Where can I find __________?
- Howdy (http://howdy.tamu.edu) stores all syllabi and faculty curricula vitae (cv) to comply with Texas state law.
- eCampus (http://ecampus.tamu.edu/) stores any materials that are sensitive because of academic integrity (e.g., tests, study guides), federal privacy law (e.g., grades), or intellectual property laws requiring limited distribution, as well as files needing other kinds of special handling (e.g., large file downloads).
- This website will store most other materials not described above.
Where can I get help with __________?
- For help with this website or any problems specific to this class only, e-mail your instructor.
- For help with any facilities inside the College of Liberal Arts: click here
- For help with eCampus, contact Instructional Technology Services: click here
- For help with Howdy or TAMU internet connectivity, contact Help Desk Central: click here
In fall 2010, German Cellist Ulrich Maiß collaborated with TAMU students to create a full concert of new works using technology and improvisation as part of his ZenMan touring program. (Click here to see that performance.)
In spring 2016, Maiß returned to TAMU on his ZenMan X tour. Inspired by the recent release of performance materials by cellist and performance artist Charlotte Moorman, and reflecting on the fact that her work can now be experienced only through its documentation, often scant and poor in quality, Maiß and TAMU’s students created works of “performance for video”—live performances that consider all aspects of the live moment, created with more than just pitches and rhythms, works that were necessarily written for cello (or cellist) in some way, and whose significant features can still be experienced through its video documentation.
The entire performance is below in program order. Click each composer’s name to read artistic statements and portfolios of research, development, and creative work leading up to the creation of this performance. Continue reading
Your Project and your Portfolio are two separate parts of your course grade. Here are the details on both. They will be due at 8:00 A.M. Wednesday, May 11—this is almost a week after the registrar-scheduled exam time, which was the due date listed in the syllabus.
In addition to your continuing weekly progress reports reflecting any project-specific instructions and advice given in class (mock up recordings of your pieces!), include a the following in your next progress report, due at class time,
Tuesday, April 19. Progress report is due Tuesday, April 19, but since I emailed you late about this post, you can take until class time Thursday, April 21 if you need. Continue reading
In addition to your continuing weekly progress reports reflecting any project-specific instructions and advice given in class, include a technical rider in your next progress report, due at class time, Tuesday, April 12.
Useful search phrase: “Extended techniques for cello”
A treatise from Oberlin College: http://www.oberlin.edu/library/friends/research.awards/messina.pdf
Navigating the page, reconstructing a Bach prelude, composition books, motion-controlled sound processing, and thumb picks (for good measure)!
A de/reconstructed opera recitative, bowed piano ensemble, and prepared guitar
In the last class, conversation changed before I could mention Stelarc’s mass-remote-controlled body performance pieces, most notably Split Body: Voltage In/Out but also Ping Body, of which a video can be found here. I also came across a history of performance art using electrically manipulated bodies in Leonardo. Of course, Jonathan and Blake’s idea didn’t involve direct control over a performer’s body, but the concept is related; it might be seen as the same but replacing the electrodes with a social contract and voting mechanism, a view on the piece which may be helpful in inspiring future decisions shaping the piece.
Deprivation music, silhouettes vs. video, and how to fake sophisticated interactivity.