WILLIAM FARLEY: sound for the film "THE BELL RANG TO AN EMPTY SKY" (Dec., 1976). This is one of the recent "takes" for the film-in-progress, recorded by Nick Bertoni, and read by Dennis Banks who is a leader in the struggle for civil rights for Native Americans, and is a co-founder of A.I.M., the American Indian Movement. He was co-leader with Russell Means of the revolt at Wounded Knee. Numerous attempts at his life have been made.
DAVID BEHRMAN; VOICE WITH MELODY -- DRIVEN ELECTRONICS (Oct. 1975) Voice: Joan La Barbara. David Behrman's home-built synthesizer is modulated by the exact frequencies intoned by the singer. Other versions of this piece are PIANO WITH HARMONY -- DRIVEN ELECTRONICS, and TROMBONE WITH MELODY -- DRIVEN ELECTRONICS. David Behrman's recent work includes CLOUD MUSIC in which synthesized sound is modulated by the movement of clouds viewed by video cameras.
ANN SANDIFUR: sound from the videotape "THE LAST STILL LIFE" (Oct. 20, 1973) This videotape contains modulations on a portrait of Gertrude Stein, who wrote the text which is quoted from her work "THE MAKING OF AMERICANS." Ann's recent work is in "Wholeperception," concerned with changing living environments by her insight.
ROBERT ASHLEY: IN SARA, MENCKEN, CHRIST AND BEETHOVEN THERE WERE MEN AND WOMEN (1973) Text by John Barton Wolgamot (1944). 128 stanzas, each stanza the same sentence with four variables, three of which are names or name groups or name constructions, the fourth, the adverb of the active verb.
Seven configurations of Moog Synthesizer modules were designed, each controllable in a different way by pulse-train information. Control pulses were derived from the sound of the reading by putting that sound through a regenerative peak-filter of extremely high -- Q (resolution to a single frequency) and translating the occurrence of seven different frequencies in the voice range into a series of pulses. Moog Synthesizer programmed by Paul DeMarinis.
PHIL HARMONIC: excerpt from THE ROLLING TONES RADIO HOUR (KENNETH WERNER) See description above.
ROBERT SCHEFF; NEXT TIME MIGHT BE YOUR TIME from NO JOB, NO WARM, NO NOTHING (1976) Performance at the "TRUST IN ROCK" show.
VIRGINA QUESADA; A NIGHT AT THE RENO, SLUM PALACE OF THE ARTS (1976) Her thesis concert, which was a social event she organized at the condemned Reno Hotel in San Francisco. Over 60 artists, musicians, etc. performed their art in as many different rooms, and a crowd of approximately 800 people wandered about and partyed the whole evening. Virginia's other recent work includes videotapes of identical twins answering identical sets of 30 questions while they are miles apart, and other film works. This section contains interviews conducted by Phil Loarie, introductions by Virginia Quesada, and the following pieces: (only those pieces with *)
*WILLIAM FARLEY: Bartending
NOVAK: SIGNS STOP (1976), a track from his recent rock album for "indiscriminate adolescents," recorded at the C.C.M
*BOB DAVIS: Dressed in light drag.
LARRY ROE: untitled home-built synthesizer music (1976)
PAUL DEMARINIS; STRING QUARTET FOR VIOLA AND ELECTRONICS (1976) Viola: David Behrman. The live viola is the input signal to a home-built digital delay system. There are four sections to this String Quartet. Recording Engineer: Maggi Payne.
*TONY GNAZZO: Painting a room.
*JOHN ADAMS, BOB DAVIS: QUIET AMERICAN JUNK IN LOW-FI (1976)
PEG AHRENS; I LOVE YOU DYLAN THOMAS, IF BUT VICARIOUSLY (1974) Piano: Bob Ashley. Peg's reminiscences about sentimentality, while she amplifies the physical reality of the piano upon which Bob plays turn-or-the-century music. Love lost and gained.
PAUL ROBINSON: PERRY COMO'S DREAM (1976) Performance at the University Art Museum, Berkeley, Ca. Paul's thoughts about stardom and "out there" for orchestra and rock band.
BETH ANDERSON; QUEEN CHRISTINA (OPERA) (Dec. 1, 1973) Beth's opera about the famous lesbian Queen Christina of Sweden, 1626-1689. This opera is an elaborate theatrical presentation using electronic music, borrowed "junk" music which reflects historical and repressive attitudes against women and gay people.
There is also audience participation in the forms of dancing and conversation. Other gay liberation works include performances of BOB SHEFF; HOW TO DO IT (1969) and several works by PHIL HARMONIC.
*PHIL LOARIE: PHOTOZILLA (1976)
DON CARDOZA, PHIL LOARIE; SPACE RANGERS FROM ZONEZILLA (Oct. 24, 1976) A mutual improvisation with Don Cardoza on electric Hohner Clavinet and Phil Loarie on his home-built "Dronezilla," an electronic box with special N/divider circuits and harmonic generators. The tuning is in just intonation.
STEVE SCHOENDORF; ISLAND IN THE SUN (May 15, 1974) Tape piece for multi-tracked voices, two tambouras, Moog Synthesizer and voices: Steve Schoendorf. Based on two tonalities separated by an interval of 5/4 or that relationship to each other. Scale of tones whose frequencies relate to each tonality (A and B on the two tambouras): A: 5/4 1 9/8 6/5 5/4 4/3 3/2 8/5 2/1 B: 1 5/4 45/32 3/2 8/5 5/3 15/8 "The pendulum is kept in motion by the rotation of the Earth."
KEN BECKMAN: music from the film SPACE ACT (1975) A film with 4-channel "Quad sound designed fro the third act of San Francisco's Trenchmouth Productions presentation "ROLL OVER ALICE."
The C.C.M. has been developing a 4-channel 16mm interlock film projection system, which is a unique concept in that all other multi-channel film systems are 35mm and prohibitively expensive for the independent filmmaker. This system which can be interfaced with the Center's 8-track and 4-track tape systems can produce sound quality previously attainable only at a cost of hundreds of thousands of dollars. Moog Synthesizer: Bob Sheff.
BOB SHEFF: ON THE OTHER HAND (THE CO-EXISTENCE BOOGIE) from NO JOB, NO WARM, NO NOTHING (1976) Performance at the "TRUST IN ROCK" show.
TOM ZAHURANCE: PLANT MUSIC (Oct. 1972) A broadcast over KPFA Radio, Berkeley, CA. of Tom's home-built plant/synthesizer interface circuit which demonstrates the "Backster Effect" of plant response to emotional stimuli, including telepathic transmissions. His device has already appeared in a Hollywood movie. For further information, see Electronics World magazine, Oct. 1969.
This circuit, like the many others mentioned, has been designed using the equipment facilities at the Center, and the technical advice and encouragement of the technicians and fellow composers here at the Center, in the spirit of de-mystifying electronics.
Typed by Cheryl Vega 3-22-95/4-13-95