My bibliography and illustrations

These are the books I used:

Mikhail Semenovich Druskin (1983) Igor Stravinsky: his life, works and views; CUP Archive; Cambridge

Kurt Heinzelman (2003) Make it new: the rise of modernism; University of Texas Press; Texas

Reginald Smith Brindle (1987) The new music: the avant-garde since 1945 ; Oxford University Press ; Oxford

Illustations:

http://www.lyon.edu/webdata/users/jchiaromonte/John_Cage.jpg Accessed on 21 March 2010

I think thats all of them.
I have sent the presentation powerpoint to u guys, although is missing 1 slide by the end, it is pretty much that, also I will crack on with the illustration List and Bibliography.

So could anybody that have the links of the websites that has been looking to write a post with them, already in the havard form so I can copy paste onto the presentation pdf.
Hi guys,
are you going to email the presentation out to us again like last time? I'd love to go over it and get prepared for tomorrow...
http://www.youtube.com/watch?v=UgVqJgf6H0M

leon theremin playing - 00:19 to 00:36

theremin in cinema - 01:25 to 01:48
http://www.youtube.com/watch?v=LRLYWwgUNfE

begin at 00:49 seconds

Igor Stravinsky

Igor Stravinsky was a Russian composer, pianist and conductor and is considered one of the most influential composers of the 20th century. Born in Russia, he officially became a US citizen in 1946.
Stravinsky was most well known because of his diversity. Perhaps Stravinsky’s most famous and controversial works is ‘The Rite of Spring’. ‘The Rite’ is a ballet piece where an entire performance can last about 33 minutes. ‘The rite’ was first conceived in 1910, but was first composed between 1912 and 1913.



‘The Rite of Spring marked a shift of interest to the world of Russian pre-history, and wit it an important turning-point not only in Stravinsky’s style but also in the evolution of the ideas and images behind his music’

Mikhail Semenovich Druskin (1983) Igor Stravinsky: his life, works and views; CUP Archive; Cambridge

Stravinsky used his own history and that of his country to create unique music that had its own feeling in it. This led him to compose ‘The Rite of Spring’.

When first premiered to the world in Paris it caused one of the most famous Classical Music Riots in history. The rhythmic score shocked the audience who were more accustomed to and the dancing was a lot stranger than the normal ballet. At first the violent dance steps excited the crowd but they soon started booing when they heard a slight discord in the background notes. Not understanding what was happening, opponents to this new music began to shout and cause commotion. Supporters of Stravinsky tried to calm them and explain the music, but this only worsened the situation. A full scale riot broke out in the aisles. The Police restored only limited order.

But it could be argued that Stravinsky’s music was only the catalyst.

‘It is now thought that ‘The Rite of Spring’ riot was a response less to Stravinsky’s music, which could scarcely be heard amid the uproar, then to Nijimky’s choreography, which inverted most of the conventions of ballet’

Kurt Heinzelman (2003) Make it new: the rise of modernism; University of Texas Press; Texas

This affected the modern scene by showing the world that change can evoke great emotion. Today, people in music are continually trying to shock and surprise people with their music, but Stravinsky accomplished to such a degree that it caused a riot. Stravinsky started the notion that when it comes to music, ‘no press is bad press’.
I know  you already have John cage, but these are the info i found over the last weekend, i had some net problems, landlord didn't pay the bill and left for holidays lol so couldn't upload all the stuff, so uploading everything now.

John Cage was famous for the prepared piano. A prepared piano is a piano that has had foreign objects (preparations) placed in between or on the strings. He typically used nuts, bolts, screws, nails, various pieces of hardware and pieces of rubber for his preparations. Depending on the preparation used, some make duller percussive sounds; pings, plunks and thuds, whilst other objects create more of a bell tone (see attached file prepared piano pic 1 & 2). Another type of prepared piano is the tack piano. A tack piano has small nails secured into the hammers to create a more percussive sound. Other materials can be used i.e. covering the hammers with metal or leather to create different timbres. (Sadie, S. (1980). The New Grove Dictionary of Music and Musicians, Fifth Ed. p598). (Rich, A. (1995). American Pioneers: Ives to Cage and Beyond (1st ed.). pp149 – 152).      
  
Chance music was an invention that Cage used in all of his compositions from 1951. Chance music scores take on a different role to traditional music scores. The traditional score is based on pattern and structure and consists of various levels and dimensions such as; melody, harmony and rhythm. These patterns and structures enable the musical ideas of the composer to be clearly heard and analysed.  However, in chance composition, chance must rely on a mechanism within for it to operate. The composer must first design an operating system; i.e. a part/act for chance to play. This system directly provides certain collections of musical elements to be manipulated by chance; i.e. the system must have a collection of rules and procedures that must be followed in order to produce the final score. These rules/procedures gather information from the given material and structures to make decisions that rely on a random event (the roll of a dice/toss of a coin). It is the completion of these events that finally produce the musical score we see, a score equally dependent on the design decision of the composer and pure random events. (Duckworth, W., & Fleming, R. (1989). John Cage at Seventy-Five (1st ed.). Cranbury, pp.249 – 261).

Cage’s most remembered chance piece is 4’33” (pronounced four minutes thirty three seconds). Often mistakenly referred to as Cage’s “silent piece”, it is quite the opposite. 4’33” technically has three ‘silent’ movements, but really it is full of sound. Cage redefined silence as “simply the absence of intended sounds, or the turning off of our awareness”. "Silence is not acoustic," he said, "It is a change of mind. A turning around." (Solomon L, J. (2002) The Sounds of Silence. John Cage and 4’33”. (1998). Using chance was literally an imitation of nature's manner of operation, meaning that the sounds that are not made intentionally, but are already there around us are free to be heard, and free to penetrate the art. Thus, nature and life literally become the art. Cage was asked why it was necessary to create such music when it is already there around us. He replied; "Many people taking a walk would have their heads so full of preconceptions that it would be a long time before they were capable of hearing or seeing. Most people are blinded by themselves." (Solomon L, J. (2002) The Sounds of Silence. John Cage and 4’33”. (1998). 4’33” is music that is completely free of intentional sounds and the composers view. It is natures’ music, it requires a serious, reverent, focused, and open mind that is willing to put aside preconceptions and embrace the universe of sound as music. However, there is also an artistic and personal reason for writing music of this aesthetic, which is revealed in Cage's astonishing confession; “Not having, as most musicians do, an ear for music, I don't hear music when I write it. I hear it only when it is played. If I heard it when I was writing it, I would write what I've already heard; whereas since I can't hear it while I'm writing it, I'm able to write something that I've never heard before. . . . . And if I did hear something before it was audible, I would have had to take solfege, which would have trained me to accept certain pitches and not others. I would then have found the environmental sounds off tune, lacking tonality. Therefore, I pay no attention to solfege”. (Solomon L, J. (2002) The Sounds of Silence. John Cage and 4’33”. (1998). (Solomon, L.J, (2002). The Sounds of Silence, John Cage and 4’33”. (1998). Retrieved on 18/09/03 from; http://music.research.home.att.net/4min33se.htm#1.%20Brief%20Description%20and%20the%20Premiere).

