JBRH 024

Performed by Ensemble Pamplemousse with Laura Cocks, Charlotte Mundy, and Marina Kifferstein, Aug 2021. Commissioned by Darmstadt Ferienkürse 2020 (2021).

This is a bridge.
This bridge is not your typical "cable" bridge.
This one does not go to nowhere.
It is much stronger, and it is made with little pieces of metal in it.
It is sturdy, but it takes time and it does not always hold.
Like anything else, it can break.
Sometimes people will drive onto the bridge, and jump over the side.
Some people will jump right into water.
Some people will jump right onto the train tracks on the other side of the river.
The bridge has no train tracks.
It is the train tracks that make the bridge.

The bridge has no train tracks (Universal™ Love)

Everything Rises, an original staged musical work featuring Grammy-award winning violinist Jennifer Koh and singer Davone Tines, will make its world debut tomorrow evening in UC Santa Barbara’s Campbell Hall. KCSB’s Ashley Rusch joins composer and UC Berkeley professor Ken Ueno to discuss the performance.

Tickets are $35 for community members and free for UCSB students. For more information, head to artsandlectures.ucsb.edu.

Music Credit:
Kosta T’s Informality
Jazaar’s Flood
Retribution Gospel Choir’s Electric Guitar

Reclaiming Space as Artists of Color: "Everything Rises" Comes to Campbell Hall

Kafka, Postmortem is based on Kafka’s story titled “The Judgment.” At the end of the story, the protagonist committed suicide after his father condemned him to death by drowning (“And therefore take note: I sentence you now to death by drowning!”). The absurdity!⁠⁠ Who would drown themselves right after hearing such a literal condemnation? The story is strange without even adding elements of magical realism or surrealism; Kafka simply creates the story in a realistic manner, but with characters acting strangely, distant from how human usually acts. In the spirit of this strangeness, I asked Redian Pragina Jali to create a Javanese translation of the story’s ending. By working with a Javanese translation of this unusual text, I intend to turn the language into a strange unto itself. I sang this text with a style in between sulukan, Debussy’s Pelleas & Melisande, and kargyraa: recitative after recitative, and at several moments, accompanied by a syntactical breakdown into harsh noise (kargyraa+rebab overpressure+electronic distortion). While writing the vocal part, I was inspired by the idea of asemic writing⁠—a kind of writing in that represents grammatical breakdown⁠—and by Kristeva’s notion of the semiotic/the symbolic⁠—the semiotic refers to rhythm and tone, and the symbolic refers to grammar and syntax⁠—, where noise would function as the breaking point of the symbolic to the semiotic. I attempt to push forward the experiments that we did with our previous piece; here, we utilized four new gendèrs, which in total would form a 36-tone tuning system (two of the gendèr do not have octave repetition). The electronic materials are sourced from field recordings as well as from Denis Smalley’s Base Metals—I intend this to be an homage to the first piece that gave me a deep understanding of the power behind bell’s timbre.

Text
English: 
His father said pityingly, in an offhand manner: “I suppose you wanted to say that sooner. But now it doesn’t matter.” And in a louder voice: “So now you know what else there was in the world besides yourself, till now you’ve known only about yourself! An innocent child, yes, that you were, truly, but still more truly have you been a devilish human being!—And therefore take note: I sentence you now to death by drowning!”
...
He swung himself over, like the distinguished gymnast he had once been in his youth, to his parents’ pride. With weakening grip he was still holding on when he spied between the railings a motor bus coming which would easily cover the noise of his fall, called in a low voice: “Dear parents, I have always loved you, all the same,” and let himself drop.

Javanese: 
Bapakke kandha karo memělas, swarane ngěmu rasa pasrah, “Tak kira yen kowe bakale ngandhani luwih cěpět. Ning, arěpa saiki ya ora dadi pěrkara.” Swarane sangsaya bantěr: “Dadi saiki kowe ngěrti apa maneh ing donya iki kajaba mung dhapurmu dhewe, tekan sěprene mung ngěrti pěrkara dhapurmu tok! Kowe bocah sing lugu, ya, pancen běněr kuwi sipatmu sing biyěn, nanging luwih běněr yen kowe saiki pancene bocah kěparat! Saiki gatekna, kowe tak ukum pati, tak blěběgke urip-uripan!” 
...
Georg gěgeyongan kaya dene atlit, mempěr kayata sing tahu dilakoni Georg nom-nomane biyen, kabeh mau dilakoni kanggo nuwuhake rasa mongkog wong tuwane. Gěgěmane sangsaya suwe sangsaya suda dayane, ing wěktu kuwi uga dheweke nyawang bus sing arěp liwat, swarane kaprungu guměděr, swarane bisa dadi srana anyamarake tibaning si Georg. Dheweke kandha nganggo swarane sing gěrok, “Pake, Bune, aku tětěp trěsna karo Panjěněngan kabeh. Salawase!”, Georg banjur nglalu nibakake dhiri. 


