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Cardew Cornelius:     more books (39)

Cornelius Cardew: A Life Unfinished by John Tilbury, 2008-10 Cornelius Cardew: Play for Today by Andrea Phillips, Adrian Rifkin, et all 2009-11-01 Cornelius Cardew: A Reader by Cornelius Cardew, 2006-08 Stockhausen serves imperialism, and other articles: With commentary and notes by Cornelius Cardew, 1974 Scratch Music Treatise by Cornelius Cardew, 1967 Artiste Contemporain Britannique: Cornelius Cardew, Gilbert et George, Banksy, David Mach, Lynn Chadwick, Mac Adams, Richard Hamilton (French Edition) British Communists: J. B. S. Haldane, Kim Philby, Jessica Mitford, C. L. R. James, Cambridge Five, Cornelius Cardew, Alexei Sayle Britischer Komponist: Elton John, Andy Summers, Van Morrison, Chris Rea, Oliver Wallace, Lawrence Casserley, Cornelius Cardew, Karl Jenkins (German Edition) People From Winchcombe: Catherine Parr, Thomas Seymour, 1st Baron Seymour of Sudeley, Cornelius Cardew, Jack O'newbury Hochschullehrer (Royal Academy of Music): Ernst Pauer, Cornelius Cardew, Norma Winstone, William Alwyn, Oren Marshall, Michael Garrick (German Edition) Cornelius Cardew (1936-1981): A Life Unfinished.(Cornelius Cardew: A Reader)(Book review): An article from: Notes by Tom Bickley, 2010-06-01 Compositeur Contemporain Britannique: Elisabeth Lutyens, Malcolm Arnold, Richard Rodney Bennett, Kenneth Leighton, Cornelius Cardew (French Edition) Music and Musicians From Gloucestershire: Gustav Holst, Brian Jones, Greenbelt Festival, Joe Meek, Cornelius Cardew, Pigbag, Jaz Coleman

lists with details

61. On Indeterminate Notation - John Tilbury Celebrates Cornelius Cardew's Experimen
    On indeterminate notation John Tilbury celebrates cornelius cardew s experimental scores at COMA Contemporary music making for amateurs.  
    http://www.coma.org/article_2.htm
    
    Extractions: News Articles John Tilbury celebrates Cornelius Cardew's experimental scores "Notation is a way of making people move", Cornelius Cardew once wrote. 'Making' was perhaps an inappropriate choice of word; it was, certainly, never in Cardew's philosophy to make people do anything. But in the fifties the relationship between composer and performer had become a coercive one: play this loud, play that louder, do this quickly, wait, stop. Notations had become a sequence of commands constituting the composer's control strategy. Inspired by the writings and compositions of John Cage, the experimentalists freed the performer from his incarceration by the serialists, restoring the mutuality of the relationship between composer and performer; the American composer Christian Wolff, for example, notates not what to play, but how to play. Cardew's notations from the sixties - Autumn 60, Solo with Accompaniment, Memories of You, The Great Learning and, in particular, the mammoth Treatise, are always challenging, never prescriptive: like seeds embedded in their environment, they depend on the surrounding soil - the contemporary musical climate, the individual performers - for survival and nourishment. The composer David Bedford wrote: "Speaking as a performer in many of Cardew's early works, it must be said that the experience was totally rewarding. Our creativity was constantly being challenged, and the empathy of the performers, channelled into producing a coherent piece of music despite sometimes sketchy and sometimes paradoxical instructions, was often remarkable. It should be pointed out that none of Cardew's works ever gave total freedom to the performer. The instructions were a guide which focused each individual's creative instinct on a problem to be solved - how to interpret a particular system of notation using one's own musical background and attitudes."

62. Cornelius Cardew:The Great Learning At COMA, Contemporary Music Making For Amate
    COMA Music Library piece The Great Learning by cornelius cardew for Flexible limits on instruments classified as. The Great Learning - cornelius cardew.  
    http://www.coma.org/cgi-bin/library.pl?item=420

63. Sonomu: The Great Learning By Cornelius Cardew CD Album
    feedback queries. for general site comments, queries and feedback. The Great Learning. artist cornelius cardew label Organ of Corti CD Album.  
    http://sonomu.net/release/~thegreatlearning/

64. L'Oeil électrique #31
    Translate this page cornelius cardew AMM, Formanex. Le présent disque a été enregistré en concert en juin 2002, lors du vingtième anniversaire  
    http://oeil.electrique.free.fr/chronique.php?numero=31&articleid=196&rubrique=di

