Results for: john cage imaginary
John Cage - Imaginary landscapes.rar 
2008-06-11 - extension: rar - size: 76 MB
John Cage - Imaginary landscapes.rar
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Imaginary Landscape No. 5 (1952) by John Cage Imaginary Landscape No. 5 (1952) was John Cage's first work for magnetic tape, employing (More) Imaginary Landscape No. 5 (1952) was John Cage's first work for magnetic tape, employing "chance" procedures in a pre-determined fashion using block-graph notation. Each block on the score equals three inches of tape, equivalent to one-fifth of a second. There are a total of eight simultaneous tracks made from any forty-two phonograph records. Duration and amplitude (volume) are notated for each of the forty-two records, but there is no indication of what the records should be. It is the performer of the score, rather than the composer, who finally determines what the content will be. The only basic contribution that Cage provides is how the records are to be used. The finished tape is a fixed and unalterable object. Originally, Cage wrote Imaginary Landscape No. 5 to accompany a choreographed dance called "Portrait of a Lady" by Jean Erdman, an influential figure in the world of modern dance. He used jazz records that Ms. Erdman used in her studio for jazz improvisation dance exercises (however, as stated before, the score can be realized with any forty-two records, not necessarily 1940's jazz). Cage's compositional process was based on the I-Ching, a Chinese symbol system designed to identify order in what seem like chance events. The philosophy centers on the ideas of the dynamic balance of opposites, the evolution of events as process, and acceptance of the inevitability of change. In an attempt to update the format of this composition for modern day, I used GarageBand and iTunes on my Mac PowerBook G4, instead of using tape and records. I chose forty-two of my favorite tracks from over 5,000 in my iTunes, determined to choose as wide a variety of genres and styles as possible (also including one track from each of my previous recitals, for nostalgia). The tracks I chose are listed on the back of this program. In GarageBand, I created eight channels, dragged in my pre-chosen tracks from iTunes, made "cuts" of the clips (some random, some not), and placed them in the appropriate time markings as indicated in the score. Even though I did not pre-determine where the clips would end up in the score, some of the final outcomes are fairly amusing and some fairly "musical." Although John Cage was highly interested in chance operations, this score is extremely specific about where each musical fragment should be placed, down to the fraction of a second, and at what amplitude each fragment should be played. My final format is an MP3, instead of a tape. Julie Nathanielsz, a graduate student from the UT Dance Department, and Alexa Bourdage, the Longhorn Band Feature Twirler, have choreographed movement to the piece, completing what I consider to be a true twenty-first-century realization of the work. A Door is Ajar -- Traditional / Kronos Quartet A Night in Tunisia -- Ella Fitzgerald Any Way You Want It -- Journey Aracana -- Edgard Varèse Bells for Stokowski -- Michael Daugherty Black Angels -- George Crumb The Cage -- Charles Ives The Call of Boromir -- Daniel McCarthy Chariot -- Gavin DeGraw Circus Maximus (Symphony No. 3) -- John Corigliano Dancing Queen -- ABBA The Danserye -- Tielman Susato Daphnis et Cloe -- Maurice Ravel Drumming -- Steve Reich Einstein on the Beach -- Philip Glass Escape! -- Justin R. Stolarik Etude No. 4 in C-sharp minor, Op. 10 -- Frédéric Chopin The First Circle -- Pat Metheny Harmonielehre -- John Adams I Get a Kick Out of You -- Frank Sinatra I was Looking at the Ceiling and then I Saw the Sky -- John Adams Judgement Day Blues -- Carolyn Wonderland Koyaanisqatsi -- Philip Glass La Suerte de los Tontos -- Stan Kenton Le Api -- Antonio Pasculli Lovely Day -- Bill Withers Magical Mystery Tour -- The Beatles Morris Brown -- OutKast Piano Sonata "Pathetique" Op. 13 -- Ludwig van Beethoven The Pines of Rome -- Ottorino Respighi The Rite of Spring -- Igor Stravinsky Shepherd's Hey! -- Percy Grainger Short Ride in a Fast Machine -- John Adams Six Marimbas -- Steve Reich Symphonic Metamorphoses -- Paul Hindemith Symphony in B-flat -- Paul Hindemith Symphony No. 3 in E-flat, Op. 55 "Eroica" -- Ludwig van Beethoven Symphony No. 5 -- Dmitri Shostakovich Velocities -- Joseph Schwantner Vertigo (movie soundtrack) -- Bernard Herrman Without Me -- Eminem You'll Never Walk Alone -- Rodgers & Hammerstein Program Note by Justin R. Stolarik (Less)
Imaginary Landscape No. 5 (1952) by John Cage Imaginary Landscape No. 5 (1952) was John Cage's first work for magnetic tape, employing (More) Imaginary Landscape No. 5 (1952) was John Cage's first work for magnetic tape, employing "chance" procedures in a pre-determined fashion using block-graph notation. Each block on the score equals three inches of tape, equivalent to one-fifth of a second. There are a total of eight simultaneous tracks made from any forty-two phonograph records. Duration and amplitude (volume) are notated for each of the forty-two records, but there is no indication of what the records should be. It is the performer of the score, rather than the composer, who finally determines what the content will be. The only basic contribution that Cage provides is how the records are to be used. The finished tape is a fixed and unalterable object. Originally, Cage wrote Imaginary Landscape No. 5 to accompany a choreographed dance called "Portrait of a Lady" by Jean Erdman, an influential figure in the world of modern dance. He used jazz records that Ms. Erdman used in her studio for jazz improvisation dance exercises (however, as stated before, the score can be realized with any forty-two records, not necessarily 1940's jazz). Cage's compositional process was based on the I-Ching, a Chinese symbol system designed to identify order in what seem like chance events. The philosophy centers on the ideas of the dynamic balance of opposites, the evolution of events as process, and acceptance of the inevitability of change.
