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ANOTHERROOMMAGAZINE VOL. 2 NO.7 FREE The entire contents are copyright Another Room, September 1980, 1640 - 18th Street, Oakland CA 94607. excerpts Typed by Barbara Golden, May 30 1995. 1356w

ANOTHER ROOM'S PUBLIC HEARING TWO (A.R.P.H.2) ON KPFA 94.1 FM BERK., OCT. 19TH, 1980 7-9 PM.

An audio documentation of the New and experimental music that blasted from our rooftop speakers on April 1st and 4th of this year. The radio show will feature selections from the more than 80 tapes we received from around the country. On-site recordings and personal commentary by the artists involved will also be aired. Below are some examples of the information that the tapes contained.

JAY CLOIDT MARINA LA PALMA

Jay Cloidt and I studied at the Center for Contemporary Music with Bob Ashley and David Behrman. We have collaborated on a number of projects, developing a way of working which synthesizes my texts and performance techniques and Jay's expertise in "mixage" and studio techniques with various of our tapes, bringing together concrete music and distortion of the vocalization not as music-behind-poetry but as actual music constructed of these elements.

"Mi Ne Parolas" is a song in Esperanto, the synthetic "world language" created by Dr. Zamenhof in the 1880's.

For "Ixna Portal Exo" I translated a story from Grammars for Jess into a fabricated language which I made rigorously consistent as I went along yet absolutely whimsical since the words were chosen from all the possible "world sounds" I've ever been exposed to.The process of inventing was as arbitrary and difficult as learning a new language--plurals, gerunds, reflexives all posing thorny problems. Plus there was the desire for variety and the attempt to avoid falling into patterns imitative of actual languages I know. Eventually, the story was cut up and arranged into rhyming stanzas. Listener and vocalist float on a sea of cognates, pretty sounds and just plain dippiness.

MICHAEL PEPPE

New York/San Francisco composer/performance artist Michael Peppe is the discoverer and to date sole composer and performer of Behaviormusik, an idiom founded on the concept that all possible behavior is musically composable. Works in this idiom, called Spectakles (or, in the case of material extracted therefrom, Sub-Spectakles), include, besides many conventional forms of art and behavior, numerous invented idioms, such as the movement-idioms Signmusik, Facemusik, Vacillation and Oddness-Saturation, the vocal idioms of Languagemusic, Emotionmusik and Babel, the language-idioms Blank Speech, Automatic Poetry, Loud Thought and Immunicability, the miscellaneous object-manipulations, media-manipulations, body-percussion and mise en audience, and the spectator-idioms Signs, audience-percussion and Interactionmusik. formerly a composer/playwright behind a desk, Mr. Peppe became a performance artist in 1978 when he became aware of the impossibility of teaching his event-score

Blathlathlathlathlathlathlathlathlathlathlathle, for male actor, female mime, chorus of four, percussionist, pre-recorded tape, tape recorder and operator, lighting operator and audience to other performers. Some of the manic velocity, gut-rending intensity and convulsive paranoia which made him so beloved in New York (vocal explorations to the edge of the human, body-movement to both edges of possible non-mechanical velocity, face-shattering expression-music, unrelenting portrayals of the schizophrenic and brain-damaged, attacking and drooling on the audience, etc.) has been cooled by his exposure to California reasonableness, but for the most part his hysteria has become merely more terribly precise. *See theoretical texts if enclosed.

The League of Automatic Music Composers

"The League" is a live computer network band consisting of four composers and four inter-connected microcomputer systems. The composers program the systems to generate sound and to continually exchange information, thereby enabling the network to create a music characterized by real-time improvisation. The group has performed extensively in the Bay Area, and has issued a recording as one side of an E.P. record, packaged in a collection entitled Lovely Little Records (Lovely Music/Vital Records 101-06).

John Bischoff received his M.F.A. from Mills College in Oakland. He has performed both in the United States and Europe and currently teaches music at City College of San Francisco. Don Day teaches video and electronic sculpture at California College of Arts and Crafts in Oakland. He is an information economist with great respect for the information content of food. Jim Horton has been playing electronic music since 1968. For the last several years he has programmed computers to compose justly intoned music. He is a columnist for Ear magazine. Tim Perkis studied film and video at California College of Arts and Crafts. He has also studied Javanese Gamelan with K.R.T. Wasitodipuro,and has played with and composed for the Berkeley Gamelan .

The League of Automatic Music Composers c/o 5260 Shafter Avenue, Oakland CA 94618 (415) 654-9951.

SLAVO RANKO

The music I play is Inspired, directly or Indirectly, by my lifelong interest in the peoples of Japan and Northern Asia, particularly the Ainu, who are a little-known aboriginal people with a remarkably archaic world-view. I lived in Japan for many years and have published a number of volumes of translations of early Japanese and Ainu texts. Unfortunately, the printed page imposes intolerable restrictions, and I want to communicate more directly, by means of music and visual images, something which I may not be able to convey effectively in scholarly writing. My aim is to create a type of music which will not only transmit some of the images and feelings of the traditional world of northern Asia, with its shamanism, "arctic hysteria," beer ceremonialism, and rich complex of traditional religious beliefs, but will also, I hope, point towards a future synthesis of the old and the new. The music reflects the inner struggle of a person trying to relate to two different worlds, the archaic world which I have worked with for years in my scholarly research, and the technologically advanced 20-century world which I inhabit physically.

On August 14, 1981, I presented a show of my taped music together with slides by Daniel Gundlach which incorporated images and impressions of the life of the Ainu and other peoples of Northern Asia. The images were sandwiched and juxtaposed so as to create a somewhat chaotic effect, which together with the intense quality of the music, is quite capable of invading the body on the cellular level and exerting a potent effect, which in some cases begins to manifest itself hours or days later.

Arctic hysteria is a neurological disease prevalent among the native peoples of northern Asia. The patient is afflicted with spasms, or falls into a trance, howls or dances, and sometimes the attack ends in an epiletoid seizure. The natives ascribe this disease to the influence of evil spirits. The fits are often followed by a prolonged sleep lasting for several days. We hope that the audience will experience something similar to arctic hysteria, not only in its pathological, menacing aspects, but also in a hopeful and even healing way.

All of my music is recorded at home in my studio. I usually work alone, but sometimes I record with other musicians such as Daniel Gundlach or Myke Reilly. My music is thoroughly rooted in improvisational techniques. In order to play this type of music, it is necessary to go into a sort of trance state, remaining completely open to inspiration. Each piece can be played only once.

The only instrument which I have studied systematically is a Japanese stringed instrument called the blwa. It is similar to a Western lute and is used in Japan to accompany sung narratives. When I lived in Japan I used to perform these narrative songs in public before Japanese audiences, but Japanese blwa music has almost completely ceased to interest the highly Westernized Japanese public. Two or three years ago I began to play synthesizers. Lacking any training in Western keyboard music, I instinctively began to play the synthesizer in the same way that I would play a Japanese instrument. The result has been a sort of "Northern Asian shamanistic music played on blwa and synthesizers." The music sometimes is playful, often it is menacing and hysterical, and it has a remarkable effect on the dream life if you listen to it before going to sleep. p.12 & 13.


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