Seven Years of Crazy Love Music From the Center for Contemporary Music 1969-1976 Assembled and Mixed by Bob Sheff, Jan. 1977 1295w


DAVID BERRY: UP-DOWN FIRE MUSIC (April 28, 1973) Live performance with a Van Der Graaf generator ("up" fire music, fire=electricity) and burning suspended polyethylene strips ("down" fire music) producing a heated liquid similar to the napalm which was dropped on villages in Vietnam.

PAUL WILSON: MOVEMENTS (1976) is a situation where sounds, once produced, are accumulated by reiteration using tape delay. By continuously "pumping" information into the environment, the space is eventually aurally saturated, providing an ambiance of sounds. The performers were instructed to manipulate these sounds intuitively responding both to the sounds of other performers and those at the system's output.

RICH GOLD: THREE PIECES FROM FICTIONAL AND SEMI-FICTIONAL CULTURES (1976) Excerpt One: A Cowboy Song for Magnus Chord Organ and Open Range: a fictional music from a non-fictional culture. Rich Gold's other work includes extended literary works written in live performance with the compositions generated by biological equations of population growth, etc. The results are then mounted on walls or appear in cartoon form, etc. He has also built synthesizers and electronic music boxes and has done extensive work in computer-generated music.

JIM GUZZETA, E. JEDIDIAH DENMAN, PAUL NASH: IMPROVISATION (Nov. 23, 1974) Live performance with Guzzeta on harmonica, Nash on elec. guitar, and Denman on elec. gorilla, one of Denman's home-built electro-acoustic instruments. There have been many other live "jams" organized by these composers on various C.C.M. concerts with small and large ensembles, sometimes with just anyone who came.

CRAIG HAZEN: 1967, or THE PIECE I WOULD HAVE DONE (1976) Performance at the "TRUST IN ROCK" show. All of the instruments were processed through a delay system which uses foot pedals for controlling the instruments in live performance, a system designed by Craig and built by him. Craig also plays with Paul Dresher and Gene Reffkin in a "space rock" trio EDGE OF THE ROAD. He has composed many works using the Buchla Synthesizer from the Oakland-based company at which he worked constructing synthesizer modules.

PHIL HARMONIC (KENNETH WERNER): another excerpt from THE THE ROLLING TONES RADIO HOUR (1976) Phil and many other artists are involved in a real-time "relationship with the I-Ching. Here he reads a hexagram on the air that relates beautifully, of course, to the nature of the evening's undertaking.

JUSTIN TONATION (CHESTER WOOD): RAGA ELEVEN (April 11, 1976) Chester uses a vocal technique of singing harmonics applied to improvisations on a traditional Indian raga. This vocal technique, analogous to the one used by Tibetan monks, occurred naturally to him and was not studied as such. Violin: Tonee Marcus.

MAGGI PAYNE: TRANSPARENCIES (Feb. 22, 1976) A new work by Maggi Payne using the Moog Synthesizer. Other of her works include video and film generations using the Moog as a trigger to filmed oscilloscopes, multi-tracked flute compositions, and dance/light/sound theatre.

WILLIAM MARALDO: IN THE DIRECTION OF THE BEGINNING (April 30, 1971) Moog Synthesizer: Jon Weiss, Flute: Maggi Payne, Electronic Keyboard: Bill Maraldo, RMI: Bob Sheff. This composition uses a graph score based on Mandala forms. Bill Maraldo's other works at this time included films inspired by his work with certain Indian mystics. Music by Jon Weiss unfortunately was not available at the time of this mix. He worked for several years building synthesizers for the Moog Co. in Trumansberg, New York, and was a technician at the C.C.M. for two years.


JOHN BISCHOFF: SILHOUETTES (1975) Home-built oscillators are used to "outline" or "silhouette" cars which proceed around even-cornered city blocks in pre-set patterns.

DOUGLAS HOLLIS: WIND HARP (Jan. 18, 1977) An "Aeolian Harp" of original aerodynamical design mounted as a permanent exhibit on the roof and entranceway to The Exploratorium in S.F., a building housing public-access science exhibitions. There are three large triangular sculptures which catch the wind and cause a central metal string to vibrate. The vibrations are then transferred to resonators on the lower roof above visitor's heads at the entranceway by means of 6 wires extending from each metal sculpture on the roof. Doug's other work includes flying sculptures for nighttime events, and work with American Indian music. This harp was recorded late at night by Bob Sheff.

ROBERT SHEFF: COUNTRY BOY COUNTRY DOG (1967; 1972) A realization of "steps for learning from you daily life." Sound was recorded for 6 months in Ann Arbor, Michigan (1967) and organized in 2 mono channels called Inside and Outside, indicating where the sounds were recorded and, possibly, a state of mind/language.

In 1972 at the C.C.M. the sounds were used as triggers to cross-modulation Doppler effect patches on the Moog Synthesizer. The results gave "recognition patterns," which pay attention to subtle characteristics of the momentary original sounds (eg. similar envelopes of expression "inside" and "outside"), while varying the time/proximity base. No characterizations, storyline, "style" or conceptions are intended in this work. It may be done by anyone else. It has also been realized as a portable box of matrixed sensors, about the size of a pocket radio, THE ALL-AMERICAN ELECTRIC FLAG.

ROBERT SHEFF: STANDING WAVES (1971) A realization of a piece called "a way to make the inaudible audible (unseen seen, etc.)." A microphone/speaker arrangement causes the recording booth at the C.C.M. to ring its harmonic nodes. The results of different passes at differing angles/velocities were then mixed and cross-matrixed into two distribution depicting wave/particle activity. Bob's other works in these years include movie music and "LIVE AND LET LIVE" (1973), a continuing series of live experiments relating social languages to subtle energies of the universe, using telepathic communication, clairvoyance, and "Psychotronic" boxes.

JIM HOBART: SWEET TIMBRE QUILT (SEAM ONE, TAKE ONE) (Dec. 6, 1976) A "unilinear melody representing the intermixing and complexities of the whole patchwork quilt." Tamboura: D'Arcy Reynolds. Voice and Botel'klakilaro (?JH)(or The Emperors New Spice Rack), an original instrument made of empty jars filled with hard beans and mounted on a frame with rubber tiring strips: Jim Hobart. Instruments are tuned in just intonation scales.


A live recording of Bob Ashley talking to himself at home one evening is processed through an elaborate electronic filtering and distribution-matrix system, analogous to the synaptical matrices of the brain. "My mind is looking at my own mind...My mind is censoring my own mind." Ashley remembers this as something his father would do.

The mind inside and outside of the body.


Please refer to attached score. Strings: Bob Ashley. Moog Synthesizer for this version: Sam Ashley, Bob Sheff.

Robert Ashley's other works during this time include several movie scores, "HOW CAN I TELL THE DIFFERENCE", the "ILLUSION MODELS" for computer (1972), and the recent series of videotapes of performances and interviews with composers entitled "MUSIC WITH ROOTS IN THE AETHER" (1976).


Please refer to attached score. John's other recent work includes a piece for voices and electronics inspired by remarks by Buckminister Fuller concerning world transportation.


singing: Phil Harmonic, "Blue" Gene Tyranny, announcer: Howard Moscowitz. Phil's other recent work includes the founding of a meeting place/performance space called "ART-WHILE-U-WAIT", music from daily weather maps for various keyboard instruments, the annual Beethoven's Birthday celebration concerts, Radio Music, The New Look Magazine, Win A Dream Date With Phil, The Fenton's Ice Cream Parlor Journal.

Typed by Cheryl Vega 3-22-95/4-13-95