Annotated Bibliography
BOOKS:
Schnabel,
Tom, Rhythm Planet: The Great World Music Makers, (Universe Pub., 1998),
160.
Emphasizes stories of many artists from around the world.
Details of
recordings,
works, and achievements are highlighted. Interesting
and easy to
read
but some stories could have gone into more depth.
Tamm,
Eric, Brian Eno: His Music and the Vertical Color of Sound, (Da Capo
Press,
1995),
viii, 233.
Interesting book about who Brian Eno is and what he has accomplished
since
his arrival into the music world. Highlighting
his music written for films
and
collaboration with various composers. Brian
Eno’s influence in today’s
music with his ambient sound.
ARTICLES:
Bernard,
Jonathan “Minimalism, Postminimalism, and the Resurgence of Tonality in
Recent
American Music,” 21:1 (Spring 2003): 112-133.
Describing the movement of Minimalism during the last few decades. Depicting works
by
artists that lived have been associated with it.
Music written by Steve Reich and Philip
Glass
particularly during the 1970’s was placed in this group of style. Bernard emphasized
the
opinions of artists that believe minimalism has lost its luster, but expressing
that many
artists
fell under this style.
Gaughn,
Michael, “Ziggy, Heros & Heathen,” Sound and Vision, 67:8
(October 2002):
113-115.
Interview with Tony Visconti depicting the three albums of David Bowie.
Visconti takes
these
albums and develops a mix in surround sound emphasizing the increased ambient
sound
that would be created. Other
producers whose music would benefit from surround
sound
are Steve Albini, Butch Vig, and Trent Raznor, according to Visconti. Visconti has a
terrific
opinion on surround sound and what music to listen to with it.
Smit,
Ian “A Layman’s Look at Looping,” Down Beat – Jazz, Blues &
Beyond,” 68:8
(August
2001): 88.
Using devices that can be constantly repeated can create volumes of
distinct and
different
sounds allowing one to continually make new sounds and music.
Various
instruments
incorporated into the mix will create the beat, sound level, movement, visual
and
feeling of each piece.
REVIEWS:
Glentzer,
Molly, “CORE Program Entertaining but Erratic,” The Houston Chronicle,
19
May 2003, sec. Houston; pg. 5.
September
11, 2001, dancers created movement with sound in the aftermath of a disaster. The dancers portraying victims, and survivors in a society
that we believed was safe. The
blast, the falling buildings, the on-lookers, and the noise of debris and talk
all presented with music and visual excellence.
Harvey,
Doug, “Mixism,” LA Weekly (California), 30 May 2003, sec. Art; pg.
53.
Recreated vinyl's from several mismatched vinyl's was Marclay’s
expression of turntable
music.
Putting a visual twist to sound was his pursuit.
Pincus,
Robert L., “Breaking the Sound Barrier; Boursier-Mougenot moved from
concert
halls to art museums, but his focus is still aural,” The
San Diego Union-
Tribune,
27 March 2003, sec. Entertainment; pg. Night & Day – 34.
Interesting to imagine that a plastic pool, water, and pieces of pottery
would create
sounds
that make you stop and listen. Visually
the items float, bob, and come together with
passion.
All are independent of each other and then together they create sound,
vision, and
art.
INTERNET:
Crumsho,
Michael, “Soaked,” Dusted Magazine, [review on-line]; available from
http://www.dustedmagazine.com/reviews/468; Internet. 17 September 2003.
Crumsho gives an awesome interpretation of Jeck/Kirkegaard arrangement of
music on
the
album Soaked and in particular the two songs Surf and Stoke.
The artist’s use of vinyl
records
and electronic manipulation creating an array of sounds are both warming and
exciting.
Noted by Michael Crumsho is that the two artists come together to sound
as only
one
artist.
Eno,
Brian, 8 June 1996, “Generative Music,” In Motion Magazine, [review
on-line];
available
from http://www.inmotionmagazine.com/eno1.html;
Internet.
17
September 2003.
Speaking on his new form of music, Generative Music, Brian
explained that music was
becoming
more chaotic since the mid-sixties. Explaining
the concept of music created by
Steve
Reich using 52 bars of music and playing them in any order the person wished,
thus
creating
a new piece each and every time. In
the interpretation of his piece called Music for
Airports,
he describes as being of six basic elements, which combine to give a variety of
appearances.
His continues to show how the development of his music is combined with
computers,
loops of notes, and sounds from anywhere that you hear and feel in different
ways
when it is played. This is the
building blocks for Brian Eno’s ambient music.
Richardson,
Mark, 27 November 2002, “ Stoke,” Pitchfork Media, [review on-line];
available
from http://www.pitchforkmedia.com/record-reviews/j/jeck_philip/stoke.shtm;
Internet. 17 September 2003.
Stoke feeds the listeners with heavy combinations of sound and
visual art by inserting
natural
sounds of pops and scrapes in the vinyl records along with the music and vocals.
Richardson
clarifies the songs Close and Lambing with recordings of other
cultures and layers
of
vinyl's to create a piece that is worth listening to again and again.
Robinson,
Walter, 18 December 2002, “Weekend Update,” Artnet Magazine, [review
on-line];
available
from http://www.artnet.com/magazine/reviews/robinson; Internet.
17
September 2003.
Brought back from the nostalgia of the mid-twentieth century, Robinson
describes the
Video Quartet of Christian Marclay at the Paula Cooper Gallery with
greatness. From a single