65. OOPS! - ¥¢¡¼¥Æ¥£¥¹¥È ¡§ Cornelius Cardew ¡¡( ¥³¡¼¥Í¥ê¥�
    The summary for this Japanese page contains characters that cannot be correctly displayed in this language/character set.  
    http://www.oops-music.com/info/view.html?oid=17036

66. NewMusicBox- The Web Mag From The American Music Center Covering New American Mu
    Issue 55 Vol.5, No.7, November 2003. In the 3rd Person Making Marx in the Music. cornelius cardew. cornelius cardew. No other 20th  
    http://www.newmusicbox.org/page.nmbx?id=55tp01

67. Cornelius Cardew : Biographie - Médiathèque De L'Ircam © 2004
    Translate this page cornelius cardew biographie du compositeur, catalogue des oeuvres, disques, sites internet. cornelius cardew biographie  
    http://brahms.ircam.fr/textes/c00000447/

68. Cornelius Cardew : First Movement For Sting Quartet - Médiathèque De L'Ircam �
    Translate this page First Movement for Sting Quartet de cornelius cardew note de programme, instrumentation, enregistrements, partition.  
    http://brahms.ircam.fr/textes/c00000447/n00002930/

69. Cornelius Cardew's We Sing For The Future
    cornelius cardew We Sing For The Future! Frederic Rzewski, piano. cornelius cardew—We Sing For The Future! Twenty years  
    http://www.otherminds.org/shtml/Cardewcd.shtml
    
    Extractions: Twenty years on, Cardew's music still provokes controversy. Even amongst his many admirers, his later 'political' music in particular creates unease and perhaps misgivings. The relation of the music to its 'programme' and to the lofty aims it purports to serve is problematic enough, so let us remind ourselves what Cardew himself wrote about this music in the seventies: "I have discontinued composing music in an avant-garde idiom for a number of reasons: the exclusiveness of the avant-garde, its fragmentation, its indifference to the real situation in the world today, its individualistic outlook and not least its class character (the other characteristics are virtually products of this). "We Sing For The Future is a composition based on a song. The song is for youth, who face bleak prospects in a world dominated by imperialism, and whose aspirations can only be realised through the victory of revolution and socialism. In the framework of a solo piano piece lasting about 12 minutes, something of this great struggle is conveyed. The music is not programmatic, but relies on the fact that music has meaning and can be understood quite straightforwardly as part of the fabric of what is going on in the world."

70. Alapage.com - Plus De 3 Millions De Produits Culturels Et De Loisirs
    Translate this page Patchen - The great learning (Digipack) - HELMUT FRANZ, NDR CHOR - DAVID BEDFORD, cornelius cardew - MUSIQUE VOCALE PROFANE DU 20è SIECLE - CD Prix alapage  
    http://www.alapage.com/b_CORNELIUS CARDEW_L_2_DAGOOGL.html

71. Cornelius Cardew - InformationBlast
    cornelius cardew Information Blast. cornelius cardew. cornelius cardew (1936–1981) was an English avant-garde composer, and founder  
    http://www.informationblast.com/Cornelius_Cardew.html
    
    Extractions: Cornelius Cardew ) was an English avant-garde composer , and founder (with Howard Skempton and Michael Parsons) of the Scratch Orchestra, an experimental performing ensemble. He is notable for Treatise , a purely psychologically interpreted score. Wikipedia is available under the terms of the GNU Free Documentation License

72. Waggish: Graphic Scores: Cornelius Cardew And Barry Guy
    Graphic Scores cornelius cardew and Barry Guy. The Block Museum has a nice intro to the Voynich Manuscript of music, cornelius cardew s Treatise.  
    http://www.waggish.org/2003/01/graphic_scores_cornelius_cardew_and_barry_guy.htm
    
    Extractions: 11 Ways to Proceed Main The Block Museum has a nice intro to the Voynich Manuscript of music, Cornelius Cardew's Treatise My favorite version that I've heard, if it actually is a version, is AMM's The Inexhaustible Document (that would be Treatise ), which spends over an hour on "Page 9." For somewhat less cryptic graphic scores, take a look at Barry Guy's stunning work Posted by waggish at January 16, 2003 11:57 PM

73. Cardew At Product-Magazine
    cornelius cardew composer page for composer cornelius cardew British Composers Project. cornelius cardew. Japanese.  
    http://www.product-magazine.co.uk/cardew.html
    
    Extractions: Wenford Bridge pottery, Seth Cardew. Courses are offered for potters of all levels. ... During the 1930s, Michael Cardew, a fourth generation Oxford scholar with an insatiable passion for ceramics ... was from here that Michael Cardew grew to become world famous potter ... Cornelius Cardew - composer

