Stephen Crawford: Difference between revisions
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Wikispaces>stephencrawford **Imported revision 365755948 - Original comment: ** |
Wikispaces>stephencrawford **Imported revision 365866156 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:stephencrawford|stephencrawford]] and made on <tt>2012-09-18 | : This revision was by author [[User:stephencrawford|stephencrawford]] and made on <tt>2012-09-18 20:42:19 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>365866156</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">**Stephen Crawford (under construction)** | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">**Stephen Crawford (under construction)** | ||
//What was your path to discovering alternate tunings?// | //What was your path to discovering alternate tunings?// | ||
The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the late 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in 2009, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC. | |||
//What are your current/past/future particular interests?// | //What are your current/past/future particular interests?// | ||
I want to compose | I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well. | ||
//What instruments or means have you had/do you have now/do you want for the making of microtonal music?// | //What instruments or means have you had/do you have now/do you want for the making of microtonal music?// | ||
Trombone, some software (inventory), 2 autoharps, jaw harps | |||
//What instruments or means have you successfully used in the making of microtonal music? Recommendations?// | //What instruments or means have you successfully used in the making of microtonal music? Recommendations?// | ||
Trombone, | Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series. | ||
//Any good microtonal anecdotes?//</pre></div> | //Any good microtonal anecdotes?// | ||
There once was a composer from Nantucket...</pre></div> | |||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br /> | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br /> | ||
<em>What was your path to discovering alternate tunings?</em><br /> | <em>What was your path to discovering alternate tunings?</em><br /> | ||
<br /> | The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the late 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some &quot;happenings&quot; around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in 2009, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.<br /> | ||
<br /> | <br /> | ||
<em>What are your current/past/future particular interests?</em><br /> | <em>What are your current/past/future particular interests?</em><br /> | ||
I want to compose<br /> | I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well.<br /> | ||
<br /> | <br /> | ||
<em>What instruments or means have you had/do you have now/do you want for the making of microtonal music?</em><br /> | <em>What instruments or means have you had/do you have now/do you want for the making of microtonal music?</em><br /> | ||
<br /> | Trombone, some software (inventory), 2 autoharps, jaw harps<br /> | ||
<br /> | <br /> | ||
<em>What instruments or means have you successfully used in the making of microtonal music? Recommendations?</em><br /> | <em>What instruments or means have you successfully used in the making of microtonal music? Recommendations?</em><br /> | ||
Trombone, | Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series.<br /> | ||
<br /> | <br /> | ||
<em>Any good microtonal anecdotes?</em></body></html></pre></div> | <em>Any good microtonal anecdotes?</em><br /> | ||
There once was a composer from Nantucket...</body></html></pre></div> | |||
Revision as of 20:42, 18 September 2012
IMPORTED REVISION FROM WIKISPACES
This is an imported revision from Wikispaces. The revision metadata is included below for reference:
- This revision was by author stephencrawford and made on 2012-09-18 20:42:19 UTC.
- The original revision id was 365866156.
- The revision comment was:
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.
Original Wikitext content:
**Stephen Crawford (under construction)** //What was your path to discovering alternate tunings?// The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the late 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in 2009, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC. //What are your current/past/future particular interests?// I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well. //What instruments or means have you had/do you have now/do you want for the making of microtonal music?// Trombone, some software (inventory), 2 autoharps, jaw harps //What instruments or means have you successfully used in the making of microtonal music? Recommendations?// Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series. //Any good microtonal anecdotes?// There once was a composer from Nantucket...
Original HTML content:
<html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br /> <em>What was your path to discovering alternate tunings?</em><br /> The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the late 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in 2009, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.<br /> <br /> <em>What are your current/past/future particular interests?</em><br /> I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well.<br /> <br /> <em>What instruments or means have you had/do you have now/do you want for the making of microtonal music?</em><br /> Trombone, some software (inventory), 2 autoharps, jaw harps<br /> <br /> <em>What instruments or means have you successfully used in the making of microtonal music? Recommendations?</em><br /> Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series.<br /> <br /> <em>Any good microtonal anecdotes?</em><br /> There once was a composer from Nantucket...</body></html>