Re: on Brussels (an excerpt) ... (FYI) [buildings for sound]


Subject: Re: on Brussels (an excerpt) ... (FYI) [buildings for sound]
From: Jim Harley (harleyja@mnstate.edu)
Date: Mon Jun 07 2004 - 16:53:10 EDT


Katharine,
Can you provide details on this book you have contributed to? Sounds
interesting.
Some bit of my research on this ended up in my upcoming book, Xenakis:
His Life in Music, although I ended up having to skip along pretty
rapidly.

http://search.tandf.co.uk/bookscatalogue.asp?URL=https://
ecommerce.tandf.co.uk/catalogue/
DirectLink.asp?ResourceCentre=SEARCH&ContinentSelected=0&CountrySelected
=0&USSelected=0&ChangeCountry=0&search_text=0415971454&SearchGroup=ISBN&
results_order=ByTitle&querytext=harley&database=Books

Jim

On Monday, June 7, 2004, at 12:48 AM, Katharine Norman wrote:

> yes, the whole Le Corbuser / Xenakis interaction over the Pavilion is
> fascinating -as you say, the letters Xenakis wrote at the time are
> most revealing of his altercation with Le C over credits - as you say,
> most unusual to credit an individual - although grudgingly given. They
> actually commissioned Tomasi to write a son et lumiere score because
> Varese was so behind with production, just think! Xenakis reveals
> some interesting views (that change remarkable over the years....) on
> Le Corbusier.
>
> I've read a lot of the correspondence you mention - I actually wrote a
> book chapter recently entirely centred on a lot of the Xenakis/Le C.
> thing, hence my interest. What's also interesting to me is the role
> of Concret Ph in this - which to me is much more 'successful' in being
> about the space and in the space than the rather ponderous Varese
> Poeme.
>
> The contemporaneous brochues, like the one I mention, are fascinating
> in themselves as design - some of the essays have to be read with
> 'blurb-mode' on, especially some of the very differing facts and
> figures regarding the gear, number of speakers etc.
>
> Katharine
>
>
>
>
> On Sunday, June 6, 2004, at 01:13 AM, Jim Harley wrote:
>
>> Katharine,
>> Thanks for that pointer. Interesting presentation, even if not
>> completely accurate (LeC never offered X money to keep his name off,
>> for example--he actually gave him credit for his part, soon after the
>> request, highly unusual for an architecture studio).
>> Just think, instead of Varese's Poeme Electronique, we could have had
>> something nice by Britten! The suits at Philips imagined a
>> surround-sound sort of thing, with nice orchestral music sweeping
>> through the pavilion.
>> There is some fascinating correspondence on this struggle re: Varese.
>> LeC made it a condition of his participation, repeatedly, that V be
>> the composer, point final. Xenakis, too, did his share of defending
>> Varese.
>>
>> Jim
>>
>> On Sunday, June 6, 2004, at 01:39 AM, Katharine Norman wrote:
>>
>>> I'd second that -and, in case it's not too late on this
>>> buildings/sound thread - here's a wonderful page by page scan of
>>> the brochure (or one of them) brought out on the Pavilion at the
>>> time. Can't remember where the person originally requesting this
>>> info was, but in the UK they have another similar brochure in the
>>> British Library, containing a long essay on the sound design etc by
>>> one I. Xenakis.
>>>
>>> http://home.hccnet.nl/a.meyer/philipspavilion58/toc.html
>>>
>>> Katharine
>>>
>>>
>>>
>>> On Thursday, June 3, 2004, at 09:18 PM, Jim Harley wrote:
>>>
>>>> This book by Marc Treib (with an interesting analysis of the Varese
>>>> piece by Richard Felciano) is extremely well researched and
>>>> written. I can recommend it highly.
>>>>
>>>> Jim Harley
>>>>
>>>>
>>>> On Thursday, June 3, 2004, at 08:00 PM, Kevin Austin wrote:
>>>>
>>>>> For those interested in the Philips Pavilion.
>>>>>
>>>>>
>>>>>> Date: Thu, 03 Jun 2004 10:26:19 +0200
>>>>>> From: Richard Felciano <felciano@cnmat.berkeley.edu>
>>>>>> Subject: architectural transitions
>>>>>
>>>>>> I am a Professor of Music & composer at UC Berkeley, and founder
