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Behrman, David

On the Other Ocean [VINYL]

Behrman, David: On the Other Ocean [VINYL] (Lovely Music)

In 1977 David Behrman programmed a Kim 1 microcomputer developed at Mills College to analyze the music performed by the duo of bassoonist Arthur Stidfole, flutist Maggi Payne; and then the solo work of cellist David Gibson; for each work, the Kim 1 following Behrman's instructions, becoming a virtual musician responding to and interacting with the playing of each setting.
 

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product information:


UPC: 745295104117

Label: Lovely Music
Catalog ID: LML 1041LP
Squidco Product Code: 26778

Format: LP
Condition: New
Released: 2018
Country: USA
Packaging: LP
Track A recorded at the Recording Studio, Center for Contemporary Music, Mills College in Oakland, California, on September 18th, 1977, by "Blue" Gene Tyranny.

Track B recorded at the Electronic Music Studio, State University of New York at Albany, on June 9th, 1977, by Richard Lainhart.


Personnel:

David Behrman-composer

Arthur Stidfole-bassoon

'Blue' Gene Tyranny-engineer

Maggi Payne-flute

David Gibson-cello

Richard Lainhart-engineer

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Artist Biographies:

"David Behrman has been active as a composer and artist since the 1960s - making sound and multimedia installations for gallery spaces as well as compositions for performance in concerts. My Dear Siegfried, Leapday Night, On the Other Ocean, Unforeseen Events, lnterspecies Smalltalk, Long Throw and Open Space with Brass are among Behrman's works for soloists and small ensembles. In the 1970s, he collaborated with Robert Watts and Bob Diamond on the video and sound installation Cloud Music; in the 1980s, with George Lewis and Paul DeMarinis, he made installations for the DeCordova, Hudson River and La Villette museums. His most recent installations were Pen Light (2002) and View Finder (2006).

Together with Robert Ashley, Alvin Lucier and Gordon Mumma, Behrman founded the Sonic Arts Union in 1966. Sonic Arts performed extensively in North America and Europe from 1966- 76. It presented programs again recently at the MaerzMusik Festival in Berlin and The New School, New York.

Working at Columbia Records in the late 1960s, Behrman produced many of the "Music of Our Time" series of new music recordings for Masterworks and Odyssey. Among them were the first recording of Terry Riley's In C as well as his Rainbow in Curved Air, and works by Robert Ashley, John Cage, Mauricio Kagel, Alvin Lucier, Richard Maxfield, Gordon Mumma, Pauline Oliveros, Henri Pousseur, Steve Reich, David Tudor, Christian Wolff and other influential composers.

Behrman worked extensively with the Merce Cunningham Dance Company, creating music for several repertory dances, from Walkaround Time (1968) to EyeSpace (2007). In 2004, he became a member, with Christian Wolff, Takehisa Kosugi and John King, of the company's music committee, which oversaw music issues during the last seven years of MCDC's existence. During the 1960s and 1970s, he assisted John Cage and David Tudor with several projects, like 9 Evenings: Theatre and Engineering (EATJ in 1966.

Behrman was co-director of the Center for Contemporary Music at Mills College from 1975-1980 and has returned to Mills as visiting artist/professor several times since then, most recently in February 2013. He has taught also at Cal Arts, Rutgers, Ohio State and the Technical University in Berlin and has been a member of the Milton Avery Graduate Arts Program faculty at Bard College since 1998. Currently, Behrman is working on an orchestra commission for the BBC Scottish Symphony."

-Lovely Music (http://www.lovely.com/bios/behrman.html)
7/19/2019

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"Arthur Stidfole, is a musician, producer and administrator who has worked with, and simultaneously been mentored by, David Behrman, Phill Niblock, Pauline Oliveros, Ben Johnston, Warren Benson, Sal Martirano, LaMonte Young, Loren Rush and John Meyer. He now works as a Neurological Intensive Care Nurse, searching for ways to sonically sooth the injured brain.June 1996"

-Lovely Music (http://www.lovely.com/artists/a-stidfole.html)
7/19/2019

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"Born in San Antonio, Texas, in 1945, "BLUE" GENE TYRANNY has lived in each of the four corners of mainland USA. During the late 50's he studied with pianists Meta Hertwig and Rodney Hoare, composers Otto Wick and Frank Hughes, and organized new music events in Texas with composer Philip Krumm, including several festivals at the McNay Art Institute, premiering works by Cage, Corner, Maxfield, Ono and others. After earning a BMI Student Composers Award in 1961, he moved to Ann Arbor, Michigan. He performed there in his work and in many other events at the legendary ONCE concerts, while also working as a waiter, sales clerk and statistics coder. During the 60's and 70's, he toured with jazz and rock groups (Carla Bley Band, Iggy Pop, The Prime Movers Blues Band, etc.). From 1971 to 1982, as a Lecturer and Instructor in Music, he taught "Recording Studio Techniques", "Harmony and Counterpoint" (three levels), "Jazz Improvisation and Literature" and served on graduate committees in the Music Department of Mills College in Oakland, California. He also worked as a Technician at The Center for Contemporary Music, a non-profit, community-access facility located at Mills College. He moved to New York in 1983, where he is a self-employed composer/performer: solo and group concerts, audio consultancy, film/video/CD-ROM soundtracks, commissioned work. He has performed extensively in hundreds of concerts throughout the US, Canada and Europe, and also in Mexico and Brazil.

