From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V2 #784 Reply-To: zorn-list Sender: owner-zorn-list-digest@lists.xmission.com Errors-To: owner-zorn-list-digest@lists.xmission.com Precedence: bulk Zorn List Digest Tuesday, November 2 1999 Volume 02 : Number 784 In this issue: - Hello. Cobra? interesting Fennesz project Re: interesting Fennesz project RE: Zorn "Defense" Letters new Sonic Youth... Re: new Sonic Youth... Re: new Sonic Youth... West Coast Tour? Re: new Sonic Youth... Bruce Eisenbeil's New CD - Press Release recording streaming audio RE: Zorn "Defense" Letters Spool and Red Toucan? Re: Spool and Red Toucan? pfMENTUM this Friday in Ventura CA (Fwd) [forumhub] from Alvin Curran ---------------------------------------------------------------------- Date: Sun, 31 Oct 1999 18:46:44 -0500 From: bruce estey Subject: Hello. Cobra? Hello and sorry if this offends anyone; I just joined the list and I am searching for a printable version of the "rules"(guidelines) for Cobra, zorn's musical game. I would like to start working with it with a few fellow musicians in my area, and cannot seem to locate anything more than descriptions. I could wing it, but if anyone can help me with this I would really appreciate it. Thanks ilbruce@lynxus.com - - ------------------------------ Date: Mon, 1 Nov 1999 12:41:51 +0200 From: "Jeroen de Boer" Subject: interesting Fennesz project Continuing with last weeks Fennesz-thread I would like to draw your attention to Orchester 33 1/3, a 14-piece ensemble playing a kind of big-band techno music. Groovy pieces take turns with noise or free impro parts. Personaly I like it a lot and it uncovers yet another part of Fennesz' oeuvre. Members of the ensemble are: Christof Kurzmann: arrang., sax., elektronics Christian Fennesz: arrang., git., elektronics Mex Wolfsteiner: drums G=FCnter Castanetti: elektronic perc. Wolfgang Ritt: e-bass Michael Moser: e-bass Michael Krupica: kontrabass Franz Reisecker: guitar Klaus Filip: saxophon, elektronics Gerhard Birschitzky: posaune, guitar Richard Klammer: trumpet Thomas Berghammer: trumpet As Guests: Didi Bruckmayr: vocals Markus Binder: maultrommel Peter Br=F6tzmann: saxophone All the compositions are written by Fennesz and Christof Kurzmann. Further info can be found at the Plag Dich Nicht website: http://plagdichnicht.sil.at/eorch.php3 They just released their second album, which I haven't heard yet, but surely will in the very near future. Greetings, Jeroen Jeroen de Boer co-director Cyberslag Foundation music director Open Electronic Festival Munnekeholm 10 9711 JA Groningen, The Netherlands usva-th1@bureau.rug.nl J.T.de.Boer@let.rug.nl tel. 0031 (0)50-3637513 fax. 0031 (0)50-3632209 http://www.cyberslag.com - - ------------------------------ Date: Mon, 01 Nov 1999 07:22:11 -0500 From: Brian Olewnick Subject: Re: interesting Fennesz project Jeroen de Boer wrote: > All the compositions are written by Fennesz > and Christof Kurzmann. [Orchester 33 1/3] Slight correction: Although the above credit does, in fact, appear on the disc, two of the tracks are covers of Michael Mantler's 'Preview' from the (incredibly great) 'Communications' album. They're referred to here as 'Review' 1 & 2 and Mantler, the JCOA and Pharaoh Sanders (the original soloist) are thanked; why Kurzmann/Fennesz seem to have taken credit for composing them is mysterious. It's an intriguing album nonetheless. I somehow think the group is capable of far more. The mere fact of choosing these covers does, I think, show that at least some of their heads are looking in the (or a) right direction. Brian Olewnick - - ------------------------------ Date: Mon, 1 Nov 1999 09:34:00 -0500 From: "Vanheumen, Robert" Subject: RE: Zorn "Defense" Letters I'm interested too.