>>>>>> of UC's Center for New Music and Audio Technologies.
>>>>>> Architecture has been a very strong auxiliary interest (not
>>>>>> really a secondary one) in my life and, with my architect
>>>>>> colleague, Marc Treib, I team-taught in UCB's School of
>>>>>> Architecture for several years.
>>>>>
>>>>>> The result of that collaboration was writing of the musical
>>>>>> portions of a large tome dealing with what is perhaps the first
>>>>>> collaborative attempt between an architect and composer: the 1958
>>>>>> Philips Pavilion in Brussels. The book is titled Space Calculated
>>>>>> in Seconds: The Philips Pavilion, Le Corbusier, Varèse, published
>>>>>> by the Princeton University Press.
>>>>>
>>>>>
>>>>>> Le Corbusier's name for the pavilion, for which he designed
>>>>>> projections on purposely curved walls (before pre-stressed
>>>>>> concrete!) was Le Poème Eléctronique, which remained as the name
>>>>>> of Varèse' electronic score (which played over 40 carefully
>>>>>> located speakers in the building's curved walls). It is the first
>>>>>> major work of electronic music and remains a masterpiece today.
>>>>>>
>>>>>> ...
>>>>>> Richard Felciano
>>>>>> Founder, Center for New Music & Audio Technologies (CNMAT)
>>>>>> UC Berkeley
>>>>>
>>>>>
>>>>>
>>>>>>> Date: Thu, 27 May 2004 19:23:33 +1000
>>>>>>> From: Derek Thompson
>>>>>>> Subject: Compositions / Sound Designs and entranceways
>>>>>>> Sender: owner-cec-conference@concordia.ca
>>>>>>> To: acma-l@list.waikato.ac.nz, cec-conference@concordia.ca,
>>>>>>> WFAE@sfu.edu.ca
>>>>>>>
>>>>>>>
>>>>>>> All, (with apologies for cross-postings)
>>>>>>>
>>>>>>> As part of a Master's research, I'm looking for existing works -
>>>>>>> either historical or recent (current?) - that explicitly explore
>>>>>>> architectural space, especially transitional space (i.e. foyers /
>>>>>>> stairwells / entranceways / atriums...).
>>>>>>>
>>>>>>> I'm wanting to identify and document significant sound designs,
>>>>>>> compositions or installations that have exploited, expressed, or
>>>>>>> transformed space normally passed through with little regard for
>>>>>>> the
>>>>>>> acoustic or sonic properties.
>>>>>>>
>>>>>>> Alongside this I am recording, documenting and analysing a
>>>>>>> number of
>>>>>>> public spaces with the aim to return to a select few with
>>>>>>> spatially
>>>>>>> diffuse sound designs that integrate (or intentionally intervene)
>>>>>>> with the visual and physical architecural environment.
>>>>>>>
>>>>>>> Any thoughts - or suggestions of works - welcome!
>>>>>>> Please feel free to mail me off-list if you wish, and I will
>>>>>>> collate
>>>>>>> responses for a single posting.
>>>>>>>
>>>>>>> Many thanks,
>>>>>>>
>>>>>>> Derek
>>>>>>> SIAL Sound Studios
>>>>> www.sial.rmit.edu.au
>>>>>
>>>>>
>>>> ***************************************************
>>>> James Harley, Assistant Professor
>>>> Coordinator, Music Industry Program
>>>> 138, Center for the Arts
>>>> Minnesota State University Moorhead
>>>> 1104 7th Ave. S., Moorhead, MN 56563 (USA)
>>>> tel: (218) 477-2001; fax: (218) 477-4097
>>>> email: harleyja@mnstate.edu
>>>> URL: www.mnstate.edu/harley
>>>> ***************************************************
>>>>
>>>
>>>
>> ***************************************************
>> James Harley, Assistant Professor
>> Coordinator, Music Industry Program
>> 138, Center for the Arts
>> Minnesota State University Moorhead
>> 1104 7th Ave. S., Moorhead, MN 56563 (USA)
>> tel: (218) 477-2001; fax: (218) 477-4097
>> email: harleyja@mnstate.edu
>> URL: www.mnstate.edu/harley
>> ***************************************************
>>
>
>
***************************************************
James Harley, Assistant Professor
Coordinator, Music Industry Program
138, Center for the Arts
Minnesota State University Moorhead
1104 7th Ave. S., Moorhead, MN 56563 (USA)
tel: (218) 477-2001; fax: (218) 477-4097
email: harleyja@mnstate.edu
URL: www.mnstate.edu/harley
***************************************************



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