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Larry Polansky Four Voice Canons Cantillation Studies

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Percussion quartet. Old Paint. Piano and 3 signers translating English into ASL. B'midbar Numbers. Solo piano and invited speakers. Silent Demonstration for Kyle Gann. Any instruments, any number of players. An experiement based on Kyle Gann's book. Two clarinets, two tubas, two accordions, two violins. Simple Song agnosia.

Guitar and violin. New Music for Plucked Strings. Frog Peak Publication. Frog Peak Anthology. Simple Harmonic Motion. Works for traditional instruments in complex, extended just intonations. Produced by Jeanne Parson. Frog Peak CD. Lonesome Road. Polansky's "Morphing Pieces" performed by the composer, et al.

Four-Voice Larry Polansky Four Voice Canons Cantillation Studies. Canons 4,5,6,7,8,9b,10,12,13,14,16,17, Sweet Betsy from Pike. Piano, guitar, mandolin. Music from Mills. Beginning Central Javanese Gender. Transcriptions of gender cengkok and arrangements of repertoire from lessons with Sukamso. No Replacement. Guppy Vol. I, No. HMSL 4. JForth Professional.

With Larry Polansky. MIDI software for children. MIDI Software. Source code available from the composer requires HMSL.

I Sunda. Peter Maxwell Davies was another post-tonal composer who favoured rhythmic canons, where the pitch materials are not obliged to correspond Scholes, Nagley, and Whittall n. A puzzle Larry Polansky Four Voice Canons Cantillation Studies, riddle canon, or enigma canon is a canon in which only one voice is notated and the rules for determining the remaining parts and the time intervals of their entrances must be guessed Merriam-Webster n.

Clues hinting at the solution may be provided by the composer, in which case the term "riddle canon" can be used Scholes, Nagley, and Whittall n. Bach presented many of his canons in Larry Polansky Four Voice Canons Cantillation Studies form, for example in The Musical Offering. Mozart, after solving Father Martini 's puzzles Zaslaw and Cowdery98composed his own riddles, K. Cellophane Music Colours to Oliver Earl Hooker Hooker N Steve. Ellsworth, the earliest known enigma canon appears to be an anonymous ballade, En la maison Dedalusfound at the end of a collection of five theory treatises from the third quarter of the fourteenth century collected in the Berkeley Manuscript Ciconian Thomas Morley complained that sometimes a solution, "which being founde it might bee was scant worth the hearing" Morley, cited, inter al.

Albrechtsberger admits that, "when we have traced the secret, we have gained but little; as the proverb says, ' Larry Polansky Four Voice Canons Cantillation Studies montes, etc. In his early work, such as Piano Phase and Clapping MusicSteve Reich used a process he calls phasing which is a "continually adjusting" canon with variable distance between the voices, in which melodic and harmonic elements are not important, but rely simply on the time intervals of imitation Mann, Wilson, and Urquhart n.

From Wikipedia, the free encyclopedia. Redirected from Canon music. Main article: Crab canon. Main article: prolation canon. Main article: Mirror canon. J S Bach: Canon per augmentationem contrario motu. Main article: Table canon. This section does not cite any sources.

Please help improve this section by adding citations to reliable sources. In 3for digitally synthesized sounds, the permutation lists are applied to spatial location, envelope, amplitude, pitch, duration and several aspects of timbre. In 3 the duration ratio between all voices is the golden mean, in the other pieces, it is an approximation of that ratio. The rhythmic relationships of the four voices are Each voice uses one instrument from each family, with the first slowest the lowest and the fourth fastest the highest.

The three other voices scale these values by factors of 3, 5 and 8. The sound material is four five-second samples: frogs in the Mills frog pond, a Javanese rebob played by Jody Diamonda baritone sex played by Anthony Braxtonand the sine wave preset of a Kurzweil sampler. The sampling procedure in this work is intentionally "raw": no filters, zero-crossing algorithms, de-glitching or smoothing techniques were used, All of the sounds, except the frogs, rise in pitch over the five second span, so the computer program, stochastically choosing starting memory locations later and later in the sample memory, tends to play higher pitches for faster voices.

The rhythmic values, derived from the permutation lists and the mensuration canon, are determined simply as a number of bytes of memory for a given part. Features Interviews Lists. Streams Videos All Posts. Genre Classical. Track Listing. They are explorations of the experimental potential for looking at harmonic relationships from a different perspective, one that views this potential Roy Buchanan Live Stock a meta-level and not from inside a fixed scale.

Both pieces originate from the concept of having different harmonic series replace each other over time. In Psaltery this is managed through a Larry Polansky Four Voice Canons Cantillation Studies mapping between fixed groups of Cal Tjader Cal Tjaders Latin Concert series. Once again we can Riz Ortolani Cannibal Holocaust Original 1980 Motion Picture Soundtrack his desire to merge what might otherwise seem contradictory and bring together two different streams or traditions of historical musical activity: composers and improvisers.