=20 > -----Original Message----- > From: Stephen Fruitman [SMTP:stephen.fruitman@idehist.umu.se] > Sent: Sunday, October 31, 1999 12:02 PM > To: zorn-list@lists.xmission.com > Subject: Zorn "Defense" Letters >=20 > Someone (Steve Smith?) mentioned that the week after the Schatz = article on > Zorn, three critical letters to the editor were printed in the NYT, = one of > them by Dave Douglas. >=20 > For my own research purposes, I wonder if there is anyone out there = who > could photocopy those letters for me (unless they are online, and you = can > point me at the right site)? >=20 > E-mail me privately if you can do me that favour. All the best, = Stephen >=20 >=20 >=20 >=20 >=20 > ------------------ >=20 > Bj=F6rn Olsson, > Inst. f=F6r id=E9historia, > Ume=E5 universitet > 901 87 Ume=E5 > tel. 090-7867982 fax 143374 > e-post: bjorn.olsson@idehist.umu.se >=20 >=20 >=20 > - - - ------------------------------ Date: Mon, 01 Nov 1999 08:44:48 -0800 From: "Patrice L. Roussel" Subject: new Sonic Youth... Anybody knows if the following record has been released? - ------------------------------------------------------------------------------ *** - GOODBYE 20TH CENTURY: Sonic Youth Neo-postclassicist interpretations of works by John Cage, Pauline Oliveros, Steve Reich, Yoko Ono and others. Guests include Jim O'Rourke, W. Winant, Christian Wolf, Kosugi and more. 1999 - SYR (USA), ??? (2xLP) 1999 - SYR (USA), ??? (2xCD) - ------------------------------------------------------------------------------ Any comments on it welcome also., Patrice (puzzled, or maybe scared). - - ------------------------------ Date: Mon, 1 Nov 1999 11:48:54 EST From: JonAbbey2@aol.com Subject: Re: new Sonic Youth... In a message dated 11/1/99 11:45:50 AM, proussel@ichips.intel.com writes: << Anybody knows if the following record has been released? >> next week, November 9. Jon www.erstwhilerecords.com - - ------------------------------ Date: Mon, 01 Nov 1999 16:52:40 -0500 From: wlt4@mindspring.com Subject: Re: new Sonic Youth... It's due out November 8th. Check the Smells Like website for more info (well not much more). ICE says it's supposed to have a CDROM-accessible video of one performance but that's not mentioned on the site. Anyway, these seem more post-neoclassicist to me. LT "Patrice L. Roussel" wrote: > Anybody knows if the following record has been released? - ------------------------------------------------------------------------------ *** - GOODBYE 20TH CENTURY: Sonic Youth Neo-postclassicist interpretations of works by John Cage, Pauline Oliveros, Steve Reich, Yoko Ono and others. Guests include Jim O'Rourke, W. Winant, Christian Wolf, Kosugi and more. 1999 - SYR (USA), ??? (2xLP) 1999 - SYR (USA), ??? (2xCD) - ------------------------------------------------------------------------------ Any comments on it welcome also., Patrice (puzzled, or maybe scared). - - - - ------------------------------ Date: Mon, 01 Nov 1999 16:21:54 PST From: "Dr.J.M. Schuller" Subject: West Coast Tour? Hello. I am hoping people could reply to me privately. I play in "Ham and Treachery" a Seattle Improv Duo. We are planning on booking a tour of the west coast for January. If you do booking or know someone who does for avant/experimental/improv shows let me know. If you know of places to contact in your area, or need music to come to your town let me know. We are planning to start in Seattle, go through Portland, Eugene, San Francisco, Los Angeles, San Diego, Pheonix, Las Vegas, Portland, Seattle. Or something like that. Any help would be helpful. http://members.tripod.com/brokenmusick/biopsy.html Thanks, John Schuller ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com - - ------------------------------ Date: Mon, 1 Nov 1999 18:46:42 -0800 (PST) From: Tom Pratt Subject: Re: new Sonic Youth... - --- JonAbbey2@aol.com wrote: > > In a message dated 11/1/99 11:45:50 AM, > proussel@ichips.intel.com writes: > > << Anybody knows if the following record has been > released? >> > > next week, November 9. Also, Jim O'Rourke has been in NYC recording Sonic Youth last week and this week for another new album. -Tom Pratt ===== __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com - - ------------------------------ Date: Mon, 1 Nov 1999 22:02:03 EST From: Eisenbeil@aol.com Subject: Bruce Eisenbeil's New CD - Press Release FOR IMMEDIATE RELEASE NYC Guitarist Bruce Eisenbeil's New