In this piece, a legion of ontological possibilities that reside in this tablature system emerge in a series of slippages, but they are nevertheless constellated around a clear ethical question: "How can music, along with other human behaviors, from which it can not be separated, be the change it wants to be?"
Tuesday, December 29, 2015
Wednesday, December 16, 2015
Thursday, December 10, 2015
I find it entertaining when people suggest that when I, or another member of Laboratorie New Music cite a commission for our compositions on this website, for a score, a performance or in one of our published works, that some individuals find this impossible and untrue.
I decided to help on this matter by explaining a few key points.
First, if I ever cited a commission from a sponsor company that was untrue, the type of companies who are our generous sponsors, would have an army of trademark and intellectual property attorneys all over us.
The fact is that these corporate attorneys have web crawlers that identify when, and if, the corporate name and logo are used at anytime and anyplace. If you use their name or logo/symbology in an unauthorized manner, you get this joyful "cease and desist" letter.
We don't have any of these letters in our archives.
So let's move past this...
"How on earth do we get these large, rich companies to sponsor our compositions?"
Let's think in a business-like manner...or even better, let's just use common sense.
When I teach, I find it fascinating that students/composers feel that they are entitled to receiving monies for their creative efforts. Yet, they dismiss the one key life lesson...if you want something (i.e. an advance commission for your work), you need to give the sponsor something back in return.
Now I am not speaking of the final work, I am speaking of what can you give them in advance to let them know you are sincere. If it is Ford or Petrobras or HSBC, you have to ask yourself...what's in it for them?
If you still do not buy into this, go ahead and research me. I have another job. Just like Brian Ferneyhough has his Stanford gig, Pierluigi can turn down Columbia to stay put, and most teach in esteemed universities to pay the bills.
For me, and a few others, I choose to take a bit of a different path, but I feel lucky because what I do is imminently more interesting than Ives (Insurance).
My job is that I make up name for products...yes just the names. You use them everyday...Xbox, Outlook, Excel, Aeron, Escalade.
OK...enough. But through this experience dealing with the largest companies in the world, I learned a bit about how to win them over.
Over the next few weeks I will share some tips on how this is done. If you are interested, tune in. It will not be the 'Golden Key', but a few tips will be forthcoming and it is up to you to make them work.
Tuesday, December 8, 2015
Monday, December 7, 2015
|Exocyclic Trumpet in B flat|
"Neural Intervals And Barium Infused Automatons" (2014)
|Inverted Equilibrium Sonic Pendulum|
Composition for Cello, Chamber Ensemble, Inverted Equilibrium Sonic Pendulum, Exocyclic Trumpet in B flat, Schilke b3l Tunable Beryllium Bell Trumpet, Elliot Easton SG Custom OHSC Electric Guitar, Zildjian 22″ C2 Gong / Cymbal, LP Galaxy Giovanni Tumbadora, Retrosium Flute and ROLI Seaboard Grand.
From the performance notes/depiction of the Inverted Equilibrium Sonic Pendulum and the Cello:
We have executed a control method for maintaining an inverted pendulum in the unstable equilibrium position. This application is a classic lesson in control science, frequently utilized in ballistic guidance. In the case of the Cello, the proportional-integral-derivative (PID) method was implemented in LabWindows and intendulum with test mass. Once optimal parameters for the algorithm were established, trials were conducted in which individual gain constants were varied while controlling string and bow pressure to observe changes in instrument behavior.
When applying bow pressure, vector fields can have several special points: a stable point, called a sink, that attracts in all directions (forcing the concentrations to be at a certain value), an unstable point, either a source or a saddle point which repels (forcing the concentrations to change away from a certain value), and a limit cycle, a closed trajectory towards which several trajectories spiral towards (making the concentrations oscillate).
Repostulate in a alternative tablature system; topological models of morphogenesis.
Sunday, December 6, 2015
Saturday, December 5, 2015
|Gustavo Chab, Composer|
Gustavo Chab born in Buenos Aires, 1964
Attended the Juan Jose Castro Conservatory. Studied guitar with Dolores Costollas; harmony, counterpoint and piano with Daniel Montes; composition and musical analysis with Francisco Kropfl y Oscar Edelstein.
He was an active member of Otras Musicas Group and FARME of Buenos Aires and composed his first electroacoustic piece Mirada Roja in 1993, specializing in composition techniques in electroacoustics.
Among Gustavo's awards: a special mention of the Municipality of Buenos Aires, first prize of the FNA, and honorable residence in the International Electroacoustic Music Competition at Bourges.
His compositions, include works for instrumental, digital and mixed media, electronic music, acousmatic art, visual poetry, music theatre, performances and sound installation. Frequently explores the spacialization of sound in composition mixing electroacoustic sounds, vocal sounds and acoustical instruments.
Chab is an active member of Sonoridades Alternativas of Buenos Aires.