Composer: Dion Nataraja

Performer:
Sandikala Ensemble
Yustiawan Paradigma Umar (gendèr)
Suseno Setyo Wibowo (gendèr)
Roni Driyastoto (rebab)
Mustika Garis Sejati (rebab)
Michael Wimberly (percussion)
Dion Nataraja (voice and electronics)

Translator (to Javanese): Redian Pragina Jali

Producer: Yustiawan Paradigma Umar

Mixing & mastering: Luke Taylor

Kafka, Postmortem

Free Download

Eryn Allen Kane - Dead Or Alive

Community MusicWorks commissioned composer and vocalist Ken Ueno to write Four Contemplations for the restoration and rededication of RISD Museum’s Dainichi Buddha.

Ken Ueno / Four Contemplations: A Composition Commemorating the Restored Dainichi Buddha

Majel Connery & Ken Ueno with The Living Earth Show

https://soundcloud.com/majelaconnery
https://soundcloud.com/ken-ueno-composer
https://soundcloud.com/thelivingearthshow

Two sets of collaborators at the extremes of new music find one another in this unlikely partnership. Hailing from the outsider worlds of avant-garde opera, Tuvan throat-singing, and wicked good performance art, Majel Connery, Ken Ueno and The Living Earth Show (Andy Meyerson and Travis Andrews) team up for Switchboard Music Festival to produce something truly novel: bona fide pop music.

Switchboard Music Festival 
June 18, 2016 
Brava Theater, San Francisco 
2781 - 24th St (at York) 
switchboardmusic.com

Majel Connery

"The Cruel Waters"
Composed by Adam Silverman, 2015
Performed by Troy University Percussion (T. Adam Blackstock, director)
Justis Davis, Andrew Patzig and Tyler Whitehead, marimbas
Recorded 2016 by Garnet House Productions
John W. Parks IV, engineer

The Cruel Waters

'Inspiration!' is taken from the debut double A side 10" single from W. H. Lung, also featuring the track 'Nothing Is'. Released 12th May on Melodic. Digital available immediately.

Buy vinyl and digital at Melodic: www.melodic.co.uk/whlung
iTunes: hyperurl.co/ipskqn

Inspiration!

for string quartet and electronics

Paris, Centre Pompidou June 7th 2017
Quatuor Diotima

**********************

As a kid we had a television set with an antenna that rotated (you could rotate it from inside of your house). When the major channels would go off-air you could rotate it and pick up strange other channels from smaller cities around - from across the border, Buffalo and so on - and you would see strange things, that were kind of hard to see (there was a lot of static) and it was very intriguing to watch that kind of things. That was really the core, the crystal at the centre of this movie: my experience with that thinking “what if the images that you pulled up were really quite extreme, disturbing, possibly illegal, and what would you think then, would you keep seeking out those channels or would you call the police or what would you do, how would you respond to them?”

David Cronenberg on his movie Videodrome (commentary track of the Criterion Collection BlueRay)