The structure to Cage’s music in the 1950’s introduced vertical dimensions. Different to horizontal dimensions which include the rhythmic structures and tempo, vertical dimensions involve several simultaneous levels of activity, each followed independently by the other (Cage regularly referred to these as “Superimposed parts”). These levels can be related to polyphony, although in this case the ‘levels’/ ‘parts’ are not a series of single notes but contain chords and other structures. Depending on how many levels are given in a system, this has significant importance to how the system will turn out. For example, Music of Changes has eight levels, whilst the Two Pastorales has only two levels. This results in Music of Changes having a much denser texture than the Two Pastorales, which indirectly affects other aspects of the piece. For example, in the Two Pastorales, the lower density creates long empty sections between some sounds, to fill this, Cage chooses to hold the pedal down for the duration (using the pedal is wholly at Cage’s discretion, as it is outside the chance system). These lengthy pedals draw our attention to the decay of the sounds as they slowly disappear into silence. On the other hand, Music of Changes has noticeably higher density sounds, lacking these long drawn out sounds, they are replaced by sharp, abrupt attacks with pure flurries of activity.
The other area in Cage’s chance system is his choice of materials. In the Music of Changes for example, each of the eight levels of the vertical structure has its own unique collections of sounds, durations and dynamics. These materials were sorted into square charts. The sound of the charts can be divided based on their general structure into three broad categories: single notes, chords and what Cage refers to as “constellations”. In Music of Changes, the constellations include; arpeggios, trills, tremolos and some brief quasi-melodic fragments.
The choice of materials can have a great impact on the character of a system. For example, Music of Changes and the series of pieces titled Music for Piano (1952 – 56) will demonstrate this. Cage became sick of the chart technique used in Music of Changes because it required the composition of vast quantities of unique sounds, durations and dynamics. Additionally this system produced far too much repetition of events for his taste. He solved this problem when he composed Music for Piano, by reducing the amount of available sounds to the eighty-eight single pitches on the piano. The pitches are selected by drawing random imperfections on a piece of paper and then adding staves, clefs and accidentals to turn these points into specific pitches. These pieces took next to no time to compose as the method of selecting notes removed the need for a specific collection of sounds, thus removing the problem of repetition. (Duckworth, W., & Fleming, R. (1989). John Cage at Seventy-Five. pp.254 – 256). 
Someone i thought i would mention, he is not on the list but however he was known for his unique techniques.

Barry Cockcroft mainly writes for the saxophone. He uses a variety of unconventional and weird techniques, combined with standard jazz patterns to create a fusion of jazz, blues, rock and contemporary music. In one of his compositions, ‘Black and Blue’, he simulates all the instruments in a rock band. Firstly, he imitates the bass guitar with strongly accented long notes followed by punchy short notes. Ten bars later the saxophone joins in, playing off the accented bass line in a bluesy/jazzy style. To imitate the guitar/piano, the technique multiphonics is used. Multiphonics is the technique used to create dissonant chords to give the sound a clashing, harsh effect. On a saxophone alternate fingerings are used which allow the multiphonic to be possible, on other instruments such as the trombone one note has to be sung whilst playing the other notes.

Another instrument imitated is the drum solo. This is made possible by beating the keys in a rhythmic pattern i.e. bass drum, snare drum. This is done without blowing through the saxophone. The last instrument simulated is the ‘wa wa’ guitar effect (eg. Introduction of rock song, Johnny B Good). This effect is achieved by alternating between two similar fingerings to basically produce the same note, except one is slightly flatter than the other. To make this section authentically sound like a guitar solo the performer is required to master the technique of circular breathing (guitar players aren’t required to breathe to continue their sound. A saxophonist does). Circular breathing is achieved by breathing normally through the mouth, then by using their cheeks as an airbag (eg. a bagpipe) then whilst squeezing the air out with their checks and tongue a quick breath is snatched through the nose. Refer to attached score ‘Black and Blue’ for an example). (Goldsmith, L, B(18/04/03). ‘Black And Blue’ by Barry Cockcroft, Program Notes. http://barrysax.com/articles/01-black_and_blue.html).

Another piece written by Barry Cockcroft is ‘Beat Me’ (1995). This piece features tenor saxophone and uses a wide range of contemporary techniques. Like in ‘Black and Blue’, ‘Beat Me’ simulates a rock band. The bass guitar is simulated by short punchy notes using the ‘slap tongue’ technique. Slap tonguing is when the saxophonist slaps their tongue hard against the reed to achieve a dry pop sound. Again the technique multiphonics is used to simulate chordal instruments such as the guitar and piano. At bar 54 the saxophone plays its traditional role with bluesy fills answering the ‘slap tongue’ bass. At bar 135 the saxophonist is required to make use of their altissimo range (the altissimo range is outside the normal range of the saxophone, the saxophonist is required to split the required note using alternate fingerings). At bar 139 the drums are simulated using the ‘key drumming’ technique. Unlike in ‘Black and Blue’ where the drums are simulated by themselves, in ‘Beat Me’ at bar 154 the drum solo is simultaneously joined by the saxophone to create a groovy effect. With the drum solo still going, at bar 171 multiphonics are used again, to create chordal support over the key drumming. At first this can be quite challenging for the saxophonist, not technically but mentally, because the saxophonist is required to press unfamiliar key combinations to create the key drumming whilst playing the normal notes/multiphonics. Once the player is comfortable with this the passage is quite easy to perform. At bar 239 the excitement is raised dramatically with the technique ‘subtone’. Subtone is achieved by for example; playing sextuplets at ‘dotted crochets = 104bpm’ on the notes: 




;This effect is simulating the fast guitar solo in rock songs, later in bar 255, ‘harmonics’ are added to the ‘subtone’. The harmonics simulate a melody line over the fast solo. This technique is very demanding of the player, as it is very repetitive. To make this section like an authentic guitar solo, the saxophonist is required to use circular breathing. For examples for all of these techniques, refer to the attached score ‘Beat Me’. (Cockcroft, B.(2003). Phone conversation about experimental techniques, on the 04/08/03 on 03 9482 4569)
A synthesizer, built especially for sound production or "synthesis" and modification, is essentially a device that merges sound generators and sound modifiers in one package with an integrated control system. The first and most elaborate of these devices was the RCA Electronic Music Synthesizer, first exposed in 1955. But the story goes back far before that.


Radio engineers experimenting with radio vacuum tubes discovered the principles of beat frequency or heterodyning oscillators by chance during the first decades of the twentieth century. The heterodyning effect is created by two high radio frequency sound waves of similar but varying frequency combining and creating a lower audible frequency, equal to the difference between the two radio frequencies. The musical potential of the effect was noted by several engineers and designers including Maurice Martenot, Nikolay Obukhov, Armand Givelet and Leon (or Lev) Sergeivitch Thermen the Russian Cellist and electronic engineer.