CD Release November 1, 1999 Recently released is the CD titled, Bruce Eisenbeil's Crosscurrent Trio MURAL (CIMP 194). It is available through North Country/ Cadence Distribution. They can be contacted by telephone 315-287-2852, Fax 315-287-2860, email: orders@cadencebuilding.com This CD features 9 compositions , written and arranged by Eisenbeil, in the most modern avant-jazz vein. With Brooklyn contra-bassist J Brunka and San Antonio drummer Ryan Sawyer this trio is highly original and exciting. Prior to the recording, this band played a lot of music together and with a unique abstract bond they often perform at an intense level. Extended periods of growing intensity bring about moments akin to epiphany. Along with the 60+ minutes of music, extensive liner notes were contributed by David Wild, Leroy Aiello, Bob Rusch, and the engineer Marc Rusch. Eisenbeil says about his new CD, "MURAL showcases my recent melodic, harmonic and rythmic developments. I think that any instrumentalist, especially guitarists, would be interested in my modern approach to organizing pitch material on the guitar and the trio's diverse rythmic drive." Eisenbeil, a New York City cutting edge guitarist, improvisor and composer has performed with trumpeter Eddie Gale, William Hooker, Roy Campbell Jr., Jason Kao Hwang, Oluyemi Thomas, Fred Lonberg-Holm, John Bickerton, Sabir Mateen, Daniel Carter, Steve Swell, Jackson Krall, Christina Wheeler, Edgar Bateman, Toshi Makihara, violinist India Cooke, Ernesto-Diaz Infante, and many other jazz explorers. Eisenbeil's debut CD Nine Wings (CIMP 144) was released in September 1997. This CD features his compositions and guitar innovations in performance with Rob Brown (as) and Lou Grassi (d). The CD received extensive airplay throughout North America, charting on many Top 10 college playlists and in CMJ magazine. MURAL has already charted on many jazzTop 10 playlists. "Eisenbeil sounds like a wild man in spite of himself. He plays unadorned electric guitar, without effects or accoutrements, in a simple open tone that's bent into service as an avant-garde instrument. . . . he leads the trio through eight compositions ( and one brief improv) that break down structure into bloody three-way confrontations." 3 out of 4 stars, Richard Cook & Brian Morton; The Penguin Guide to Jazz on CD, Fourth Edition, 1998 Bruce's trio and his other ensembles have performed at the Texaco New York Jazz Festival, CMJ Music Conference, Buffalo Interprov Festival, Philadelphia Mellon Jazz Festival, Trenton Avant-garde Festival, and the Philadelphia Fringe Festival. Featured articles about Bruce Eisenbeil and his music have been presented in Coast Weekly, Staten Island Advance, La Salle Collegian, Hunterdon County Democrat. Enthusiastic reviews have been heard from the Village Voice, Chicago Reader, Jazz Times, Jazziz, San Francisco Weekly, Hi-Fi News and Record Review, Your Flesh, Philadelphia Inquirer, The Austin Chronicle, The Buffalo Artvoice, Cadence, AFIM Music Mix, Halana, Outside and the Philadelphia City Paper. Eisenbeil's music has also been noticed in Europe, with reviews in The Penguin Guide to Jazz on CD, The Wire, ImproJazz, Art & Culture Magazine (Belgium), Jazz Magazine 477. Eisenbeil has been interviewed on WNUR (Chicago), CFFF (Peterborough, Ontario), KAZU (Monterey, CA), WPRB (Princeton, NJ) and WSUB (Stoney Brook, NY). "Rather than fall back on a noise barrage of avant-garde cliches, Eisenbeil prefers a complementary tack - smoothly executed, single-note lines and well-placed, tastefully screwy chords - which deepens the music's range without dampening its edge." --- Sam Prestianni, San Francisco Weekly, August 11,1999 "Leading a trio, the young guitarist has an infectiously complicated style of trampling chords and wiggy lines that dart like bats with an attitude."