74. BLC/BAML: Boston Area Music Libraries. Projects. Scores.
    Translate this page cardew, cornelius, (1936-1981). (BOS). Caltabiano, Ronald, 1959-. (BOS). cardew, cornelius, 1936-1981. (BOS). Carter, Elliott, 1908-. (BOS).  
    http://www.wesleyan.edu/nemla/baml/blcm-prj.htm
    
    Extractions: Master Alphabetical List Contributing Libraries: Boston University (BOS), Brandeis (MBB), Brown (RBN), MIT (MYG), Tufts (TFW), UMASS-Amherst (AUM), Wellesley (WEL). Absil, Jean, 1893 - 1974 (BOS) Adler, Samuel, 1928- (BOS) Albert, Stephen (BOS) Albright, William, 1944-1992 (BOS) Alexander, Liana, 1947- (BOS) Amram, David, 1930- (BOS) Amy, Gilbert, 1936- (BOS) Anderson, Leroy, 1908 - 1975 (BOS) Anderson, T.J. (TFW) Andrieesen, Louis (1939- ) (BOS, WEL) Antoniou, Theodore, 1935 (BOS) Argento, Dominick, 1927- (BOS) Arma, Paul, 1904-1987 (BOS) Arnold, Malcolm, 1921- (BOS) Bach, Jan (BOS) Badings, Henk, 1970-1987 (BOS) Baeck, Sven-Erik, 1919- (BOS) Bainbridge, Simon, 1952- (BOS) Baird, Tadeusz, (1928-1981) (BOS) Baksa, Robert (BOS) Balassa, Sándor, (1935-) (BOS) Banfield, William (TFW) Bank, Jacques, 1943- (BOS) Barab, Seymour (BOS) (BOS) Bartaud, Henry, 1900- (BOS) Bassett, Leslie, (1923-) (BOS) Baur, Jurg, 1918-

75. Bibliography - Books
    1987, New York, Dover Publications, Inc. Cage, John Silence. 1968, London, Calder Boyars. cardew, cornelius Stockhausen serves imperialism.  
    http://www.comcen.com.au/~carowley/biblio_bk.htm

76. AUDIOGRAFÍAS - C -
    Translate this page Days (1973). cardew, cornelius, Compositor nacido en Wichcombe (Reino Unido), en 1936, y fallecido en Londres en 1981. Entre 1953  
    http://usuarios.lycos.es/audionautas/Audiografias/C_artistas.htm
    
    Extractions: AUDIONAUTAS AUDIOGRAFÍAS Cage, John Compositor nacido en L.A. (EUA), en 1912 y fallecido en N.Y. en 1992. Se inició en la música concreta en temas como Imaginary Landscape Nº1 (1939), y Williams Mix (1942). Inventó el piano preparado, y desde 1943 fue músico de la Merce Cunningham Dance Co. Ideó con D. Tudor la pieza 4'33" (1952), y abarcó la música electrónica a partir de Imaginary Landscape Nº5 (1952). Como padre del indeterminismo, rechazaba los principios composicionales del pasado, y cuestionaba la forma de crear sonidos y cómo los asimilaba la audiencia. Cahill, Thaddeus Ingeniero nacido en Mount Zion, Iowa (EUA), en 1867, y fallecido en N.Y. en 1934. En 1906 concluyó la primera unidad del Telharmonium de las tres que se construyeron. Era un instrumento electromecánico de 200 Tn, que generaba el sonido con 145 dinamos que producían corrientes alternas. Era controlado con un doble teclado de 7 octavas y 36 notas por octava. Con él se transmitía música por vía telefónica a los suscriptores del servicio. Su coste de 200.000 $, la aparición de la radio y los problemas técnicos precipitaron su fin en 1916. Can Grupo formado en Colonia (Alemania), en 1968, e integrado por Holger Czukay (bajo y tratamientos sonoros), Jaki Liebezeit (batería), Irmin Schmidt (teclados), y Michael Karoli (guitarra). Influidos por Stockhausen y la música clásica contemporánea, el jazz, el reggae y el rock psicodélico, formaron una de las bandas de experimentación electroacústica más inclasificables y más influyentes de la historia del rock. En su obra destacan los LP's

77. Thethingsinbetween : Contents
    For cornelius was written in December 1981 just after my hearing the news of the accidental and tragic death of the English composer cornelius cardew.  
    http://www.eveegoyan.com/curran.html
    
    Extractions: For Cornelius was written in December 1981 just after my hearing the news of the accidental and tragic death of the English composer Cornelius Cardew. Cornelius was a visionary and his humane, prophetic powers affected everyone around him. Since my first meeting with him in Rome in 1965 and later through the many collaborations of MEV (Musica Elettronica Viva) and Cardew’s AMM group, his subtle influence has remained with me. For Cornelius is structured simply in three sections—a song, a thundering study on slowly changing harmonies, and a chorale. Though not intentionally made so, this piece may be seen as a tribute to Cardew’s own utopian dreams of making “elitist” music popular."