Tyranny has produced, recorded and performed on many albums of other composers' music (Laurie Anderson's "Strange Angels", David Behrman's On the Other Ocean, John Cage's "Cheap Imitation" and "Empty Words", etc.) and he composed the harmonies and piano improvisations for Robert Ashley's opera-for-television "Perfect Lives" (Channel Four, London). He has created over 40 soundtracks for film and video, collaborating on projects with video artists Kenn Beckman and Kit Fitzgerald.

His theater and dance collaborations include works with the Talking Band, Pat Oleszko (Nora's Art, 10 film scores), dancers Timothy Buckley (Proximology, Breakneck Hotel, the PBS-TV short, Endance, etc.), Rocky Bornstein (Labor of Love), the Bill T. Jones/Arnie Zane Dance Company (The History of Collage), the Creach/Koester Company's I Witness (1995), live electronic music for Stefa Zawerucha's The Black Box (1993) and Curve Ahead (1994), and many of the Otrabanda Company's plays including Brain Café, Re Room and Simpatico. He received a Composer Award at the Bessies (NY Dance and Performance Awards) in 1988, and a Composer Fellowship from the NY Foundation for the Arts in 1989. He was an Artist-in-Residence at Bucknell University in 1992.

His articles on contemporary music include "Music Beyond The Boundaries" with Mark Slobin (Generation, Univ. of Michigan, 1965) and the "20th Century Avant-Garde" section of the All-Music Guide (Miller Freeman Pub., 1993, 1995). His work is the subject of chapters in Cole Gagne's Sonic Transports (DeFalco Books), Soundpieces 2: Interviews With American Composers (Scarecrow Press) and William Duckworth's Talking Music (Schirmer Press). His music in analyzed in Kevin Holm-Hudson's Music, Text and Image in Robert Ashley's Video Opera "Perfect Lives" (unpublished doctoral thesis, U. of Illinois at Urbana-Champaign). He also recently completed translations for Kevin Lally's Wilder Times: The Life of Billy Wilder (Henry Holt & Co.), was interviewed for Paul Trynka's Lust for Life: The Iggy Pop Story (Box Tree, London) and appears as a character in Kathy Acker's I Dreamt I Was A Nymphomaniac: Imagining (in Portrait of an Eye, Pantheon Books).

His recent recordings include Country Boy Country Dog / How To Discover Music In The Sounds Of Your Daily Life, a 25-year project for electronics, orchestra and environmental sounds (Lovely Music), Nocturne With and Without Memory recorded by pianist Lois Svard (Lovely Music), The De-Certified Highway of Dreams recorded by the piano duo Double Edge ("U.S. Choice", CRI records), Somewhere in Arizona 1970 for baritone and electronics ("Imaginary Landscapes", Elektra/Nonesuch) and several works on Free Delivery, a selection of his keyboard concerts (Lovely Music). Other recent works include The Driver's Son (1989 work-in-progress), an audio-storyboard for voices and orchestra commissioned by "The Electrical Matter" for the Benjamin Franklin bicentennial celebration, His Tone of Voice at 37 (Empathy) commissioned by baritone Thomas Buckner, The Forecaster for double orchestra, decoding chorus and time-transposing pianist, and The Drifter commissioned by pianist Joseph Kubera.

Other selected compositions include: Three Begins for voice and tape (1958), How Things That Can't Exist May Exist (pieces for alternative spaces, 1958 to the present), Ballad (graph score, 1960), Meditation (graph score, 1961), Diotima for flute, household percussion and electronics (1963), Just Walk On In (theater piece, 1965), Closed Transmission for IBM 7090 computer (1966), "The Bust" from Viet Rock (1967), Archaeoacoustics (1973), A Letter From Home (1976) for voices and electronics, PALS / Action at a Distance (1977), Harvey Milk/Portrait (1978), The White Night Riot (1979), The CBCD Variations for Soloist and Orchestra (for The Arch Ensemble 1980), The Intermediary for piano and computer (1982)."

-Lovely Music (http://www.lovely.com/bios/tyranny.html)
7/19/2019

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"Maggi Payne is Co-Director (since 1992) of the Center for Contemporary Music at Mills College, Oakland, CA, where she teaches recording engineering, composition, and electronic music. She also freelances as a recording engineer and editor and a historical remastering engineer.