--- Gary Giddins, The Village Voice, February 16, 1999 "One of the thrills as an observer of any scene is spotting the new talent early. Downtown denizons are quickly getting excited about guitarist Bruce Eisenbeil. Though he studied with famed mainstream jazz guitarists Joe Pass and Joe Diorio, he considers himself primarily self-taught, and one listen to his distinctive guitar approach on his album Nine Wings (CIMP) confirms that he comes from no particular school but instead has built a fresh style. His single-note lines are knotty and unpredictable, and he'll sometimes dwell on chiming, dissonant chords for several bars."--- Steve Holtje, CMJ New Music Monthly "Bruce Eisenbeil's original approach on Nine Wings is extraordinary. . . Eisenbeil escapes the usual fretboard constraints in a virtuoso engagement with sound that transcends style. The scope of his sonic dynamics makes most guitar improvisers sound academic, contrived or reliant upon "effects", while he appears to escape such constraints. --- David Lewis, Cadence Magazine For more information about Bruce Eisenbeil please visit his website : http://www.eisenbeil.com Or send a FAX to: 212-888-2726 ### - - ------------------------------ Date: Tue, 02 Nov 1999 00:30:54 -0500 From: Lang Thompson Subject: recording streaming audio Does anybody know of a program that I can use to record streaming audio to my hard drive, preferably one with a timer? I'd like to be able to listen to some radio shows broadcast over the Internet at a different time. The info for RealJukebox implies that it can do this but most of the info on their website is focused on recording CDs and not streaming audio. (My stereo is too far away to hook together.) Any other suggestions? LT - - ------------------------------ Date: Tue, 2 Nov 1999 12:55:49 +0200 From: "Jeroen de Boer" Subject: RE: Zorn "Defense" Letters Me too!! > I'm interested too. > > > -----Original Message----- > > From: Stephen Fruitman [SMTP:stephen.fruitman@idehist.umu.se] > > Sent: Sunday, October 31, 1999 12:02 PM > > To: zorn-list@lists.xmission.com > > Subject: Zorn "Defense" Letters > > > > Someone (Steve Smith?) mentioned that the week after the Schatz articl= e on > > Zorn, three critical letters to the editor were printed in the NYT, on= e of > > them by Dave Douglas. > > > > For my own research purposes, I wonder if there is anyone out there wh= o > > could photocopy those letters for me (unless they are online, and you = can > > point me at the right site)? > > > > E-mail me privately if you can do me that favour. All the best, Stephe= n > > > > > > > > > > > > ------------------ > > > > Bj=F6rn Olsson, > > Inst. f=F6r id=E9historia, > > Ume=E5 universitet > > 901 87 Ume=E5 > > tel. 090-7867982 fax 143374 > > e-post: bjorn.olsson@idehist.umu.se > > > > > > > > - > > - > > Jeroen de Boer co-director Cyberslag Foundation music director Open Electronic Festival Munnekeholm 10 9711 JA Groningen, The Netherlands usva-th1@bureau.rug.nl J.T.de.Boer@let.rug.nl tel. 0031 (0)50-3637513 fax. 0031 (0)50-3632209 http://www.cyberslag.com - - ------------------------------ Date: Tue, 02 Nov 1999 08:40:41 -0800 From: "Patrice L. Roussel" Subject: Spool and Red Toucan? I remember that the owner of Red Toucan wanted to start a new label. Could it be Spool? Patrice. NP: MILANO: FOR ISSEY MIYAKE MEN: Nobukazu Takemura - - ------------------------------ Date: Tue, 2 Nov 1999 13:15:05 -0500 (EST) From: Ken Waxman Subject: Re: Spool and Red Toucan? Nope, Red Toucan was a partnership between two Sixties avant-garde jazz survivors based in Montreal, whereas Spool seems to be a partnership between Peggy Lee (cello) & Dylan van der Schyff (drums) of Talkling Pictures in Vancouver and the folks who run Verge Music Distribution in Uxbridge, Ont. Ken Waxman On Tue, 2 Nov 1999, Patrice L. Roussel wrote: > > I remember that the owner of Red Toucan wanted to start a new label. > Could it be Spool? > > Patrice. - - ------------------------------ Date: Tue, 02 Nov 1999 10:57:27 -0800 From: s~Z Subject: pfMENTUM this Friday in Ventura CA Contents: A few reminders and something new... *Rob Blakeslee Quintet, featuring Vinny Golia and more, this Friday *Jeff Kaiser Trio, featuring Woody Aplanalp and Steuart Liebig, this Friday. Celebrating the release of the new pfMENTUM CD Asphalt Buddhas * Society for Electro-Acoustic Music in the United States Web Concert ************************************* Friday, 5 November 1999 8 pm, $7 admission Ventura City Hall, Downtown Ventura The Rob Blakeslee Quintet Featuring an all-star cast of musicians from Portland, Oregon; Chicago, Ill; Boston, Mass; Oakland, CA; and Los Angeles, CA. Rob Blakeslee, Vinny Golia, Scott Fields, George Cremaschi, Damon Short Be sure to come out and support this multi-state (in more ways than one) ensemble. Invite friends... Opening will be: The Jeff Kaiser Trio Jeff Kaiser, trumpet, electronics; Woody Aplanalp, guitars; Steuart Liebig, basses CD Release Celebration of the new Kaiser/Aplanalp Duo CD Asphalt Buddhas (Available at the concert) No Advance Ticket Sales, Tickets Available at the Door Only City Hall is located at the corner of Poli and California in Downtown Ventura ************************************* The Society for Electro-Acoustic Music in the United States (SEAMUS) is proud to announce the 1999 edition of the SEAMUS AudioClip Web Concert is on-line. 18 works by SEAMUS composers, all under two minutes in length. The web concert is part of ElectroAcoustic Music Week, a national celebration of electronic and computer music in the United States (http://seamus.lsu.edu/eamusicweek/). Check the EAMusicWeek site for information on events happening in your area. The AudioClip Web Concert can be heard at http://seamus.lsu.edu/audioclips/ ************************************* Thank you, Keith and Jeff pfmentum@jetlink.net http://www.jetlink.net/~pfmentum - - ------------------------------ Date: Tue, 2 Nov 1999 13:33:44 +0200 From: "Jeroen de Boer" Subject: (Fwd) [forumhub] from Alvin Curran The following interesting email was posted by Alvin Curran on the forumhub mailing-list. I think it may be of interest to the members of this list. although there is no real Zorn-content. Best wishes, Jeroen ******************************************************************** Normally I would avoid like a plague, joining forums about anything because inspite of the exciting possibilities of connecting with a lot of people you don't know - this kind of communication is very time consuming, in contrast with the ancient analogue forms of people getting together at precise times to meet in the piazza, town square, parlaments, university, church or temple to discuss important and pressing issues and ideas.. that said, I was so taken by your intelligent and provocative questions that -here I am- sitting and writting answers to them.. bravo. I will in fact not even answer the questions but respond generally to the dust, which these important questions stirred up.. In my view, our contemporary music "condition" is presently akin to a derelict boat that is afloat on the seas with no crew, no pilot, and and no knowledge of where it is going, and to some extent with no knowledge where it has come from. The reason is simple, no one, until very recently, has experienced a truly global music culture - one which permits a multichanneled daily mix ("contamination" as the European critics like to say) between the tribes of Papua New Guinea, the tribes of Ircam/Steim and those of South Central Los Angeles. We, all of us, are presently experiencing the birth of such a "new music" and we are, as my derelict boat implies, a bit lost in the process; nothing quite like it has ever happened. But being lost at sea is not necessarily a negative condition, because it is an experience which biologically generates constant hope - hope that one will, in fact, survive the ordeal and land somewhere safely. More specifically, that we will find a new common language, a new common practice from all of our hectic, blind and brilliant searching and experimentation of the last 50 years. True, research is done to find answers and solutions, which often lead to the need for more research; but sometimes we need a rest... and the music of this century anyway gives no sign of resting. Ever since Arnold Schoenberg installed democracy among the 12 equal European tones, and since Cage democratically