tag:blogger.com,1999:blog-35978088Thu, 24 May 2012 18:29:10 +0000dialogue2tourarchive049archive013theoryarchive025archive073praxis_harmonic_introfaqintonationxmusicnotationarchive037intonation1archivepraxis_harmonic_rationalpraxis_harmonic_rational_0203praxisdialogue1archive061archive001contactintonation2dialogue3acoustics<a href="http://www.stylesjkauphmann.org/search/label/archive">Archive</a> | <a href="http://www.stylesjkauphmann.org/search/label/music">Music</a> | <a href="http://www.stylesjkauphmann.org/search/label/theory">Theory</a> | <a href="http://www.stylesjkauphmann.org/search/label/praxis">Praxis</a> | <a href="http://www.stylesjkauphmann.org/search/label/contact">Contact</a>http://www.stylesjkauphmann.org/noreply@blogger.com (Styles J. Kauphmann)Blogger31125tag:blogger.com,1999:blog-35978088.post-6810990475894755875Tue, 01 Jan 2013 23:59:00 +00002012-05-11T12:46:02.155ZThis website offers information on the music of Styles J. Kauphmann.http://www.stylesjkauphmann.org/2013_01_01_archive.html#6810990475894755875noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-4487564404040296278Tue, 01 Jan 2013 23:59:00 +00002012-03-08T10:45:01.750ZSketches are located in the Archive; audio recordings in Music; and essays & pedagogical resources in Theory & Praxis. Information for students seeking tuition is here. Thank you for visiting.http://www.stylesjkauphmann.org/2013_01_01_archive.html#4487564404040296278noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-1309902769226584144Tue, 01 Jan 2013 11:59:00 +00002012-02-22T11:06:46.906ZtourA provisional schedule for nineteen recitals currently in preparation.Click here for recordings from the first sequence of acoustic recitals from 2006–2009.Acoustic improvisations | Second sequence | February 2013–August 2015Nineteen improvisations in countries reaching from Spain to Russia. The tour will also incorporate a lecture series and recitals of notated compositions.Group 1 | Spain | http://www.stylesjkauphmann.org/2013_01_01_archive.html#1309902769226584144noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-5343842349218889182Sun, 31 May 2009 23:59:00 +00002012-05-01T14:34:30.083Zarchive073archive061archive037archivearchive013archive049archive001archive025 Compositional sketches, theoretical notes, and other various fragments from between 2004 and 2009, retrieved from a number of folders and one storage box. The items here represent a cross-section of the total material, all of which I am cataloguing prior to their further elaboration. Uncatalogued material Items 001-012 | Items 013-024 | Items 025-036 Items 037-048 | Items 049-060 | Items 061-http://www.stylesjkauphmann.org/2009_05_01_archive.html#5343842349218889182noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-3298197924659099538Sun, 31 May 2009 01:12:00 +00002012-05-01T14:17:24.751Zarchive001 (Click thumbnails to open full-size images.) (Items 001-012 | 013-024) (Archive)http://www.stylesjkauphmann.org/2009_05_01_archive.html#3298197924659099538noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-9142518568447039076Sun, 31 May 2009 01:11:00 +00002012-05-01T14:18:20.069Zarchive013(Click thumbnails to open full-size images.)(Items 001-012 | 013-024 | 025-036) (Archive)http://www.stylesjkauphmann.org/2009_05_01_archive.html#9142518568447039076noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-2911042168661975882Sun, 31 May 2009 01:10:00 +00002012-05-01T14:20:28.350Zarchive025(Click thumbnails to open full-size images.)(Items 013-024 | 025-036 | 037-048) (Archive)http://www.stylesjkauphmann.org/2009_05_01_archive.html#2911042168661975882noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-6296889517585480870Sun, 31 May 2009 01:09:00 +00002012-05-01T14:21:59.044Zarchive037(Click thumbnails to open full-size images.)(Items 025-036 | 037-048 | 049-060) (Archive)http://www.stylesjkauphmann.org/2009_05_01_archive.html#6296889517585480870noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-5974633438719532749Sun, 31 May 2009 01:08:00 +00002012-05-01T14:28:02.122Zarchive049(Click thumbnails to open full-size images.)(Items 037-048 | 049-060 | 061-072) (Archive)http://www.stylesjkauphmann.org/2009_05_01_archive.html#5974633438719532749noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-6283905384892881549Sun, 31 May 2009 01:07:00 +00002012-05-01T14:40:10.785Zarchive061(Click thumbnails to open full-size images.)