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Our new Fall 2012 Mixtape is out!

cover Fall 2012 mixtape

Summer is over. Fall is here. Our mixtape too.


Avant Media presents 49Waltzes.com: an online homage to John Cage

Back in 1977 (a good year) Rolling Stone commissioned John Cage to write a piece celebrating their move from San Francisco to New York. The result was 49 Waltzes for the Five Boroughs (first published in Rolling Stone on October 6, 1977): 49 multicolored triangles superimposed on the Hagstrom map of New York, designed and placed through chance operations. The second version, published a year later, is a list of 147 New York street addresses, arranged in 49 groups of three still through chance operations. A manuscript is available online at John Cage unbound, NYPL’s Living Archive.

This iconic piece has inspired many composers/performers/endeavors (we recently talked to Kevin James about a Cage-related project) and the latest is Avant Media’s 49Waltzes.com, a website created as a collaboration between composer Randy Gibson and designer Oscar Henriquez to celebrate John Cage’s 100th birthday.

A screenshot of Avant Media's 49Waltzes.com

A screenshot of Avant Media’s 49Waltzes.com

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Announcing our partnership with the Huffington Post

As of today, the Huffington Post started reposting selected articles from I Care if You Listen. The first one is an opinion post—and one of our top articles—written by R. Andrew Lee, Performers as Co-Composers.

R. Andrew Lee's opinion post is the first article to be reblogged by the Huffington Post.

This in an important step for I Care if You Listen and I have to thank our readers for their support and loyalty, all the contributors for their amazing work, and all the composers/performers/ensembles/concert halls/performing spaces/PRs and record labels for being so kind and professional.

Stay tuned, there is a lot more to come.

Thomas Deneuville, the founder and editor of I Care if You Listen, is a French-born composer living in NY. Find him on Twitter: @tonalfreak


The Gaits: A soundtrack for the High Line

Last week, Make Music New York introduced a new annual event: Make Music Winter. For its first installment, twelve musical parades were scheduled, proceeding through neighborhoods in Manhattan, Brooklyn, and Queens. Participating artists and organizations included the Metropolitan Museum of Art, Cathedral of St John the Divine, Friends of the High Line, Parsons The New School for Design, composer Phil Kline, MATA, The Knights, conductor Harold Rosenbaum, Puerto Rican folk group Los Pleneros de la 21, Arabic music ensemble Zikrayat, and many more…

I decided to cover The Gaits and headed to the High Line to participate in a unique soundwalk created by Lainie Fefferman, Jascha Narveson, Cameron Britt, and Daniel Iglesia. A free iPhone app was required to fully enjoy the experience: the application used the accelerometer, as well as the GPS location to trigger twinkling metallic and liquid sounds, electric guitar chords, organ drones, applause, etc. The portable speakers were kindly loaned by the High Line…

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The Contemporary Classical Composer’s Bullshit Generator

Update 10/31/2012: For very understandable professional reasons, Dominic had to take the script down. No one wants one’s name associated with the word bullshit on Google. I will leave the generated examples below, unless this post causes too much harm to his web presence, in which case, I will have to take it down too. Thank you for understanding. -Thomas Deneuville

This is too viral not to be posted… Last week Dominic Irving, a UK-based composer and pianist, posted a Perl Script on his website. This ingenious piece of code generates some prose that one could possibly copy-and-paste into one’s statement, application, program notes, etc. This is first class academic BS. Here are a few exemples, just in case Irving’s server gets too much traffic and crashes:

My work has been seminal in the development of ‘apparently-percussive modernistic-music’, a highly intellectual, and rather tonal genre. Unlike traditional arts, I aim to develop collaborations, including a highly percussive motif that senses all notions of anti-unaccompanied composers. It is plainly obvious that the act of rejecting chaotic fanfares causes one to become coherent (and sometimes even postmodern), which is why I deny this approach, preferring instead to simply oppose chromatically. My goal, in essence, is to juxtapose musical semitones. Working binarily means that my focus is always percussively-based, and never orchestral.

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