confered musical citizenship to any sounding phenomena, and improvisors like AMM, MEV and Braxton declared music could be made by spontaneous combustion and David Tudor and later the whole Cyber revolution was to discover Neural Networks as a model of musical structure and behaviour - the music of this century has KNOWN NO PEACE. Furthermore, for reasons entirely beyond our control (namely economic ones) all of humanity is literally drowning in and choking on music which it consumes in quantities equal to the air it breathes and water it drinks - this may prove like many of our recent inventions a danger for human physical and mental health, who knows? Musically speaking no historical culture that we know about has ever had to deal with the phenomenal task of living with all possible musics all of the time...Most peoples have lived quite contentedly with one music only - their own. Debussy for example did not hear a Balinese Gamelan orchestra until 1898 when at the Paris world's fair such an ensemble performed its impressive music for the first time in Europe. Now we can hear Balinese music whenever we desire and this indeed describes our state of electronic liberte et fraternite, and the infinite freedom of choice of what music to make, or listen to, where, when, and with whom; this fact, to many people, east west, north or south is less and less a problem - first, analogue systems and now digital ones are creating a new global music venue, but nobody is quite sure "where" this venue is located. None the less, we remain happily but confusedly thinking that we are making music with two stones, two sticks and a rattle whether in Central Australia or in the Leipzig Gewandhaus, but in fact we are now netcasting these sounds and sonic events everywhere as well and asking listeners to press buttons, move faders, sing into their microphones, write simple code, drop midi-acid into their computers and imagine they are either Bach or the Aborigines or both. Where's the concert? Where's the fire? Who wrote the score? Beethoven, Boulez or Braxton??? who made the instrument? Adolphe Saxe or Apple. Is your music an extension of your own body or your computer's CPU? or your netserver's indifferent slowness? answering questions with questions is of course no answer - just talmudic tradition. Before I ramble on too long I wish to report about a recent concert that I created to open the Donaueschingen Festival 1999 (just two weeks ago). I meticulously sampled from 5-30 seconds of music each from about 100 compositions which represent the core of the this historic festival's music founded by Hindemith in 1922. With these samples (stored in an Akai 6000 - each as if a single color, gesture, or musical idea fixed to our common 88 note keyboard,) I created a spontaneously improvised music, as if playing what lay under my fingers were the sounds of the whole 20th century - which in many respects they were. Uninterrupted following my 30 minute performance two computers - a G3 with MSP connected to PC linux running CSound (in collaboration with Nicola Bernardini and Domenico Scianjo which I will describe at some other time) began to randomly process these sounds for three consecutive days, reducing them first to their "molecular" contents, then genetically recombining them in new forms of musical life - made audible through 16 loudspeakers (D+B) placed around a 4000 square meter park -with castle fountains and ducks... I only mention this because of its relevance to all of your questions - from tendencies and instruments to appropriation to notation vs. improvisation, to musical space and ritual. These are indeed the big questions and I think the only way we can answer them is to continue our work, looking under every stone or at all the old dusty notes to find, as we are doing anyway, the path into or out of this bizzare but wonderful moment of musical uncertainty that we are experiencing - it's happened all so fast, and it's all so new that we may be in Hell or Heaven and don't even know it. Oh yes, the reason I mentioned this