In an attempt to update the format of this composition for modern day, I used GarageBand and iTunes on my Mac PowerBook G4, instead of using tape and records. I chose forty-two of my favorite tracks from over 5,000 in my iTunes, determined to choose as wide a variety of genres and styles as possible (also including one track from each of my previous recitals, for nostalgia). The tracks I chose are listed on the back of this program. In GarageBand, I created eight channels, dragged in my pre-chosen tracks from iTunes, made "cuts" of the clips (some random, some not), and placed them in the appropriate time markings as indicated in the score. Even though I did not pre-determine where the clips would end up in the score, some of the final outcomes are fairly amusing and some fairly "musical." Although John Cage was highly interested in chance operations, this score is extremely specific about where each musical fragment should be placed, down to the fraction of a second, and at what amplitude each fragment should be played. My final format is an MP3, instead of a tape. Julie Nathanielsz, a graduate student from the UT Dance Department, and Alexa Bourdage, the Longhorn Band Feature Twirler, have choreographed movement to the piece, completing what I consider to be a true twenty-first-century realization of the work.
A Door is Ajar -- Traditional / Kronos Quartet
A Night in Tunisia -- Ella Fitzgerald
Any Way You Want It -- Journey
Aracana -- Edgard Varèse
Bells for Stokowski -- Michael Daugherty
Black Angels -- George Crumb
The Cage -- Charles Ives
The Call of Boromir -- Daniel McCarthy
Chariot -- Gavin DeGraw
Circus Maximus (Symphony No. 3) -- John Corigliano
Dancing Queen -- ABBA
The Danserye -- Tielman Susato
Daphnis et Cloe -- Maurice Ravel
Drumming -- Steve Reich
Einstein on the Beach -- Philip Glass
Escape! -- Justin R. Stolarik
Etude No. 4 in C-sharp minor, Op. 10 -- Frédéric Chopin
The First Circle -- Pat Metheny
Harmonielehre -- John Adams
I Get a Kick Out of You -- Frank Sinatra
I was Looking at the Ceiling and then I Saw the Sky -- John Adams
Judgement Day Blues -- Carolyn Wonderland
Koyaanisqatsi -- Philip Glass
La Suerte de los Tontos -- Stan Kenton
Le Api -- Antonio Pasculli
Lovely Day -- Bill Withers
Magical Mystery Tour -- The Beatles
Morris Brown -- OutKast
Piano Sonata "Pathetique" Op. 13 -- Ludwig van Beethoven
The Pines of Rome -- Ottorino Respighi
The Rite of Spring -- Igor Stravinsky
Shepherd's Hey! -- Percy Grainger
Short Ride in a Fast Machine -- John Adams
Six Marimbas -- Steve Reich
Symphonic Metamorphoses -- Paul Hindemith
Symphony in B-flat -- Paul Hindemith
Symphony No. 3 in E-flat, Op. 55 "Eroica" -- Ludwig van Beethoven
Symphony No. 5 -- Dmitri Shostakovich
Velocities -- Joseph Schwantner
Vertigo (movie soundtrack) -- Bernard Herrman
Without Me -- Eminem
You'll Never Walk Alone -- Rodgers & Hammerstein
Program Note by Justin R. Stolarik (Less)
john cage - imaginary landscape no. 1.mp3 
2008-02-25 - extension: mp3 - size: 1 MB
john cage - imaginary landscape no. 1.mp3
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