(Items 049-060 | 061-072 | 073-084) (Archive)http://www.stylesjkauphmann.org/2009_05_01_archive.html#6283905384892881549noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-3625289117785005920Sun, 31 May 2009 01:06:00 +00002012-05-01T14:43:56.692Zarchive073(Click thumbnails to open full-size images.)(Items 061-072 | 073-084) (Archive)http://www.stylesjkauphmann.org/2009_05_01_archive.html#3625289117785005920noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-1770619211845985009Sat, 30 May 2009 23:59:00 +00002012-05-06T10:39:15.677Zmusic Recordings of acoustic recitals featuring extended instrumental (violin/clarinet) and vocal technique. Click here for news about a second sequence of acoustic recitals in 2013–2015. Acoustic improvisations | First sequence | September 2006–May 2009 Twenty-three improvisations orbiting Cambridge, London, Oxford, and finally Berlin. Satellite recitals took place in Exeter, Lincoln, Norwich, http://www.stylesjkauphmann.org/2009_05_01_archive.html#1770619211845985009noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-4494356205062522297Fri, 29 May 2009 23:59:00 +00002012-05-03T13:13:22.934Ztheory A selection of articles relating to theory of composition and improvisation. Two programme notes Acoustics | Notation Dialogue, with David M. Grundy Part 1 | Part 2 | Part 3 An introduction to microtonality, or subtle intonation Part 1 | Part 2 | Part 3 in preparation Frequently asked questions FAQshttp://www.stylesjkauphmann.org/2009_05_01_archive.html#4494356205062522297noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-1045057242012575029Fri, 29 May 2009 11:59:00 +00002012-05-06T11:40:42.789Zacoustics The improvisations are called ‘acoustic’ (rather than ‘free’ or ‘non-idiomatic’) less for their eschewal of electronic sound manipulation than for the term’s aptness to describe the materials explored by this work. Almost all one hears is a composite of overtones; that is, notes with frequencies relating, simply or not, to a principal note called the fundamental pitch. The frequency of a note, http://www.stylesjkauphmann.org/2009_05_01_archive.html#1045057242012575029noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-1873149404987918392Fri, 29 May 2009 11:58:00 +00002012-05-06T11:41:14.973ZnotationHow a given notation relates to that which it represents can be thought of as lying on a continuum whose extremities are the ‘impression’ and the ‘symbol’. An absolutely impressionistic notation requires nothing beyond the experience of viewing it to appreciate its significance (for example, abstract graphic art, which is both the notation and manifestation of a certain kind of thoughthttp://www.stylesjkauphmann.org/2009_05_01_archive.html#1873149404987918392noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-4454067781160911586Fri, 29 May 2009 11:29:00 +00002012-05-06T11:42:39.020Zdialogue1This is an edited transcript of an interview conducted in May 2008 by David M. Grundy for Cambridge University Radio. Whilst no longer entirely representative of my thoughts in their detail, it remains a servicable précis of my concerns. My gratitude to David for inviting me to speak with him.DMG | The first thing I noticed, and which presumably many people who listen to your improvisations will http://www.stylesjkauphmann.org/2009_05_01_archive.html#4454067781160911586noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-331345827110997516Fri, 29 May 2009 11:28:00 +00002012-05-06T11:42:55.094Zdialogue2DMG | We can move on now to another less theoretical aspect of the music. More the mechanics of the way the music is produced. I was thinking of the role of extended techniques in the production of these improvisations. You’ve developed in your vocal improvisations something approaching multiphonics, and also in your clarinet playing you’re using overtones a lot. What role would you say that http://www.stylesjkauphmann.org/2009_05_01_archive.html#331345827110997516noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-4090438649264934347Fri, 29 May 2009 11:27:00 +00002012-05-06T11:43:10.812Zdialogue3DMG | As we’ve been talking about these drawings we could move more generally towards talking about the relation between sound and art. In your case, how exact would you say the relation was? I presume you wouldn’t claim to have synaesthesia?SJK | No.DMG | How would you say this relation existed? Would you say it was particularly