One problem with utilizing the heterodyning effect for musical purposes was that as the body came near the vacuum tubes the capacitance of the body caused variations in frequency. Leon Thermen realized that rather than being a problem, body capacitance could be used as a control mechanism for an instrument and finally freeing the performer from the keyboard and fixed intonation.


Termen's first machine (shown above), built in the USSR in 1917 was christened the "Theremin" (after himself) and was the first instrument to make use of the heterodyning principle. The original Theremin used a foot pedal to control the volume and a switch mechanism to alter the pitch. This prototype evolved into a production model Theremin in 1920, this was a unique design, resembling a gramophone cabinet on 4 legs with a protruding metal antennae and a metal loop. The instrument was played by moving the hands around the metal loop for volume and around the antennae for pitch. The output was a monophonic continuous tone controlled by the performer. The resonance of the instrument was fixed and resembled a violin string sound. The sound was produced directly by the heterodyning combination of two radio-frequency oscillators: one operating at a fixed frequency of 170,000 Hz, the other with a variable frequency between 168,000 and 170,000 Hz. The frequency of the second oscillator being governed by the closeness of the musician's hand to the pitch antenna.


This Theremin model was first shown to the public at the Moscow Industrial Fair in 1920 and was witnessed by Lenin who requested lessons on the instrument. Lenin later commissioned 600 models of the Theremin to be built and toured around the Soviet Union.


An early version of the Ondes-Martenot



Maurice Martenot a Cellist and radio Telegraphist, met the Russian designer of the Theremin, Leon Termen in 1923, this meeting lead him to design an instrument based on Termen’s ideas, the first model, the "Ondes-Martenot" was patented on the 2nd of April 1928 under the name "Perfectionnements aux instruments de musique électriques" (improvements to electronic music instruments).


A concert version of the Ondes-Martenot

His aim was to produce a versatile electronic instrument that was immediately familiar to orchestral musicians. The first versions looked nothing like the later production models: consisting of two table-mounted units controlled by a performer who manipulated a string attached to a finger ring. This device was later incorporated as a fingerboard strip above the keyboard. Later versions used a standard

The Ondes-Martenot became the first successful electronic instrument and the only one of its generation that is still used by orchestras today. Maurice Martenot himself became, 20 years after its invention, a professor at the Paris Conservatoire teaching lessons in the Ondes-Martenot.


Termen left the Soviet Union in 1927 for the United States where he was granted a patent for the Theremin in 1928. The Theremin was marketed and distributed in the USA by RCA during the 1930's and continues, in a transistorized form, to be manufactured by Robert Moog's ‘Big Briar’ company.



I will be in Uni today from 11.30, so we can start to put some slides together and discuss some stuff about the presentation.


And Tomorrow please everybody could make it to the baseroom at around 10 or 11 to start to and finish the presentation.
Presentation structure

Introduction to the essay
presenting our subject (not defining it) also mentioning our at least 5 published sources.



The context upon the modern music was created, politically, socially and even artistically why the modern composers urged for a change.

Presenting the key ideas, which the composers defended and hat they were trying to show with their music:

-The desire to “make it new.”

The infiltration into the popular

-The use of recording technology for production, not only to create different sounds but also to compose them together and create a piece of work.

-The performance as event, the idea that music didnt have to be only played in a opera house, but it could be played everywhere. Creating a lot of “live” music enjoyed by anyone. Jazz halls, etc.

The key artists from this movement:

( for this part because Earl already researched John Cage he would be a good main reference)

John Cage

Leon Theremin

Edgar Varese


Historical examples:

Poeme Electronique, Edgar Varese

Sound Played by the Theremin

John Cage: Atlas Eclipticalis (1962)

Contemporary Examples:

Sound effects usually used in animations or any other film,etc. e.g. Wall-E ( compare to the theremin)

Live electronic performance or the use of only electronics nowadays to create music via the “computer mixer thingys”

A soundtrack from a science fiction film, in which we can perceive a lot of influence from modern classic music and imaginary landscapes by Cage.
Conclusion

Pointing out our findings and why it was important.

Avant-garde then and now

Before I start, I just want to say, I'm not really a fan of the modern music. But you do what you gotta do.

John Cage '4:33'.

Look at my other post

Alexander Mosolov 'Iron Foundry' from Ballet 'Steel'

Mosolov was an ex soldier that suffered from shell shock and was wounded fighting for Poland. He went on to create music. Mosolov ran afoul of the USSR when he was expelled from 'The union of Soviet Composers'. The music was pulled and he was even said that he wrote a letter to Stalin stating he was a musical outlaw in his own loyal country.



Iannis Xanakis 'Metastaseis'

Xanakis was the first composer to use mathmatical theory to create music. Xanakis is concided to be the influence of electronic music.



Modernish Avant-garde:

The Velvet undeground

The band's lyrics challenged conventional societal standards of the time, and broke ground for other musicians to do the same. The band favored experimentation, and also introduced a nihilistic outlook through some of their music. Their outsider attitude and experimentation has since been cited as pivotal to the rise of punk rock and, later, alternative rock.



Sonic Youth

Some consider Sonic Youth as pivotal in the rise of the alternative rock movement. The band has experienced success and critical acclaim throughout the last three decades, continuing into the new millennium, including signing to major label DGC in 1990, and headlining the 1995 Lollapalooza festival.

Sonic Youth have expressed a wide variety of influences, ranging from the influential protopunk musician Patti Smith to composer John Cage. The band has been praised for having "redefined what rock guitar could do", using a wide variety of unorthodox guitar tunings, and preparing guitars with objects like drumsticks and screwdrivers to alter the instruments' timbre.



Biffy Clyro

The band's sound is characterised by a heavy, yet melodic, mixture of guitar, bass and drums, with all three band members contributing to vocals. They are known for using complex and interwoven guitar riffs, unusual time signatures and chord sequences and melodies that often change throughout songs.

Modernism in Music

I have seen really good research on here, my only concern is the key ideas for the presentation. As we are dealing with modern music, we have to know what the musician/ composers of that time defended and what were they trying to achieve.

I found this really small website, that give us the 4 characterisitics of the movemen, although it does not have any quotations, it gives a clear definition of them and helps us to research the key ideas of the movement.


Four Characteristics


1. The desire to “make it new.” No less than artists and writers, composers and musicians were fascinated by the possibilities of new, previously unheard of modes of expression, new techniques, and new aesthetic as well as cultural effects.


2. The infiltration of the popular. Jazz, kitsch, music hall, operetta, folk songs, nursery rhymes each played a part in helping modernism reconstruct the traditional esoteric “High Culture” musical genres on new modern terms. But if the Jazz of the twenties and thirties is inextricably associated with modernism we must remember too that Jazz has its own modernism. The greatest music of the twentieth century comes out of the horn (the alto saxophone) of Charlie Yardbird Parker.


