways of unity in music that is possible. However, there remains a form of ‘higher unity’ that it cannot approach. This is found in the flow of one musical idea into another in an immediate way. The assumption is that it’s not possible to hear something internally that is not related to what we have heard or made before. And so be it if it is unexplainable. It is THE EAR and what it tells us, sometimes near yet sometimes far.

Arriving Instruments/Some Stray Thoughts

Our Instruments have arrived and are being put back together. When in Bali we acquired three mallets matching one we had that really brings out the tone of the Mt Meru bars. The bar themselves seem to resonate longer. I do not understand why this would be so, but there it is.
In the time that has past there have been some stray thoughts, which seem to stick that I thought I would share.

There is much criticism of a younger generation ignoring the older. Do they forget that they were the once who took an ahistorical stance. How can you expect to now become the “history” then? You threw that out.
Being the case it also put the so-called philosophies, regardless of their worth on the par with fashion. This is unfortunate. And as one who always had respect for those more experienced (maybe too much if anything) it is sad to see the constant reinvention that needn’t be. But we have different people doing music than before and this is something I will take up later.
On my rally against music being composed of 5 parameters, (which I think is a misnomer of what happens and from where it comes to let it lay) let me state that I have learned from Ayers what the relationship is. The parameters are what we need to “analyze” music and that is as far as the statement is valuable.
One comment on the roots of minimalism owing it roots to the total serialism and the freedom that allowed put forth by some. Frankly all it needed was the influences of Indian music, the capability of Tape Loops and Psychedelic Mushrooms. The former music was unneeded except as the making of so called ‘serious music’ irrelevant to the tribe of westerners. If anything all it did was create a vacuum. I still see this period as analogous to the “Ars Nova” with similar results. Brief then over and while we can still hear the noun from that time, the energy is not the same, it is merely the shell of what was, and not even done as well (which many have testified to.)

new simplicity

While it is fine to return to simpler material but must we return to the same ol' keys and related areas. What good is equal temperment if one has to return to "Mom" and the key of C. Why not use JI if you are only going to use a few keys then? If they would have started with F# as a home base i would respect them more, At least this would be expanding the use of instrumental color and our ears into ares we hear little music in. There is something "regressive" in the reluctantance to add any form of tonal expansion. god forsake we might progress in instrumental colour no matter how subtle.
Sorry music and art have no choice but to move forward regardless of the consequences.