for four percussionists with voices


goto writeboard:

Performance on February 21, 2006 in Washington, DC, hosted by the US Army Band in Ft. Meyer, VA. Goto the Army Band Website calendar.

Performance April 18, 2007 at the Dozier Center, in Atlanta, GA, by the Georgia Youth Symphony Orchestra Percussion Ensemble.


13Feb07 23:11

Performance materials below (right-click to download pdfs):

score :: instrumentation notes :: beginning text :: ending text

photos of player setups (2006 performance):: Feb '06 recording (mp3)



30Jan06 21:53

"We are still at the point where most musicians are clinging to the complicated, torn-up, competitive remnants of tradition, and furthermore, a tradition that is neither significant nor insignificant nor god nor bad but simply poetry as I need it. If there were a part of life dark enough to keep out of it a light from art I would want to be in that darkness, fumbling around, if necessary, but alive and I rather think one can dispense with all that folderol; -- no one loses nothing because nothing is securely possessed. And I think I agree, but I have a very serious question to ask you: How do you need to cautiously proceed in dualistic terms?"

- John Cage, A Year From Monday, p.108



29Jan06 20:59

"We Don't Have Time For This"(pecussion quartet | score): p1 . p2

Ending concepts of the piece from journal: p1



18Jan06 21:26

I've scanned some pages of what I'm reading in Being-Singular-Plural. Check out the first line of pages first (p28-31, 36-41), then read the others (p1-15).

p28-29 . p30-31 . p36-37 . p38-39 . p40-41 --> 2 sections with accessible thought. I have some of this in mind for the interlude material.

p1 . p2-3 . p4-5 . p6-7 . p8-9 . p10-11 . p12-13 . p14-15 --> Explains quite a bit of what you might want to know to get into this book. "Access to the Origin" is interesting, as is "we are meaning are we."

Post anything you see striking from the above pages to the writeboard.



02Jan06 12:41

Double Music - as recorded by Ethos Percussion Group



30Dec05 22:51

Tom - check out "Prelude For Meditation" - John Cage prepared piano piece (1944). I think it could be perfect for a "call to performance" before the quartet walks on stage for the first piece. Kind of like lights dimming up and down quickly before the next act of an opera or after orchestra intermission. It's only :50. When it's over, you guys walk on, applause, bow, you applaud.... blurred beginning to the first piece, etc....



17Dec05 21:44

Four concepts loosly related to dualism.

To be explored in electronic music interludes between acoustic percussion compositions.


1. allegory of the cave

some quotations:

"Now consider," I said, "what their release and healing from bonds and folly would be like if something of this sort were by nature to happen to them. Take a man who is released and suddenly compelled to stand up, to turn his neck around, to walk and look up toward the light; and who, moreover, in doing all this is in pain and, because he is dazzled, is unable to make out those things whose shadows he saw before. What do you suppose he'd say if someone were to tell him that before he saw silly nothings, while now, because he is somewhat nearer to what is and more turned toward beings, he sees more correctly; and, in particular, showing him each of the things that pass by, were to compel the man to answer his questions about what they are? Don't you suppose he'd be at a loss and believe that what was seen before is truer than what is now shown?"

- Plato. The Republic, ed. by Allan Bloom, p194.

follow with some additional comments by Socrates that are immediatly after this passage.

2. Jean Baudrillard - simulation/simulacra and reality
3. relativity and perception

4. Jean-Luc Nancy - being and existence with

Let us say we for all being, that is, for every being, for all beings one by one, each time in the singular of their essential plural. Language speaks for all and of all: for all, in their place, in their name, including those who may not have a name. Language says what there is of the world, nature, history and humanity, and it also speaks for them as well is in view of them, in order to lead the one who speaks, the one through whom language comes to be and happens ("man"), to all of being, which does not speak but which is nevertheless - stone, fish, fiber, dough, crack, block, and breath. The speaker speaks for the world, which means the speaker speaks to it, on behalf of it, in order to make it a "world." As such, the speaker is "in its place" and "according to its measure"; the speaker occurs as its representative but also, at the same time (and this has all the values of "pro" in Latin), in anticipation of it, before it, exposed to it as to its own most intimate consideration. Language says the world; that is, it loses itself in it and exposes how "in itself" it is a question of losing oneself in order to be of it, with it, to be its meaning - which is all meaning.

- Jean-Luc Nancy. Being Singular Plural, p. 3