3. The use of recording technology for production: Conlon Nancarrow and György Ligeti both have produced extraordinary music by composing directly with the means of keeping time and recording or archiving composition.


4. The performance as event. Ligeti’s Poème Symphonique uses 100 pyramid metronomes to produce one of the outstanding modernist works in twentieth century music.
I just found this free e-book, leading with the subject of our research.

it is called

Modern Music and After: Directions Since 1945 by Paul Griffiths and can be found

http://books.google.co.uk/books?id=OYQy92PzNgYC&dq=modernist+music&printsec=frontcover&source=in&hl=en&ei=F2amS4nfO5GUjAeBlojcBQ&sa=X&oi=book_result&ct=result&resnum=12&ved=0CDsQ6AEwCw#v=onepage&q=modernist%20music&f=false

it mentions the different stages from the 1945, the post war period to the 1990 and the computer generated music.
When reading the articles about BB Radiophonic workshop and about the Theremin, I remembered something I watched on the Bonus features of the film Wall-E.

It is a small documentary, where the Famous Sound designer Ben Burtt ( Star Wars, and many other Science fiction films) describes how he gather sounds on the environment, by the use of machines many created by him and others by the old masters of sound effects in Disney. His inventions are quite similar to what we see in Luigi Russolo's inventions where by the power of electricity, metal and other materials the sound effects of a film are created.

I wont be able to embed the video here because it is not available but I will leave the links.
Interesting things:

Part 1- http://www.youtube.com/watch?v=8A6z8QkVHk4

Part 2- http://www.youtube.com/watch?v=Jl7lFPZeIOE&feature=related
(Main source:
Reginald Smith Brindle (1987) The new music: the avant-garde since 1945 ; Oxford University Press ; Oxford)

Avant-garde simply means 'ahead of its time' so when this applies to music there's quite a few examples.

In terms of history, the term 'avant-garde music' is primarily used to describe the post 1945 take on 'Art Music' where more modern conventions were added to keep them 'fresh'.

1945:
The year when the Second World War ended. During the war, musical activity was severely hampered by the march of armies. When Hitler assumed power, composers were forced to flee into exile or seclusion. During this time, well know composers where either forced into poverty or at least lost a majority of there fortune. When the war ended it heralded the return of true music.

The problem was that any composers that remained where favoured by the Nazis, so when there regime fell, others countries looked down and unfavourably towards these favoured musicians. So hopes turned to the likes of the USA and japan for an artistic renewal.

Post War:
Along came John Cage, an American composer, philosopher, poet, music theorist, artist and print maker was a prominent figure in the post war music scene for exploring different avenues of music creation.

'John Cage, the highly inventive, often perplexing avant-garde composer who theorized that music doesn't have to have sound but can be anything that fills a space in time, died Aug. 12 in New York. He was 79.

A spokeswoman for St. Vincent's Hospital in Manhattan said Cage died there after suffering a stroke at his home.

Described by the Encyclopedia Brittanica as "a composer whose work and revolutionary ideas profoundly influenced mid-20th century music," Cage was a guru of modern sound who made voluminous and complicated tracks across the world of music as he defined his challenges to conventional musical wisdom.'

(The Washington post (1992) Avant-Garde Composer John Cage Dies at 79
http://www.highbeam.com/doc/1P2-1020108.html Accessed August 13, 1992)

In 1952, Cage created what he is perhaps most known for: 4;33.



Four minutes of Silence. Cage created this piece to be instantaneous. To give a title to a piece of music that is forever different. Don't think the musicians were not allowed to make a sound, simply that any sound would be part of the music.

'As cage rightly points out, silence is only relative. His recurrent theme is that in an anechoic chamber we do not hear silence, but a pumping of the heart and intoning of nerves, while in a concert hall, on these are imposed inhalations, exhalations, ambient sounds, traffic noises, etc.'
(Brindle 1987; 122)

Cage explores the idea that there is no such thing as silence, simply what we perceive as silence. Cage perceives silence as a sound on one level. 4:33 was a piece crafted with one instruction, 'Tacet' which is Latin for 'it is silent'. A person made add there own perception of silence making it a piece of music that forever changes.
The 4:33:

The piece was created in 1952 for any instrument(s). The instructions given to the performer was to not play the instrument for the duration of the piece.

This is the most significant part of Cages work as and avant-garde composer as it strikes out against the conventions of music of the time by producing no music at all.

Relations and influence on other works:

Punk band 'Crass' used a silent gap very similar to Cage in there song 'They've got a Bomb'. The band stat it is to kill the energy and allow the audience to confront themselves.

John Lennon and Yoko Ono also used some Cage inspired silence in a collaboration called 'Unfinished Music no.2: Life with the Lions. Sporadic silences are placed through out to allow the audience to think.

Rock band 'Soundgarden' created a track called 'one minute of Silence', and it contained just that. It is reported that you can hear the band faintly in the background.

Band 'Covenant' closed there 2000 album with a track called 'You can make your own music' which lasted 4:33.

Japaneses rock duo 'Ruins' included the song '0:33' on there album 'Hyderomastgroningem' which was entirely dedicated to Cage.

In 2009, Petri Purho realised a game called '4 minutes and 33 seconds of uniqueness'. You can only win by being the only person to play it for said amount of time.
What was Cage trying to achieve? Only to produce music that was different. Back in his day, he was simply making music that was different that could inspire people. People of today are trying to do the same thing but maybe with the added bonus of fame and riches.

So all in all, Cage was one of the first people to change the way the world thought of music. No longer did it belong to the big composers of yesterday. If you had an idea that you think will work then nothing should stop you. This echos to today, with people making music of there own and posting it on the Internet for all to see and listen to.

Cage started this by not only thinking outside the box, he smashed it wide open for everyone.

John Cage
September 5 1912 - August 12 1992
(http://www.lyon.edu/webdata/users/jchiaromonte/John_Cage.jpg Accessed on 21 March 2010)

I knew I had heard of the Theremin some where:


(Found at http://www.youtube.com/watch?v=iKtkX29vIjo Uploaded on 30 April 2008)
This is a video from a years back that explores the origin and uses of the Theremin. We can use it for our research.
By the way, I'll look into Avant-garde and post what I find.




The thereminis an early electronic musical instrument controlled without contact from the player. It is named after its Russian inventor, Professor Léon Theremin, who patented the device in 1928. The controlling section usually consists of two metal antennas which sense the position of the player's hands and control oscillators for frequency with one hand, and amplitude (volume) with the other. The electric signals from the theremin are amplified and sent to a loudspeaker.The theremin is associated with a very eerie sound, which has led to its use in movie soundtracks such as those in Spellbound, The Lost Weekend, and The Day the Earth Stood Still. Theremins are also used in art music (especially avant-garde and 20th- and 21st-century new music) and in popular music genres such as rock. Psychedelic Rock bands in particular, such as Hawkwind, have often used the Theremin in their work.

