Viggo Brun's Algorithm Applied to Rhythm and Long Meters

http://anaphoria.com/ViggoRhythm.pdf Here is a short paper about to be added to The Journal of Anaphorian Music theory on how Viggo Brun's Algorithm can be used to generate long meters or metric patterns. These produce different variations than the ones i have worked out with Horogram Rhythms found in that journal.

The Pentatonic Family pt. 1

This is a very elementary paper that i thought i would share.
It touches upon the use of Bi-level Moments of symmetry as well as chains with slight variations.
All is discussed in terms of an undefined 12 but the principle can be applied to any tuning. hope it is helpful. http://anaphoria.com/pentatonics.pdf

It is like a third world application of Xenakis sieve method. but then again we might prefer to apply complex ideas in simple ways than simple ideas to complex ones.

The Death of [blank] Music

It is not the death of new music, of contemporary music, of avant-garde music, of experimental music, of new music, of classical music, of rock music, of jazz music, of punk music, of free improv music, of indigenous music, of folk and traditional music, of electronic music, of conceptual music, of silent music, of professional music, of amateur music, of music on CDs or vinyl, of live music, or even anti-music, but it is the only the death of music that should concerns us. The healthy whole is made of many organs

Music and Evolution

I keep not posting cause i don't have extended things to say , sometime only a line of two.
please forgive. But people talk about all musical innovation as being evolutionary,yet if we are basing this on nature, possibly we might be stricter and point out in nature there are all types of variations produced that don't always result in a forward progression of the species.
Many of these are sterile, so what really constitutes what is evolutionary is the ability of something to produce fertile offspring as opposed to sterile hybrids. Let history define where musical evolution is or what might be like the parallel to Monsanto. What good is it to go somewhere if once you get there there is no where to go but the way one comes in. Perhaps there are more Cul-de-Sacs than ever before, but perhaps history knows them as the commonest of lots.

Dark Dissents at MOCA

http://www.moca.org/museum/event_calendar.php?m=4&day=10#10

I will be having a work premiered at this event of the above title in case you are in these environs.

'Dark Dissents' is for a retuned Hungarian Cymbolum played by Cory Beers
(It is quite unusual to have someone else perform my work)
Exploring the thresholds of where private dissents slowly transforms into public ones.

Our Rainy Season/Nuilagi

I am extremely happy to announce the release of my new CD.
The first in over 4 years and it marks my first since immigrating to Australia.
Our Rainy Season involved two Australia's finest improvisers, and Nuilagi, involved two of some of the finest i had worked with in the US.
I am honored to have it released on such a fine label as and/Oar's related label Either /Oar.
more info here
http://www.and-oar.org/pop_either_5.html

Bundanon again, with Ensemble Offspring

Terumi and I once again found ourselves at Bundanon. Our last time involved our participation in the Ten Trenches project and performance previously pictured on this blog here. This time we were here to lay the groundwork for just intonation works to be performed in Sept. by Ensemble Offspring, one of the leading New Music ensembles in Australia. Co- Director [w Claire Edwardes] Damien Ricketson and composer Amanda Cole will be the other two composers writing compositions with instruments the ensemble has commissioned. While we were there, Peter Garrett [former Arts Minister of Australia] stopped by as having a great interest in what happens there and Damien was able to entice him with our goings on while i accompanied him with the sounds of my vibraphone the ensemble will be using. [Photos by Terumi Narushima]

All the works will be based on a scale of mine i call Centaur.
which is a rare honor all its own. The instruments commissioned are 2 sets of 4 Clarini's [made by Linsey Pollack] to play subsets of the Centaur scale and a violin like instrument with 7 sympathetic strings called the Tarhui [made by Peter Biffin]. My 3 Octave Centaur Vibraphone will complete the tuned instruments. It is an exciting and wonderful opportunity to join with other talented composers exploring compositionally this newly created ensemble of instruments with its unique tuning.