The Max Headroom broadcast signal intrusion was a television signal hijacking (probably the most famous and certainly the longest signal hijacking ever) that occurred in Chicago, Illinois, United States on the evening of November 22, 1987. The signal pirates, whose identities were never found, succeeded in getting their broadcast intruded onto WTTW (a local Public Broadcasting Service television station).
The pirate broadcast, which lasted 90 endless seconds, featured an individual disguised as Max Headroom (a sci-fi computer-generated television character quite popular in the 80s, coming from dystopian near-future dominated by television and large corporations).
Around 11:15 p.m. an episode of the British TV-Series Doctor Who was suddenly interrupted by television static, after which an unidentified man wearing a Max Headroom mask and sunglasses appeared. The man started to moan, scream and laugh, uttering various random phrases (the audio was distorted and crackling), including New Coke's advertising slogan "Catch the Wave" while holding a Pepsi can (Max Headroom was a Coca-Cola spokesperson at the time). He then tossed the can out of sight, presented his middle finger wearing a rubber extension, sang an excerpt of “I’m losing you” (a 1966 Motown hit recorded by the Temptations), hummed the theme song of Clutch Cargo (a clumsily-animated television series of the 60s), moaned painfully complaining about his piles, farted, put on and off a giant glove (similar to the one worn by Michael Jackson at the time). He then partially exposed his buttocks, howling: "They're coming to get me!”, while an unidentified female accomplice wearing a French maid outfit started to spank him with a flyswatter. The transmission then blacked out for a few seconds before resuming the Doctor Who episode in progress.

“The 1987 Max Headroom Broadcast Incident” features a string quartet “enhanced” with transducers and preparations. 
The digital processing of the instruments is largely inspired by the same modulation techniques that were - and still are - commonly used for radio and television transmission. 
The piece, an hommage to obsolete or soon-to-be deprecated technologies and to the media-dominated, dark future that the “cyberpunk” sci-fi of 80s foretold, is dedicated to the memory of Fausto Romitelli.

Mauro Lanza - "The 1987 Max Headroom broadcast incident" (2017)

Ken Ueno & dj sniff Track 5

Libertad Sonora Chicago.

Libertad Sonora es un proyecto que nació en México en el año 2011 después de haber estado en lista de espera por mucho tiempo. Conjunta el coleccionismo, la imagen encarnada mediante el objeto, el sonido como manifestación artística y la transferencia de datos a través de la radio.

Si tuviéramos que describir Libertad Sonora paso por paso sería de la siguiente manera.

1)Objeto: se refiere a radio grabadoras que son comisionadas a artistas para realizar una intervención completamente libre a partir de diferentes técnicas y soportes.

2)Sonido: es un terreno muy flexible, puede reproducir piezas de un mismo artista o de diferentes artistas al mismo tiempo, creando composiciones aleatorias en tiempo real.

3)Datos: para lograr una perfecta sincronía de las grabadoras se transmiten las piezas con la colaboración de una estación de radio. Abriendo la transferencia de las mismas a todo el público que sintonice la estación en el momento de la intervención.

4)Espacio: es un proyecto pensado para la intervención del espacio público, dando preferencia a espacios abiertos sin discriminar otros sitios de transito.

Libertad Sonora Chicago; es un proyecto que se realiza en colaboración con el FMEL (Festival de Música Electrónica Latina), Linconln Zoo Park y Sociacusia.

La manera en como se da esta colaboración es por medio de un ejercicio de gestión y realización del proyecto en el que se involucran el desarrollo de la cultura y el vinculo con la comunidad latina de la ciudad de Chicago.

El FMEL, cumpliendo su quinta edición en 2012, presenta Echo / Sistemas, una exhibición de arte electrónico que reúne piezas de Arcángel Constantini, Amanda Gutiérrez, Juan Pablo Villegas, Pepe Mogt, Yurián Zerón, Iván Abreu y Eric García.

En este mismo espacio se instala Libertad Sonora con piezas de los artistas visuales: Marcos Raya, Diana Solis, Gabriel Villa, Chema Skand!, Nicole Marroquin & Antonio Martínez. Será acompañada de Onomatopeyas, pieza de Florencia Guillen y A.T.C.H.U de Alejandro Fournier e Hix Eléctrico (piezas pertenecientes a la edición de Libertad Sonora en México, exhibidas antes en Guanajuato, Morelia, Puerto Vallarta, Tijuana y Guadalajara).

El sonido contenido en la edición de Libertad Sonora Chicago, es tomado del Lincoln Zoo Park con piezas sonoras de Bryan Holmes (BRA / CL), Tito Rivas (MX), Sandra Gallo & Miguel Mesa (MX), Elías Puc (MX), Sergio Olimán (MX) y Manuel Estrella (MX), la curaduría de las piezas es realizada por Yair López quien además incluye una pieza dentro del proyecto.