concert was simply to say that as part of my compositional process I had to listen to hours of music on a 15 CD set (by Col Legno) music representing the grand tradition of European contemporary Concert Music, the so called "music of our time.".. in fact, musics which have pushed the boundaries of speed,duration, timbre, dynamics on the old european acoustic instruments to their outer physical limits; as have the tonal aggregates (harmonically and polyphonically speaking) been strained to their ultimate limits. Much like space travel, I view these extreme tendencies as part of our musical way of trying to take flight, and leave the earth's confining atmosphere... But to the unexperienced non-western ear, which is what most people hear with on this planet, I strongly suspect that all this "molecularization" of tone and gesture and time - leading as it must inevitably toward organized NOISE and hence some form of new entropic stability - is hardly what most people in the world would call music. On the other hand it is perhaps a most honest and stunning portrait of our own time, in all its chaos, disorder, fear, and endless frantic searching. At the same time its archaic attachment to its own ancient traditions has in my opinion left it petrified somewhere in the end of the 19th Century; and dreaming of composing symphonies for 100 dinosaur-musicians is still very much the dream of most young composers. Neither great musical body-builders like Varese, Messiaen, Schaefer, Xenakis, Ligeti, Feldman, Nancarrow, Coltrane, Cage nor electronics, nor improvisation, nor chance operations, nor fractals, nor hip-hop, nor dub, nor Stock and Hausen, nor Cecil Taylor, nor the Red Brigades, have been able to dislodge the immovable cultural icons, the likes of Beethoven etc. who constantly prove to be far more contemporary than all of us, if only because they probably occupy about 95% of the musical space in the whole world. Certainly the Internet will not be a home to these great musical masters of the past, but it will be a home to their managers, editors, owners and producers to promote the constant lucrative sales of these dead monuments. So let's get to the point: there are no real problems in music today that composers, dedicated performers, creative producers, improvisors and programmers and their mad flow of creativity can not overcome. We should not point the finger at Beethoven, who's clearly out there laughing at all of us (on his way to the bank), but at the music machinery, it's clever producers and managers - who perhaps in the name of the gods of Mammon and Money have so refined the art of selling anything, that they have flooded the whole world with their wares in unconscionable ways. But worse these same Mogols detain marketing powers which seem to determine , tout court, what the music of our time is or seems to be. Such cultural power has never before existed - outside of the abberant times of historical tyrannies. And to answer our own simple questions, we must take a good look at this abuse of power, and resist it in every way. Music is like biology, it takes care of it self. Dying a bit here, growing there, mutating here again. It really needs very little to keep it going, just the constant committment of the evolutionary work we are all doing. Viva la Crisi. Alvin Curran - - ------------------------------ End of Zorn List Digest V2 #784 ******************************* To unsubscribe from zorn-list-digest, send an email to "majordomo@lists.xmission.com" with "unsubscribe zorn-list-digest" in the body of the message. For information on digests or retrieving files and old messages send "help" to the same address. Do not use quotes in your message. A non-digest (direct mail) version of this list is also available; to subscribe to that instead, replace all instances of "zorn-list-digest" in the commands above with "zorn-list". Back issues are available for anonymous FTP from ftp.xmission.com, in pub/lists/zorn-list/archive. These are organized by date. Problems? Email the list owner at zorn-list-owner@lists.xmission.com