Her electroacoustic works often include visual elements which she creates, including video, dance, transparencies, and film. She enjoys collaborating with other artists and has worked with video artist Ed Tannenbaum for over twenty years. She is also a flutist, and has written several works for flute as well as other acoustic instruments.

Major works include her video/film/dance works Through the Looking Glass, Quicksilver, Liquid Amber, Cloud Fields, Effervescence, System Test (fire and ice), Apparent Horizon, Liquid Metal, Airwaves (realities), Crystal, Solar Wind, Circular Motions, Transparencies, Allusions, and Orion, and audio works In the Night Air, Heat Shield, Coronal Rain, Sferics, BAM, Black Ice, Beyond, STATIC, ROAR, Wet, Surface Tension, Shh, Glassy Metals, Electric Ice, Arctic Winds, fff, Santa Fe, Motor Rhythms, FIZZ, Of All, Distant Thunder, Reflections, Brass Mirrors, Fluid Dynamics, Holding Pattern, breaks/motors, Shh, White Turbulence 2000, HUM 2, Sweet Dreams, Close-ups, Raw Data, Minutia 0-13, Aeolian Confluence, Resonant Places, Desertscapes, Phase Transitions, Songs of Flight, Ahh-Ahh (ver 2.1), White Night, Subterranean Network, Ling, Scirocco, and HUM.

She has had performances of her works throughout the Americas, Europe, Japan, and Australasia. She received two Composer's Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts and video grants from the Western States Regional Media Arts Fellowships Program and the Mellon Foundation. She received six honorary mentions from Bourges, and one from Prix Ars Electronica, and was an Artist in Residence at the Exploratorium in San Francisco and the Montalvo Arts Center in Saratoga, CA.

Her works are available on Aguirre, The Label, Root Strata, Lovely Music, Starkland, Innova, Music and Arts, Centaur, MMC, CRI, Digital Narcis, Frog Peak, Asphodel, and/OAR, Ubuibi, and Mills College labels. Her work, Desertscapes, for two spatially separated women's choruses, is available through Treble Clef Press."

-Maggi Payne Website (https://sites.google.com/site/maggipayne/)
7/19/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"David Gibson, a graduate of the Juilliard School and Yale Univrsity, pursues a milti-faceted career as a performing cellist of the traditional, baroque, and contemporary repertoires. He has premiered and recorded many new works. His recordings appear on Columbia, Lovely, and Titanic labels. Gibson is active as a conductor, clinician, and teacher at his home in Hadley, MA and in Troy, New York, where he teaches at Rensselaer Polytechnic Institute."

-Lovely Music (http://www.lovely.com/artists/a-gibsond.html)
7/19/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Synthesizer composer, author, and film maker Richard Lainhart died on 30 December from complications resulting from surgery to remove intestinal cancer.

Lainhart estimated that he had performed live approximately 2000 times, and composed over 150 pieces. He developed the One Sound concept, described as "a music in which a single complex sound, or many instances of a single sound, form both the content and the structure of the piece - a music in which one sound is all there is to listen to."

Lainhart was interested in natural processes like waves, clouds and flames, and began his career studying composition and electronic music techniques with Joel Chadabe. He went on to work with John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among others.

Lainhart was also an artist and illustrator - his short films were shown in Europe, the US, Canada and Korea, and he won awards at the International Festival Of Cinema And Technology in 2002. He is survived by his wife Caroline Meyers. Read an interview with Richard Lainhart here."

-The Wire (https://www.thewire.co.uk/news/19023/richard-lainhart-rip)
7/19/2019

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track listing:


SIDE A



1. On the Other Ocean (23:31)

SIDE B



1. Figure in a Clearing (19:12)
sample the album:








descriptions, reviews, &c.

"A reissue of David Behrman's On the Other Ocean, originally issued as one of Lovely Music's first six releases in 1978. This newly-mastered LP is a must-have for Behrman aficionados or a perfect introduction to his work."-Lovely Music

"I've been engaged for many years in an exploration of ways to make music and intermedia installations in which software and electronic devices interact with human performers. I've wanted to make works that have personalities, which remain distinct and recognizable, yet are open to surprising changes that can come about when they are performed or exhibited." --David Behrman

"Remarkable achievements on a purely technological level. Behrman's carefully programmed Kim-I system listens to tones played by the live performers, instantly analyzes the situation, and responds by playing back electronic tones of its own. This is undoubtedly the first time that humans and electronic sound equipment have communicated with one another with high degrees of spontaneity and intelligence on both ends of the wire. But the music that results is perhaps even more remarkable. Subtle, sustained, serene, sophisticated, super."-Tom Johnson, The Village Voice, Dec. 18, 1978

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