Elías Puc- N-birds

Diego Castro, electric guitar / Nicolás Kliwadenko, electronics
Relincha Festival, Valdivia, Chile, November 24, 2017

http://aaroncassidy.com/product/the-pleats-of-matter/

The Pleats Of Matter - Diego Castro & Nicolás Kliwadenko - Relincha Festival, Chile, Nov 2017

Ɔ C

1. WINGLESS WHITE BIRD 0:01
2. INK 1:53
3. YES 3:52
4. Ɔ C 6:39

Wakana Kohsaka
August 2020

https://youtu.be/N_z1Sd8M7SY

Ɔ C (2020)

For bass flute, bass clarinet, bass oboe and live-electronics, performed by Ensemble Mosaik (Bettina Junge, bass fl; Simon Strasser, bass oboe; Christian Vogel, bass clar)

!!---please listen on good speakers/headphones, there's a lot happening in the <100Hz and >10kHz freq bands---!!

Commissioned by and dedicated to Ensemble Mosaik.
Premiered on 1.8.2020 at AckerStadt Palast, Berlin. 
Recording on 28.7.2020 at Vivaldi Saal, Berlin.
Recording engineer: Arne Vierck, editing and mastering: Stefan Prins

Inhibition Space #1 (2020)- for bass flute, bass clarinet, bass oboe & live-electronics

Contemplation on Little Big Muff (2000)
for amplified - cello and percussion
Odd Appetite duo: Nathan Davis, perc., Ha-Yang Kim, amplified cello.

...can you tell me about the title?  i was thinking about the quality of sound of the amplified cello.  distorted.  distorted through a Russian guitar pedal (it’s called a “Big Muff”).  what’s cool is that amplification works to make more apparent the inherent qualities in the physicality of sound which, without amplification, we are less aware:  it brings out the internal beatings (and therefore the tempos) within certain intervals; it allows for the possibility of bringing out different overtones from changing only the bowing position; it brings out the artifacts of production noise.  these qualities I find beautiful and in contrast to the hierarchical dominance of pitch/harmony in western Classical music.  and there is a temporality necessary to make these elements cognitively focused, therefore the “contemplation.”

This pieces was written for the ‘cello + percussion duo, Odd Appetite (Ha-Yang Kim + Nathan Davis).

Contemplation on Little Big Muff

A recipient of the Rome Prize and the Berlin Prize, Ken Ueno, is a composer/vocalist/sound artist who is currently a Professor at UC Berkeley, where he holds the Jerry and Evelyn Hemmings Chambers Distinguished Professor Chair in Music. Ensembles and performers who have played Ken’s music include Kim Kashkashian and Robyn Schulkowsky, Mayumi Miyata, Teodoro Anzellotti, Aki Takahashi, Wendy Richman, Greg Oakes, BMOP, Alarm Will Sound, Steve Schick and the San Francisco Contemporary Music Players, the Nieuw Ensemble, and Frances-Marie Uitti. His music has been performed at such venues as Lincoln Center, the Kennedy Center, the Metropolitan Museum of Art, MusikTriennale Köln Festival, the Muziekgebouw, Ars Musica, Warsaw Autumn, Other Minds, the Hopkins Center, Spoleto USA, Steim, and at the Norfolk Music Festival. Ken’s piece for the Hilliard Ensemble, Shiroi Ishi, was featured in their repertoire for over ten years, with performances at such venues as Queen Elizabeth Hall in England, the Vienna Konzerthaus, and was aired on Italian national radio, RAI 3. Another work, Pharmakon, was performed dozens of times nationally by Eighth Blackbird during their 2001-2003 seasons. A portrait concert of Ken’s was featured on MaerzMusik in Berlin in 2011. In 2012, he was a featured artist on Other Minds 17. In 2014, Frances-Mairie Uitti and the Boston Modern Orchestra premiered his concerto for two-bow cello and orchestra, and Guerilla Opera premiered a run of his chamber opera, Gallo, to critical acclaim. He has performed as soloist in his vocal concerto with the Boston Modern Orchestra Project in New York and Boston, the Warsaw Philharmonic, the Lithuanian National Symphony, the Thailand Philharmonic Orchestra, and with orchestras in North Carolina, Pittsburgh, and California. Ken holds a Ph.D. from Harvard University. A monograph CD of three orchestral concertos was released on the Bmop/sound label. His bio appears in The Grove Dictionary of American Music.

Contemplation on Little Big Muff

Ken Ueno Composer

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