78. Four Principles On Irealand - Cornelius Cardew - Ampersand - Yasui
    ?. Four Principles on Irealand cornelius cardew. Ampersand. Four Principles on Irealand - cornelius cardew, ? 2,086.  
    http://www.yasui-kaimono.com/music-jp/J-POP/アーティスト

79. Cornelius CARDEW
    Terug naar inhoudstafel kursus , 9700 cornelius cardew. 02.01.1990. PROGRAMMA cornelius cardew Treatise (19631967). (1936-1981). met inbegrip van  
    http://logosfoundation.org/kursus/9700.html
    
    Extractions: Dr.Godfried-Willem RAES Kursus Experimentele Muziek : Boekdeel 9: Literatuur en aktualiteit Terug naar inhoudstafel kursus Cornelius CARDEW Grafische partituren staan in de wereld van de hedendaagse muziek eigenlijk altijd zo'n beetje in een kwalijk daglicht. Zo hoort men vaak dat musici die zich met hun vertolking inlaten, eigenlijk slechte musici zouden zijn, die hun technische onkunde achter het vrijblijvende interpreteren van een stelletje tekeningen zouden pogen te verbergen. Een enkele keer, vooral dan in de kontekst van op zich voor het muziekleven toch al niet belangrijke wedstrijden, kan dit weliswaar voorvallen, maar wanneer we het hedendaagse koncertleven en de samenstelling van de voorgestelde programmas beschouwen, dan moet het toch opvallen dat dit soort partituren maar uiterst zelden voorkomt. Waarom dan, indien het al waar zou zijn dat de interpretatie van dergelijke partituren een lacheding is, schijnen musici deze stukken te mijden ? Er kan toch moeilijk worden aangenomen dat de meerderheid der musici uit het al te zeldzame hout van de werkverslaafde zou zijn gesneden. De werkelijke reden ligt mijns inziens precies andersom ! Musici huiveren vaak voor de opdracht die wanneer men grafische partituren met de nodige ernst wil gaan uitvoeren, aan hen is gesteld. De idee een partituur vooraleer ze te kunnen vertolken , zelf eerst te moeten gaan uitwerken, lijkt hen vaak onoverkomelijk. Het is nu eenmaal vele malen eenvoudiger een stuk volledig uitgeschreven in klassieke notatie, in te studeren, dan mede verantwoordelijk te zijn voor de artistieke vormgeving van een muzikaal kunstwerk. Alleen musici die in hun opleiding of praktijk intensief bezig zijn geweest met 'oude' muziek ( pre-klassieke muziek is hier bedoeld), zijn met dit soort problemen -zij het dan wel in een heel andere vorm- min of meer vertrouwd.

80. We Sing For The Future!
    CD cover, cornelius cardew. We Sing For The Future! NA116. Frederic Rzewski, piano. Twenty years on, cardew s music still provokes controversy.  
    http://www.newalbion.com/NA116/
    
    Extractions: Frederic Rzewski, piano Twenty years on, Cardew's music still provokes controversy. Even amongst his many admirers, his later 'political' music in particular creates unease and perhaps misgivings. The relation of the music to its 'programme' and to the lofty aims it purports to serve is problematic enough, so let us remind ourselves what Cardew himself wrote about this music in the seventies: "I have discontinued composing music in an avant-garde idiom for a number of reasons: the exclusiveness of the avant-garde, its fragmentation, its indifference to the real situation in the world today, its individualistic outlook and not least its class character (the other characteristics are virtually products of this). We Sing For The Future is a composition based on a song. The song is for youth, who face bleak prospects in a world dominated by imperialism, and whose aspirations can only be realised through the victory of revolution and socialism. In the framework of a solo piano piece lasting about 12 minutes, something of this great struggle is conveyed. The music is not programmatic, but relies on the fact that music has meaning and can be understood quite straightforwardly as part of the fabric of what is going on in the world. Clearly, by announcing his political agenda Cardew's intention was to raise the stakes. In all his work, ethical, ?extra-musical? considerations were put to the fore; these were the standards by which his music was to be judged and were at the root of the fundamental changes in his music-making in the seventies. More mundanely, his musical options were a consequence of what he perceived as political necessity, i.e., the imperatives of the Party Line.

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