important or would you prefer to claim that different forms of http://www.stylesjkauphmann.org/2009_05_01_archive.html#4090438649264934347noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-8501189133452796102Thu, 28 May 2009 10:59:00 +00002012-05-06T11:43:30.327Zintonation1 ‘Microtonality’ refers to the use of pitches outside of those offered by the twelve-note, equally tempered scale. Twelve-note equal temperament (12-ET) divides the octave into twelve steps (intervals) of equal size, called semitones. Example 1 | 12-ET scale, ascending by semitones. Semitones are by convention considered the smallest intervals in Western music: neither standard staff notation http://www.stylesjkauphmann.org/2009_05_01_archive.html#8501189133452796102noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-3949844482764744306Thu, 28 May 2009 10:58:00 +00002012-05-06T11:43:54.205Zintonation2 There are indeed many composers who forthrightly estrange themselves from 12-ET. Some speak of their music in terms of microtonality, although many others have invented labels specifically for their music, or for the music of a scene they frequent. The most well known of these is probably ‘spectral’ music; others include ‘ultra-chromatic’ and ‘xenharmonic’ music. (‘Spectral’ and ‘http://www.stylesjkauphmann.org/2009_05_01_archive.html#3949844482764744306noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-6779723057996841433Thu, 28 May 2009 10:56:00 +00002012-05-06T11:45:38.664ZintonationxIn the following four examples, you will hear a sustained note, against which five other notes sound in ascending sequence. Only one of the five in each case is an interval from 12-ET; can you identify which? Ex. 4 | a) major second, b) augmented fourth, c) minor sixth, d) major sixth. Answer | The 12-ET intervals are those between the sustained note and: a) major second = note 3; b) http://www.stylesjkauphmann.org/2009_05_01_archive.html#6779723057996841433noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-6549479295878967160Thu, 28 May 2009 00:00:00 +00002012-05-06T11:47:14.276ZfaqDo you improvise upon a preordained structure? Do you visualize images, scenes, or situations?None of the above.Are you using your voice during the performances on clarinet and violin?Occasionally, in both cases. This may be done for timbral, rhythmic, or harmonic reasons. By singing in unison with either instrument, the timbre (tone colour) of the sound can be modified; singing slightly off http://www.stylesjkauphmann.org/2009_05_01_archive.html#6549479295878967160noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-2316703670450866349Wed, 27 May 2009 23:59:00 +00002012-05-04T20:25:17.164Zpraxis_harmonic_rationalpraxis_harmonic_intropraxis Material for learning to perceive & reproduce the extended musical resources mentioned on the site. The sound files used here are best heard through headphones, but please ensure that you have adjusted the volume to a safe level beforehand. Harmonic resources Introduction | Rational intonationhttp://www.stylesjkauphmann.org/2009_05_01_archive.html#2316703670450866349noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-5875667403278289407Wed, 27 May 2009 23:58:00 +00002012-05-06T11:38:25.524Zpraxis_harmonic_intro Seven reference tones The musical intervals you will hear in this section all relate to seven reference tones. These multiple reference tones are used for two reasons: firstly, to enable you to reproduce the intervals within different vocal and instrumental ranges; and secondly, to encourage you to memorize the relative intervallic differences, rather than the absolute pitches themselves. The http://www.stylesjkauphmann.org/2009_05_01_archive.html#5875667403278289407noreply@blogger.com (Styles J. Kauphmann)tag:blogger.com,1999:blog-35978088.post-4256279672503426718Wed, 27 May 2009 23:57:00 +00002012-05-06T22:16:29.324Zpraxis_harmonic_rational Rational (or 'just') intonation is the tuning of musical intervals to frequency ratios that can be expressed as fractions. In this section of the website, you can learn to aurally differentiate as well as sing or play some of these intervals yourself. The page for each interval pairs it with its complement: interval B is interval A's complement if A plus B add up to an octave, e.g. a perfect http://www.stylesjkauphmann.org/2009_05_01_archive.html#4256279672503426718noreply@blogger.com (Styles J. Kauphmann)