This is cool - it covers everything - the inventor (key persona) the contemporary examples, and those of historical aswell ...and the background - guys, we need to research avant-garde and the experimental music (and Its most famous and influential exponent was John Cage)







1. Overview


This chapter provides a brief look at the technology used at the BBC Radiophonic Workshop from its inception in 1958 to its closure in 1996. For more about the early period or artistic considerations, see The BBC Radiophonic Workshop, The First 25 Years by Desmond Briscoe and Roy Curtis Bramwell, ©BBC, London, United Kingdom, 1983, ISBN 0 563 20150 9.

Introduction

The Radiophonic Workshop began by providing musique concrète material for radio, initially in the field of drama. Using a wide range of equipment, often obtained from other departments, it soon acquired an enviable reputation for the sounds and music that it created for radio and television.

In its early work, under the direction of Desmond Briscoe,

the only available materials were real sounds that were recorded and manipulated using tape machines and other devices. The process was similar to modern sampling, using reverse playback, speed or pitch change, equalisation and reverberation, accompanied by endless skilful editing. Many sources of sound were familiar to drama studios, such as pebbles in boxes, mutilated musical instruments or even an old copper water tank!

The voltage controlled synthesiser of the late sixties caused significant change. Sound and music could now be created immediately, although often only one note could be played at a time! The arrival of multitrack tape recorders in the following decade enabled composers to build up complex layers of material that could be modified as work progressed. During this period the Workshop enjoyed a short period of fame, mainly because of the Doctor Who science fiction series, although it soon retreated into relative obscurity. In the mid-seventies, the department began to expand and took up new initiatives, working on alternative material that wasn’t always strictly ‘radiophonic’.

By the eighties, computer control of digital musical instruments via the Musical Instrument Digital Interface (MIDI), using Macintosh computers, was a reality. This was complemented in the last decade by recording systems based on more advanced computers. The all-digital studio had arrived. However, by the nineties this technology was available to all and the Workshop was forced to close.

The Sixties

Rooms 13 and 14 at the Maida Vale studios were the birthplace of the Workshop. The original tape recorders included small Ferrograph models and the monstrous Motosacoche machines. The latter were particularly difficult to use since these took fifteen seconds for the tape to get up to speed. In later years, Room 13 was devoted to working with film, although some older tape machines remained. These included an early Ampex recorder and an EMI BTR/2, the latter having an extra motorised spool on one side for editing. In addition, there was a Prevost 35 mm film viewing machine and a film editing machine. Much of early work for television was recorded onto ‘sepmag’ film (35 mm wide magnetic tape with sprockets) so that it could be synchronised with a matching picture film.

ROOM AND TECHNOLOGY VTHAT PROVIDED SOUND EFFECTS FOR DOCTOR WHO

For many years Room 12 provided Doctor Who sound effects. It had a specially-built mixing console fitted with ‘continuous’ carbon faders, an innovation for the time, and miniature valve amplifiers. Three Philips tape machines, with inter-linked remote control, provided a comprehensive tape manipulation facility, whilst a Leevers-Rich tape recorder had both ‘continuous’ and ‘chromatic’ tape speed controllers. In addition, an EMI TR/90 tape machine was equipped with the Tempophon, whose spinning head allowed the pitch of a recording to be changed without changing the tempo.

THE TECHNOLOGY USED IN SIXTIES:

Room 11 contained an early transistorised mixing desk. This incorporated ‘Glowpot’ faders, designed by Dave Young, the Workshop’s highly inventive engineer. Traditional BBC ‘stud faders’ (which were switched attenuators) suffered from ‘stud noise’, an effect particularly noticeable on tonal sounds. The Glowpot fader overcame this problem by using a modified stud fader to control the intensity of light-bulbs that in turn, illuminated a pair of light dependent resistors (LDRs) within an attenuator network. The thermal inertia of the light-bulbs effectively eliminated any stud noise.

The sixties saw the first voltage-controlled synthesisers, the biggest of which appeared in Room 10. The Delaware was manufactured by Electronic Music Studios (London) Ltd, more usually known as EMS. This machine was a modified Synthi 100, incorporating a two-level keyboard and numerous elements connected by two ‘virtual earth’ patching matrixes. It also included a real-time sequencer that took analogue control and gate signals from the keyboard, digitised them and stored the data in RAM. This machine’s greatest problem, common to most voltage-controlled synthesisers, was that of VCO frequency drift, usually caused by changes in temperature as the equipment warmed up. A later attempt to replace the Delaware by a new machine, consisting of Ken Gale’s Wavemaker modules, came to an end as new technology, much of it from Japan, began to arrive in the late seventies.

Few other synthesisers were used at this time, apart from the VCS3, also produced by EMS. This highly adaptable and portable machine first appeared in 1968 and was particularly useful for sound effects. It also incorporated a versatile ‘virtual earth’ patching matrix for interconnecting parts of the synthesiser. The later ARP Odyssey, which had front-panel switches for patching, was also popular.

The Workshop’s main source of reverberation or ‘echo’ came from two EMT 140 echo plates. Each consisted of a large box containing a steel plate suspended on springs. Two transducers, one for transmitting sounds to the device and the other for receiving reverberant sounds, were attached to the plate. A remote-controlled servo system adjusted the mounting springs, modifying the reverberation time (or ‘room size’) of the plate: typically, this was set to between two and three seconds.

Alternative reverberation was provided by an echo room, a small area of oblong dimensions with a sloping ceiling. A loudspeaker was positioned at the ‘short’ end whilst a microphone, located at the opposite end, picked up the reverberant sound. In later years a pair of microphones were fitted to give stereo sound. Unlike the plate, the room’s reverb time was fixed at four seconds.

The least successful form of reverberation was provided by the humble echo spring. This incorporated a coiled spring, usually over 200 mm in length, with audio transducers at each end. The results weren’t too impressive, although interesting sounds could be produced by hitting such a device!

The Seventies

By the mid-seventies the Workshop was in the doldrums (depression) , little having changed since the late sixties. The department had developed piecemeal, acquiring rooms along the corridor of the Maida Vale Studios as it went. Apart from Rooms 12, 13 and 14, most studio were converted offices.

By 1974, Rooms 13 and 14 contained a Glensound DK/1 stereo mixing console. Unusually, this mixer had pan-pots (for positioning the stereo image) on each channel fader, allowing the user to ‘pan’ and ‘fade’ a sound simultaneously. This studio also had the first multitrack tape machine, a Studer A80 8-track. A push-button matrix allowed the user to send any sources to any of the multitrack’s inputs. Later, as the Workshop expanded, this installation moved into a new area, Room 36.

