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Composer's Series I: Gordon Mumma

Discussion in 'Channel Zero' started by BROWNer, Nov 10, 2002.

  1. BROWNer

    BROWNer Guest

    *disclaimer: this post has no no historically based chronological
    relevancy, just a dope folgey who fucked shit up.
    due to the nature of this post, depending on any show of
    interest and whatnot, this may or may not be the only
    post regarding ill composers of any nationality i feel deserve
    12oz fame. this choice also holds no relevancy, he just
    happens to have some good material for a thread at this time.


    Gordon Mumma (born 30 March 1935, in Framingham, Massachusetts) studied piano and horn in Chicago and Detroit, and began his career as an active horn player in symphonic and chamber music. _From 1953 to 1966 he lived in Ann Arbor, Michigan, where he co-founded with Robert Ashley the Cooperative Studio for Electronic Music and the now-historic ONCE Festivals of Contemporary Music. _From 1966 to 1974 he was, with John Cage and David Tudor, one of the three composer-musicians with the Merce Cunningham Dance Company, for which he composed four commissioned works. _From 1966 he also performed with the Sonic Arts Union, whose members included Robert Ashley, David Behrman, and Alvin Lucier. He has also collaborated with diverse artists such as Tandy Beal, Anthony Braxton, William Brooks, Chris Brown, Marcel Duchamp, Fred Frith, Toshi Ichiyanagi, Jasper Johns, Jann McCauley, Pauline Oliveros, Yvonne Rainer, Tom Robbins, Frederic Rzewski, Stephen Smoliar, Stan Van Der Beek, William Winant, and Christian Wolff.

    Mumma has made concert tours and recordings in North and South America, Japan and Europe. His writings on the contemporary performance arts and technology are published in several languages. _His best-known engineering design was for an electronic music live-performance system at EXPO-70 (Osaka, Japan) in collaboration with David Tudor.

    Mumma has been on the faculties of the University of Illinois, the Ferienkurse für Neue Musik (Darmstadt, Germany), and the Cursos Latinoamericanos de Música Contemporánea (Buenos Aires, Montevideo, and Santiago, R.D.). _From 1975 to 1994 he was Professor of Music at the University of California, Santa Cruz, and a visiting Professor at the University of California, San Diego, in 1985 and 1987. __At Mills College in Oakland, California, he was the Darius Milhaud Professor in 1981, Distinguished Visiting Composer in 1989, and the Jean Macduff Vaux Composer-in-Residence in 1999.

    Mumma’s musical compositions include works for acoustical instruments (mostly solo piano, and chamber music), as well as for electronic and computer resources. _His commissions include works for Radio Bremen (Germany), the Biennale di Venezia, the New York State Arts Council, Oberlin College, the San Francisco Conservatory of Music, the Oregon Arts Council, the National Endowment for the Arts, and the San Francisco Contemporary Music Players. _In 2000 he received the biennial John Cage Award from the Foundation for Contemporary Performance Arts.

    The most recent recordings of Mumma's music include:

    [1] STUDIO RETROSPECT (Lovely Music LCD 1093), a selection of his pioneering electronic-music studio-compositions from the 1960s to the 1980s. _

    [2] LIVE ELECTRONIC MUSIC (Tzadik TZ 7074), a selection of his live-electronic music performances from 1963 to 1986. This CD includes his performances with Robert Ashley, George Cacioppo, William Ribbens, David Tudor (in the classic MESA, 1966), William Winant (in THAN PARTICLE, 1985), and the first complete recording of HORNPIPE (1967).

