PROBES #30.2 Auxiliaries
- 00:01 Gregorio Paniagua, ‘Anakrousis’, 1978
- 00:06 Cornelius Cardew, BBC broadcast of ‘The Great Learning, Paragraph Two’
- 02:42 Pauline Oliveros, ‘Rock Piece’ (excerpt), 1979
- 03:54 Toshi Tsuchitori ‘Sanukaito Stone Sounds of the Paleolithic Era in Japan’ (excerpt) 1986
- 16:15 Jacob Kirkegaard, ‘Sabulation’ (excerpt), 2010
- 07:20 Michel Magne, ‘Carillon Dans L’eau Bouillante’ (excerpts), 1959
- 19:14 Lordache, ‘Consumer’s Paradise’ (excerpt), 2016
- 10:07 Steven Feld, ‘Suikinkutsu’ (excerpt) 2006
- 11:03 Hermeto Pascoal, ‘Música da Lagoa’ (excerpt), 1985
- 12:49 Trimpin, ‘Liquid Percussion’ (excerpt), 1991
- 13:30 Environmental water organs: San Francisco, Blackpool, Zadar (excerpts), 1968, 2002, 2005
- 14:39 Michel Redolfi, ‘Nausicaā’, 2012
- 15:45 Bruce Odland, ‘Snow Harp’ (excerpt), 2013
- 17:04 Lutz Glandien, ‘Vershollen’ (excerpt), 1996
- 17:37 Lordache, ‘So Many Nights’ (excerpt), 2017
- 18:40 Annea Lockwood, ‘Bregquelle. Öhrlein Farm, near Furtwangen. April 30 '02, 10:20am’, 2002
- 20:17 Tōru Takemitsu, ‘The Seasons’, 1970
- 21:14 Terje Isungset, ‘Svartisen’, 2010
- 23:02 Tesla coil music
- 24:38 Arturas Bumšteinas, ‘Epiloghi 1’ (excerpts), 2013
- 25:43 Arturas Bumšteinas, ‘Night on the Sailship’ (excerpts), 2013
- 27:21 Gregorio Paniagua, ‘Anakrousis’, 1978
In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of ‘music’. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. In PROBES #30.2 we take a stroll through music made (variously) with water, stones, stage props, ice, snow, stalactites, Tesla coils, sand dunes, leaves, flowers, grass, twigs, glass and a coffee can.