The Workshop’s first ‘off the shelf’ mixing desk arrived in 1979. The Neve 8066 was a conventional twenty-channel music console, coupled to a Studer A80 16-track recorder. It was installed in Studio E, part of the original room 13, in time for Rockcoco, a rock musical produced by Paddy Kingsland.

This installation was soon followed by others containing Soundcraft Series 2 mixers that provided eight group outputs, allowing any source to be directed to an 8-track recorder’s inputs. These consoles were installed in Studio C (originally Dave Young’s office) and in Studio F (the original room 10). But these installations were only stop-gap measures, an attempt to catch up on lost time.

Several highly versatile electronic effects devices appeared at this time. These included Roland flangers and phasers that used quasi-digital bucket-brigade devices to introduce delays into audio signals.

The Eighties

During this decade the consumer music industry expanded, giving access to a tremendous range of ‘off the shelf’ products. With a little imagination, sometimes even stretching equipment beyond what the manufacturer envisaged, these devices offered the Workshop unseen new opportunities.

By this time the department was showing signs of serious financial deprivation. Under the hand of Brian Hodgson it at last received the funding it deserved, with one of the six studios being upgraded each year. Once again, Soundcraft consoles seemed the obvious choice.

By 1982, Studio B (the original room 36) and Studio D (Maida Vale’s wartime control room) had Soundcraft Series 1624 mixers, designed for 16-track operation, whilst Studio A incorporated a Series 800 console, providing for 8-track work. Next came Studios C, E and H (the latter converted from a small film theatre) with Soundcraft 2400 consoles, this time with 24-track capacity.

The new mixers completely justified the advantages of low-cost equipment. By using unbalanced audio circuits, instead of ‘broadcast’ transformer-balanced circuits, a very high sound quality was maintained. Consequently transformers were removed from virtually all other equipment.

In 1981, computer technology arrived in the form of the Fairlight Computer Musical Instrument (CMI). This was an adapted minicomputer that incorporated a graphical display and light pen. The CMI outlasted many later ‘top end’ machines, some of which disappeared without trace.

Sequencing

During the early eighties, the music industry launched the Musical Instrument Digital Interface (MIDI), a system for connecting musical devices and computers. MIDI sockets soon appeared on the back of many keyboards and synthesisers. The initial reaction was: ‘what could it be used for?’

The answer was sequencing. This process took a performance from a musical keyboard and recorded it as digital data in a MIDI sequencer. The data could be edited as necessary and subsequently used to play any MIDI instrument. The beauty of the system was that no sounds were recorded on tape: the information was simply held as a computer file that could be updated at any time. Even the choice as to which sound or ‘voice’ was triggered by keyboard actions could be left to the very last moment.

One early sequencer, the Yamaha QX1, provided eight MIDI outputs but required the composer to stare for hours at a small liquid crystal display (LCD). A more important arrival was the Apple Macintosh and associated MIDI interface, first used at the Workshop during 1986. The earliest machine was a Mac Plus, later superseded by the Mac II, IIx and finally the Quadra 900. The Mac’s WIMP (Window Icon Mouse Pointer) environment was ideal for a non-technical musician. In addition, plenty of software for housekeeping and programme documentation was available.

The new range of digital MIDI synthesisers also used completely new techniques, such as frequency modulation (FM), featured in Yamaha’s DX7. Its dramatic and highly musical sounds accelerated the demise of older analogue machines. Many more all-digital synthesisers were soon to follow.

Synchronisation

The Workshop regularly produced material for television, involving the business of synchronising sound to picture. Working with film was fairly easy: the passing picture frames were counted (at a rate of 24 or 25 frames per second) and the time for each ‘cue’ was calculated. Later, the completed sound track could be transferred onto sepmag tape and then played in ‘synch’ with the original picture film. If the two weren’t in step, the sepmag tape and picture film could be ‘slipped’ against each other or edited with a razor blade. However, it was usual to edit the sepmag tape rather than the picture film!

With a new generation of video machines, timecode also could be provided as useful data. In a Video Home System (VHS) machine, one of the stereo ‘hi-fi’ sound tracks carried SMPTE longitudinal timecode, whilst on the later U-matic machines it was conveyed via one of the ‘linear’ sound tracks.

.

A Kit of Parts

By 1987, the explosive growth in technology had made the conventional studio with its large mixing console almost unworkable. The composers found themselves surrounded in a veritable sea of keyboards and ‘effects racks’ bulging with equipment. Clearly a new approach was necessary and this would involve MIDI. One composer, Peter Howell, recognised that the central focus of an ideal studio ought to be a Macintosh computer that controlled all aspects of studio operation. By now, the task of mixing had almost become subservient to the creation and sequencing of sound. Three products appeared that offered a solution to the problem. These were the Yamaha DMP7

Putting these elements together resulted in a trial studio assembled in March of 1988. This required 200 audio cables and considerable effort from Peter Howell, Mark Wilson (Development Coordinator), Ray Riley (Engineer) and Ray White (Senior Engineer). This exciting new studio system was soon in operation, the mixers and matrixes proving their worth. The software, based on HyperCard, was refined as the studio was used and later became known as Cue Card.

Conclusion

New digital samplers and other devices allowed the Workshop to finally return to its tradition of making sounds from those of the real world, so reopening a vital repertoire for musical composition. During a period of electrifying developments, the Workshop had remained at the ‘sharp end’ of the industry. But in the final analysis, whatever technology had to offer, an artistically creative production could only come from the imagination, skill and endless patience of the composer.

©Ray White 2001.

http://whitefiles.org/rws/r01.htm

As I understood after having read this article - this was the time and the place , when technology developed from scratch ("only one note could be played at a time) to heights when it continuously offered something new for the industry, but problems such as controll over the devices and actually producing what was intended appeared.


SO this could be our... 2nd or 3rd stop in the timeline,but I think,linke in the time machine of advertisment , we still need to cover where the need for such processes came from.


The development and progression of live music performance

Hey guys, this is just a few links for you to check out, get yourself asserted with some dates, terms and people who were involved with this progression.
have a read/watch
and we'll talk in depth about how to contextualise it when we can all get together.




this is called a vst

http://en.wikipedia.org/wiki/Virtual_Studio_Technology

and this link is a insight in to what a vst is...in a nutshell, its a synthesizer, like the big loud boxes, but its virtual, all done on the computer
this is the latest wave of digital music production along with...




this is a DAW...digital audio workstation

http://en.wikipedia.org/wiki/Digital_audio_workstation

this is again a link for a bit more insight, but again, in a nutsehll, a DAW, eliminates the use for a hard mixing desk, and allows total control through just a computer. it can be used to sequence midi and audio together, to create totally innovative music!


both of the above, are the latest (although have been around for the past decade or so) in digital audio production.
these are now industry standard tools, however, because of their 'availability' in combination with the Internet, it has made music production & even distribution far more accessible to anybody! in other words, guys like me or you could come up with a piece, and sell it in the same day.
is this ruining music? lets have more music and less industry!?

anyway
going back from here

http://en.wikipedia.org/wiki/Sine_wave

the understanding of digital music was even as far back as 1822, when the sounds made by instruments were read as waveforms: this was pivotal in the development of digital music, as combining several waveforms on something known as an oscillator, allowed for sounds never even imagined to be created.




this was shown in last weeks lecture, and was one of the first pieces of digital music composed, listening to it, it is a haphazard mix of square, ramp, and sine waves but groundbreaking at the time.

compare this with something like ...



a piece comprised of EXTREMELY complex waveforms, likely ranging in the several hundred range, believe it or not, even the drums are digital!

now its literally a case of filling in some middle ground, if we can do this all together, and just come up with something ranging from 'pomeme' to 'fools' fill in the space between...and come up with something together.

really we need to be talking about the impact that music has had on the public as it changed, if any?