    Forthcoming is a CD of his live-electronic music for theatre-ensembles, including the classic MEGATON FOR WM.BURROUGHS (1963), and CYBERSONIC CANTILEVERS (1972-73).


    http://brainwashed.com/mumma/mp3/MSM63.mp3('63)
    http://brainwashed.com/mumma/mp3/venezia.mp3('64)
    http://brainwashed.com/mumma/mp3/dresden.mp3('65)
    http://brainwashed.com/mumma/mp3/Horn.mp3('65)
    http://brainwashed.com/mumma/mp3/Mesa.mp3('66 with cybersonic console)
    http://brainwashed.com/mumma/mp3/HP.mp3('67)
    http://brainwashed.com/mumma/mp3/echo-d.mp3('78)
    http://brainwashed.com/mumma/mp3/pontpoint.mp3('80)
    http://brainwashed.com/mumma/mp3/epifont.mp3('84)
    http://brainwashed.com/mumma/mp3/TP.mp3('85)
    http://brainwashed.com/mumma/mp3/retrospect.mp3('59-'82)
    http://brainwashed.com/recordings/sounds/g...palindromes.mp3('??)


    http://www.brainwashed.com/mumma/images/GM&PO.jpg'>
    Gordon Mumma and Pauline Oliveros, playing duo bandoneons in a Santa Cruz rifle range. Mid 1980s.
    [img]http://www.brainwashed.com/mumma/images/SAU2.jpg'>
    The SONIC ARTS UNION: Gordon Mumma, Alvin Lucier, David Behrman, and Robert Ashley, NYC 1968
    [img]http://www.brainwashed.com/mumma/images/AB.LJ.GM.jpg'>
    Anthony Braxton (saxophone), Leroy Jenkins (violin), Gordon Mumma (horn)
    NYC, November 1970
    [img]http://www.brainwashed.com/mumma/images/JCGMnyc.jpg'>
    John Cage and Gordon Mumma (radio broadcast at WBAI-FM, NYC, 1970.)
    [img]http://www.brainwashed.com/mumma/images/HP.GM.jpg'>
    Mumma and his cybersonic horn..Metropolitan Museum of Art.
    New York City, 1972
    [img]http://www.brainwashed.com/mumma/images/GM.CW.CC.jpg'>
    Gordon Mumma, Christian Wolff, and Cornelius Cardew
    [img]http://www.brainwashed.com/mumma/images/Once4.150co150.jpg'>
    A screen-modified group-rate advance-ticket-request, by Mary Ashley, for the 1964 ONCE Festival in Ann Arbor, Michigan
    [img]http://www.brainwashed.com/mumma/images/RA.GM.jpg'>
    Gordon Mumma and Robert Ashley, at Ashley's section of the Coopertive Studio for Electronic Music, 1960
    [img]http://www.brainwashed.com/mumma/images/DT.GM.jpg'>
    David Tudor and Gordon Mumma in the recording session of MESA, at the 30th Street NYC CBS studios, in 1967(i have this record..illness...the full title is MESA: for Cybersonic Bandoneon)

    .
     
  2. TEARZ

    TEARZ Guest

    great stuff my friend, thank you...
    btw, i love seeing older pics of my man braxton back in the day. pics are a bonus, thanks.
     
  3. BROWNer

    BROWNer Guest

  4. 150's~

    150's~ Guest

    Mumma and his cybersonic horn..Metropolitan Museum of Art.
    New York City, 1972 Imagine some cat doing that kind of artwork now aday. You dont hear about much of those beatnik cats in the mainstream. I would check the book out, but maybe some other kid will.
     
  5. effyoo

    effyoo Elite Member

    Joined: Sep 2, 2002 Messages: 4,703 Likes Received: 0
    Wow, I shouldn't have been avoiding this thread. Good stuff.
     
  6. TEARZ

    TEARZ Guest

    much deserved bump.
    why the "ha" my friend?
     
  7. BROWNer

    BROWNer Guest

    okay, last bump.
    tearz, nothin' against you bro.
    i knew it would flop.
     
  8. socrates

    socrates Guest

    This thread is intelligent and well thought, I 'm sorry it has no place here
     
  9. The illness as usual... and as usual I ask, how do you find out about these people? Seems like there's been so much serious electronic music created this century, but we never get to hear any of it, which I guess is because electronic music is constantly being disregarded as valid and serious.

    He worked with Duchamp, that's all I need to know to reconnizzze. Beer,

    El Mamerro
     
  10. Weapon X

    Weapon X 12oz Loyalist

    Joined: Sep 6, 2002 Messages: 14,905 Likes Received: 202
    i'm sure he's very talented, and he may have done a lot for electronic music, but I listened to all them mp3s...so the jokes on me, right?
     