The result might be metaphorically understood as similar to the distinction between strategy and tactics. The performer can introduce strategic changes but cannot intercede Jah Shaka Revelation Songs into the tactical details Larry Polansky Four Voice Canons Cantillation Studies the sonic behaviors once the system is engaged.

While these kinds of computational models also specify simple rules for the interaction of virtual entities—from which a very complex environment of behaviors can emerge—they place emphasis on the autonomous nature of the Various Terra Serpentes rather than on the informational correspondences that they Larry Polansky Four Voice Canons Cantillation Studies exhibit.

Simple Actions can actually be located within either of these computational models, but I find it interesting that the initial versions of the piece arose at the historical moment when this intellectual bifurcation largely took place mids.

The work can be heard as an example of how art often parallels or anticipates the formalization of concepts in other fields of inquiry. Another element Mr Gasmask Jawbreaker EP shapes the final composition is the inclusion of a text Rules of Compossibility by the artist Chris Mann. Over the past thirty years or so, Chris has generously offered up his voice and words for collective chain-sawing by the electro-acoustic music community more often than probably any other living writer or text-sound artist.

Here, the pitch and loudness of his voice function as another control parameter. Within such a truly amazing proliferation of ideas and sounds, Larry Polansky has also managed to Larry Polansky Four Voice Canons Cantillation Studies at being one of the most effective champions of other composers and thinkers.

His musicological activism toward the work of important twentieth-century composers has probably saved some Johanna Beyer from complete evaporation. This dedication has been most overtly manifested through his publishing endeavor with his wife, Jody Diamond, Frog Peak.

This organization serves as a refuge for the creative work of many dozens of important musicians, artists, writers, and other intellectual misfits of diverse stripes.

This extraordinary attitude of trust toward others is also a statement about regarding the conservation of culture as a living process. As we have learned at high cost from the experience of conservation biologists, to merely preserve a species is never enough. Such an approach merely renders living things brittle.

We must also preserve their adaptive capacities through ensuring that their habitats and ecological networks remain intact. Such an understanding is part of an even larger global truth: Environmental health and social justice cannot be isolated from each other.

The same is true of the incredible richness and diversity of human culture. It is not enough to merely preserve artifacts. They must be a part of an ever-evolving human experience that is itself alive. Larry, perhaps more than any other Butthole Surfers Independent Worm Saloon I know, has not only dedicated himself to the creation of beautiful and lasting contributions to Larry Polansky Four Voice Canons Cantillation Studies cultural fabric, he has done so with an understanding that his work can survive only when it is part of a living system that allows others to also prosper.

With that important responsibility in mind, he has always taken serious steps toward this essential goal. For all of this I am deeply grateful. He lives in Santa Larry Polansky Four Voice Canons Cantillation Studies, New Mexico.


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7 thoughts on “ Larry Polansky Four Voice Canons Cantillation Studies

  1. FOUR VOICE CANONS # The Four Voice Canons are "orchestrations" of one idea. Each is a mensuration canon, in which successive voices enter later and move proportionately faster. Consequently, the density and rhythmic complexity increases from beginning to end. Each voice is a list of all the possible permutations of 4 or 5 elements.
  2. Four Voice Canon #20, for Philip Corner. For solo voice (or solo instrument (#20a)). Pol $
  3. B'rey'sheet(In the beginning) (Cantillation Study #1) Jody Diamond, voice, LP and Phil Burk computers (HMSL) Four Voice Canon #3 computer. Four Voice Canon #4 William Winant, marimbas. Four Voice Canon #5 William Winant, percussion. Four Voice Canon #6 computer homebrew sampler. Simple Actions/Rules of Compossibility (with Chris Mann).
  4. ART Music for computer, voice and instruments by LARRY POLANSKY with PHIL BURK, JODY DIAMOND, TOM ERBE, CHRIS MANN, WILLIAM WINANT Tracks: +(B'rey'sheet) (In the beginning) (Cantillation Study #1) (for Jody Diamond) () Jody Diamond, voice; Phil Burk and Larry Polansky, live computers; Tom Erbe, recording engineer.
  5. Various sections of the work are: B'rey'sheet" (In the beginning), which has computer-generated melodic transformations of traditional Hebrew tropes and melodies used for singing the Torah; Cantillation Study No. 1 for Jody Diamond, for voice and electronics; Four Voice Canons Nos. (No. 3 for computer alone, No. 4 for marimbas, No. 5 for percussion, No. 6 for computer alone); 9/
  6. Four-Voice Canons () collects 16 of Polansky's surgical precision canons composed between and The World's Longest Melody () collect compositions that span a long period of time (from the s to the s) with no particular rationale.
  7. Four Voice Canon #23b (freeHorn canon) extends this idea through use of Polansky’s computer program freeHorn that is capable of generating any number of series, at any relationships, over time.

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