William Wordsworth’s (Comparison to Victor)

William Wordsworth’s 19th century poem ‘Tintern Abbey’ explores the pleasures to be found in nature. As mature narrator, William Wordsworth, uses the power of memory and literary devices to view the Wyre Valley’s natural beauty. Techniques such as sibilance and metaphors aid in contrasting Wordsworth’s newfound perspective on nature with his attitudes to nature in his youth. Wordsworth also uses memory to compare this natural scene with the ‘din’ of the city where we can assume he also spent time, Wordsworth finally examines the deep pleasures of nature and it’s spiritual element – that is god, and his connection with nature and humanity. This is an element of the poem not aided by memory but instead reflects the social and historical context of the Romantic Era. To conclude Wordsworth shares his thoughts with his sister in an attempt to spiritually educate her.

The poem opens with a reference to time. The way the word ‘five’ is repeated emphasises that a period of time has passed but has not passed quickly, and suggests weariness in the narrator. The repetition also gives the opening a rolling rhythm, which is echoed in the ‘rolling’ waters and their ‘soft inland murmur’. This section concentrates on images of restfulness and peace. Wordsworth continues to use vivid imagery to describe the Wyre Valley. The view he describes is that of ‘pastoral farms’ and the imagery is very domestic. The ‘plots of cottage-ground’ and their ‘orchard-tuffs’ suggest smallness and neatness; the green colour of the landscape suggests fertile land suited to agriculture. Finally the sibilance in’ wreaths of smoke… sent up in silence’ allows a visual aid of smoke as the movement echoes the visual action of smoke. This emphasizes the presence of humans in nature, a common theme in ‘Tintern Abbey’.

Wordsworth argues that a ‘quiet eye’ can only be achieved by the mature individual, rather than someone of restless youth. The comparison begins when a younger version of Wordsworth is introduced {His sister}, and with it the idea of change. Her youth is emphasised as she reminds him of ‘former pleasures’ in her ‘wild eyes’. The repetition of the adjective wild is often used to describe her – this illustrates the juxtaposition of the two states of maturity. Wordsworth states that he was once like a ‘roe’, energetically leaping about the countryside but not really engaging with nature on a spiritual level. As an older man, this is what he now sees as important. Wordsworth uses the phrase “elevated thoughts’ when describing his mature view of the countryside. This communicates the epitomy of Wordsworth’s poem and that of many literary pieces written in the Romantic era.
Victor Hugo was a French poet, playwright, novelist, essayist, visual artist, diplomat, human rights campaigner, and one of the greatest writers of all time. His best-known works are the novels Les Misérables and Notre-Dame de Paris.


Victor-Marie Hugo was born on February 26, 1802 in Besançon, France. He was the third and last son of Joseph Léopold Sigisbert Hugo and Sophie Trébuchet. His brothers were Abel Joseph Hugo and Eugène Hugo.

After his parent’s separation, he lived with his mother in Paris. He attended the Lycée Louis-le Grand there. During this time, he developed a passion for writing. This passion would remain with him throughout the rest of his life.

Victor Hugo fell in love with his childhood friend Adèle Foucher. The two became secretly engaged because Victor’s mother disapproved Adèle. After his mother’s death, Hugo felt he was free to marry whomever he wanted to marry. The two married in 1822. They had their first child Léopold in 1823, but the child in infancy. The couple had four other children. Léopoldine was born on August 28, 1842; Charles was born on November 4, 1826; François- Victor was born on October 28, 1828; and Adèle was born on August 24, 1830.



Most of the writers of Victor Hugo’s generation were experimenting with the literary movement of Romanticism. Hugo was influenced by the famous figure of this movement, François- René de Chateaubriand. His works were profound and were heavily filled with passion. He wrote about experiences he had.



Because of his passion and eloquent writing style, his early work brought him fame and fortune. His first collection of poetry was Nouvelles Odes et Poésies Diverses that was published in 1824. Louis XVIII recognized Hugo and gave him a royal pension. Two years later, he published Odes et Ballades in 1826. In this set of poetry, Hugo was recognized for being a great poet, and natural lyricist.


Victor Hugo published his first novel, Han d'Islande, in 1823. He published his second novel, Bug-Jargal, in 1826. Between 1829 to 1840, he published five more volumes of poetry, which were the following: Les Orientales, Les Feuilles d‘Automne, Les Chants du Crépuscule, Les Voix Intérieures, and Les Rayons et Les Ombres.

His first mature work was published in 1829. Le Dernier Jour d'un Condamné has had a profound influence on writers including Albert Camus and Charles Dickens. Hugo’s first full-length novel was Notre-Dame de Paris in 1831. The novel was enormously successful in Europe. It was quickly translated into other languages. The novel also attracted thousands of tourists to the Cathedral of Notre Dame because that was the setting of the novel.

In the 1830s, Hugo began planning to write a novel about social misery and injustice. It took him seventeen years to complete his most profound work, Les Misérables. It was finally published in 1862. The book was sold in installment. The first installments of the books sold out within hours. The book had an enormous on French society.



In his next novel, Les Travailleurs de la Mer, Victor turned away from social and political issues. The novel was well received because of Hugo’s popularity and the success of the first book. In his next novel, L'Homme Qui Rit, he returned to writing about political and social issues. This book painted a picture of the aristocracy. However, this book was not as successful as the others were. His last novel, Quatrevingt-treize, was published in 1874. This novel was different then all others because the subject was Reign of Terror during the French Revolution.

Many people are not aware of this, but Victor Hugo was also a talent artist. He produced more than 4,000 drawings during the course of his life. At first, this was a hobby for Hugo, but it eventually became another way to vent his feelings.

He kept his artwork out of the public eye because he feared it would overshadow his literary work. However, he enjoyed sharing his drawings with his family and friends. He sometimes would give his artwork as gifts. Some of his work was shown to Van Gogh and Delacroix. The two said if he had become a painter instead of a writer, he would have outshone the artists of their century.