  11. BROWNer

    BROWNer Guest

    mamerro, i'll try to keep the nerdism brief: i lifted 'mesa' from my
    main branch library back in '93 and freaked. also on that record is
    a christian wolff piece and a piece by mauricio kagel. on top of that,
    david tudor plays most of the pieces, with the mumma piece a collab.
    all of these guys are big players in the last century of experimental music.
    tudor is famous for his collab's with john cage. at the time i found this
    record i was also diggin' a whole bunch of other shit...from the same
    library i also ripped off a copy of stockhausen's 'kontakte' which kicked
    my ass hard, and alot of his other records, some more traditional serialism type
    shit, but others that were strictly weirdo electronics like kontakte (eg. gesang der jungelinge etc.(<both sick)). also i was
    borrowing alot of ligeti, some boulez, some steve reich and terry riley minimalism type shat, some shoenberg, harry partch, ives(another record i ripped off...haha, woopsy). plus
    i was spending money like crazy on records at shops too. at the time i was heavily into john zorn among other stuff, which right there opened a huge avenue of stuff to check out, some of which led me back to the mumma record(zorn is a big kagel freak). also i was getting into alot of sound sculptors and musique concrete shit. blahblah, you get the gist.
    its just networking bits of info and pulling it together. i knew tudor and cage were pally's, and i'd been down with cage for a few awhile already and was blown away, so when i saw this record i figured, why not? i already knew cage was one of
    the illest dudes ever...
    i also got a few books out on cage, stockhausen and a few other composers.
    one of them was braxton who was on the periphery of our listening....i tried to
    read some of his theoretical shit......hahaha, way over my head. tearz, have you
    tried to read his stuff? i should try again now........anyhow,
    in them you'll find alot of names gettin' dropped. from there you can
    network and patch together your own base of knowledge.
    plus all my boys were fiends like me as well, so all the shit they were
    finding and checking out, i was too. before you know it you've got a huge
    possibility of cataloguing a ton of ill shit and actually hearing the stuff you've
    read about and seeing if its really any good...and it all happened to be tough shit. its like anything, once you're really interested
    in something, usually you'll find all sorts of avenues to find out more about it. the
    library was great, but also scouring obscure magazines and journals, also the back of
    records is great. there's all sorts of ways to find out about shit.
    what a fucking nerd. i'm stopping.
     
  12. http://newcamp.net/hector/images/12oz/thumb.gif'>

    ^I made that thumb specifically for your appreciation thread, and I'm gonna have to bust it out again...

    I should seriously start a Browner fund over here, and get you a CD burner and any other equipment necessary for you to make me an assload of mixes. Beer,

    El Mamerro
     
  13. BROWNer

    BROWNer Guest

    hahaha, thanks, i wish man.....
    i'd say i'll make you some mixes bro, but as tearz
    and others can confess, i'm terrible at coming through
    with the promised goods.
    i'll hook you brothers up with another thread like
    this soon.
     
  14. TEARZ

    TEARZ Guest

    again to reiterate mammerro's thumb up (ps thanks mam for the recommendations)... browner, keep the faith, your contributions do not fall on deaf ears. all of my threads flop too.
    that tape i'm sure will come through some day. just like mine. :)
    braxton's stuff.... yeah, i've read a lot of it. it's terribly hard to read, but i will say this... it's much easier to understand if you know the dude. when you first hear the guy speak, he really sounds kind of like many mentally ill homeless people speak (god that sounds awful, hopefully you'll know what i mean and i say this in a referential compassionate way...)- all over the place with ideas- he makes up words and he more importantly he makes up his own structures for understanding music and concepts. after a while, you begin to see how these structures work, and it's frightening how hyperrational and perfectly logical and insightful are these braxtonisms that at first make you chuckle with skepticism. man, i wish i could communicate this in person, it's far too much to type, but i assure you that browner, you would absolutely shit yourself with the braxton anecdotes that i could tell you.
    perhaps for fun i could break out one of my old notebooks from my time with braxton and bless you with some quotes...oh man...
     
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