In 1841, Hugo was elected to the Académie française. Afterwards, he became increasingly involved in French politics. He was a supporter of the Republic form of government. He entered the Higher Chamber as a pair de France, where he spoke against the death penalty and social injustice, and in favor of freedom of the press and self-government for Poland. In 1848, he was elected to the Legislative Assembly and the Constitutional Assembly.

In 1851, when Napoleon III seized complete power and established an anti-parliamentary constitution, Hugo declared him a traitor of France. After speaking out, he fled to Brussels, then Jersey, and finally settled with his family on the channel island of Guernsey at Hauteville House. He lived in exile until1870.

Victor Hugo had a great impact on the music world. His works have inspired people from the 1800s until the present day and have helped create over one thousand musical compositions. Some of the plays that are result of Hugo’s inspiration are the following: Rigoletto, Ernani, La Gioconda, Notre-Dame de Paris, Les Misérables, and Lucrezia Borgia.

When Hugo returned to Paris in 1870, the country hailed him as a national hero. Within a brief period, he suffered a mild stroke. His daughter Adèle’s was put in an insane asylum, and he two sons died. His other daughter, Léopoldine, had drowned in a boating accident in 1843, and his wife Adèle had died in 1868.

Despite his personal loss, Hugo remained committed to the cause of political change. On 30 January 1876, Hugo was elected to the newly created Senate. His last years in politics were a failure. He did not accomplish anything.

In February of 1881, Hugo celebrated his 79th birthday. To honor the fact that he was entering his eightieth year, there was a celebration. The celebrations began on the 25th when Hugo was presented with a Sèvres vase, the traditional gift for sovereigns. On the 27th, one of the largest parades in French history was held. Marchers stretched from Avenue d'Eylau, down the Champs-Elysees, and all the way to the center of Paris. The marchers marched for six hours to pass Hugo as he sat in the window at his house.

On May 22, 1885, at the age of 83, Victor Hugo died. The cause of death was old age. He was not only remembered as a prominent figure in French literature, but also internationally as a diplomat who had helped preserve and shape the Third Republic and democracy in France. More than two million people joined his funeral procession in Paris from the Arc de Triomphe to the Panthéon, where he is buried.

Today, Hugo’s work continues to be popular. His works continue to be inspirations for playwrights and musicians. One of the biggest blockbuster musicals is Les Misérables, which is based on his book, remains popular. In 1996, Disney created an animated film based on his book, Notre-Dame de Paris. Hugo’s novel against capital punishment, Le Dernier Jour d'un Condamné, has recently been adapted into an opera by David Alagna (libretto by Frédérico Alagna). Their brother, tenor Roberto Alagna, performed in the opera’s premiere in Paris in the summer of 2007 and again in February 2008 in Valencia with Erwin Schrott as part of the Festival international Victor Hugo et Égaux 2008.
ok, me and Jolanta finished the presentation this after, adding some of your notes....

I will be sending it by email, so you can have a read through a present it tomorrow,

one last update, on my voice it is still the same, and muscular pains are coming also, even though, I may not be able to speak I will be there in person :) hopefully :S

Figure 1: Derby, Joseph Wright of, 1773,The Hermit Studying Anatomy. Found at:

http://www.tms.org/pubs/journals/JOM/0706/fig6.jpg (Accessed on 17/02/10)

Earl Illistration list

Illustration list:

Slave Ship
http://www.chrishankey.co.uk/news/wp-content/uploads/2008/08/JMW%20Turner%20Slave%20Ship%20Slavers%20Throwing%20Overboard%20the%20Dead%20and%20Dying%20Typhoon%20Coming%20On%201840.jpg
(accessed on Augest 11th 2008)

All Star Trek/X-Men/Transformers concept art
http://www.jamesclyne.com/
(Last accessed on May 26th 2009)

William Turner Portrait
http://upload.wikimedia.org/wikipedia/commons/c/cd/Joseph_Mallord_William_Turner_083.jpg (Accessed on May 21st 2005)

Calais Pier
http://upload.wikimedia.org/wikipedia/commons/e/e2/Joseph_Mallord_William_Turner_024.jpg (Accessed on May 21 2005)

Chichester Canal
http://upload.wikimedia.org/wikipedia/commons/5/52/Chichester_canal_jmw_turner.jpeg
(Accessed 7 April 2009)

Rain, Steam and Speed
http://upload.wikimedia.org/wikipedia/commons/3/35/Rain_Steam_and_Speed_the_Great_Western_Railway.jpg (accessed on July 25th 2006)

The Shipwreck of the Minotaur
http://upload.wikimedia.org/wikipedia/commons/2/2e/Shipwreck_turner.jpg
(Accessed on June 27 2006)

The Fighting Temeraire tugged to her last Berth to be broken
http://upload.wikimedia.org/wikipedia/commons/9/94/Turner%2C_J._M._W._-_The_Fighting_T%C3%A9m%C3%A9raire_tugged_to_her_last_Berth_to_be_broken.jpg
(accessed July 23rd 2009)

And I believe thats it.

A Comparison:
Just looking at the two images you see the comparison. The way the vast structures loom in the background, the way the light etches over the environment. There's also a significant portion of both images where there is the source of light and where there is darkness. With the concept art, the structure looms under a canvas of rocks as the sunlight drapes into the structure. Turners work is similar (but a lot more classic). The slave ship sits in the distance, once again in the dark. The only difference is that the light source is in the center of the image. Turner was labeled as 'the painter of light' and it shows in his work. The main comparison between the two is defiantly the use of light.
As you know we were able to almost finish our presentation the only thing missing is really compare the 2 works , historical and contemporary.

So based on the artists you research

Earl- William turner in comparison to concept art of nowadays

AJ- Victor Hugo in comparison to a contemporary writer

Ruben- Beethoven in comparison with soundtrack of star trek, and Illustration List.

Jolanta- Bibliography

Elliot- just post something related to your artist.


Mainly, you will use what you learned from your research and just compare them 2. A couple of sentences As, I did with beethoven. explaining how you can see influence in their works. And that's it everything is at its last days and everything is going ok together, I will meet Jolanta tomorrow at 10.30 and we go through the presentation and we email it to you so you can "study" it for the presentation.

Earl- just post the 2 examples you think can be related. I have 2 you can use them or not, it's up to you.



give me the websites and the name of the paintings etc. for the Illustration list.
Beethoven

Gofthe


William Turner


Victor Hugo


James Clyne - Similarity

I have never heard of James Clyne before but boy oh boy. Am glad I have now. Not only are his images glorious, but he has worked on some great films (Star Trek, X-men, Transformers). Lets take a look and compare them to Turners work and how 'Romantic' it is:
Star Trek:





Transformers:





X-men:







As we can see throughout his images, Clyne uses light in very provocative ways to get the point and epicness of the image across. Turner was considered 'The painter of Light' and was one of the pioneers of this technique. Clyne has clearly taken this on board and used it to express his images.
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