tag:blogger.com,1999:blog-359780882012-02-01T22:50:59.421Z<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/writings">Writings</a> | <a href="http://www.stylesjkauphmann.org/search/label/contact">Contact</a>Styles J. Kauphmannnoreply@blogger.comBlogger211100tag:blogger.com,1999:blog-35978088.post-68109904758947558752013-01-31T00:00:00.000Z2011-07-04T16:05:20.591Z

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-44875644040402962782013-01-01T23:59:00.005Z2012-01-28T23:13:10.945Z

This website offers information on the music of Styles J. Kauphmann. Compositional sketches are located in the Archive; audio recordings in Music; and theoretical essays in Writings. Information for students seeking tuition is here. Thank you for visiting.

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-74410945447103097642013-01-01T00:00:00.015Z2012-02-01T22:50:59.534Z

29 Jan 2012 | (Writings) Part 2 of ‘An essay on microtonality’ added. (Archive) Twelve sketches uploaded.22 Jan 2012 | (Archive) Twelve sketches uploaded.15 Jan 2012 | (Archive) New section created and an Introduction added.08 Jan 2012 | (Writings) Part 1 of ‘An essay on microtonality’ added.01 Jan 2012 | (Writings) Dialogue, an interview with David M. Grundy, added.

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-53438423492188891822009-05-31T23:59:00.012Z2012-01-25T15:09:13.343Z

Compositional sketches, fragments, and notes from 2004 to the present.Introduction *Added 15 Jan 2012How the archive is organizedUnsorted material *Updated 29 Jan 201229 Jan | 22 Jan

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-6776265318046266052009-05-31T23:58:00.002Z2012-01-18T21:43:35.156Z

The archival section of this website contains sketches of compositions, notational reforms, theoretical ideas, and other various musical fragments.These have accumulated mostly between 2004 and 2009, and at the present time (January 2012) are all contained haphazardly in several folders and one storage box.The aim of this archival project is to retrieve and sort all fragments, so that their

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-91425185684470390762009-05-31T23:57:00.011Z2012-01-25T15:43:46.432Z

(Maroon thumbnails open complete images; slate-blue thumbnails link to entries at their latest stage.)(29 Jan | 22 Jan) (Archive)

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-32981979246590995382009-05-31T23:56:00.001Z2012-01-25T15:44:01.692Z

(Maroon thumbnails open complete images; slate-blue thumbnails link to entries at their latest stage.)(29 Jan | 22 Jan) (Archive)

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-17706192118459850092009-05-30T23:59:00.000Z2012-01-18T21:25:05.504Z

Recordings of acoustic recitals featuring extended instrumental (violin/clarinet) and vocal technique.Acoustic improvisations | First sequence | September 2006–May 2009Twenty-three improvisations focused around Cambridge, London, Oxford, and finally Berlin. Further recitals took place inin Exeter, Lincoln, Norwich, Truro, Warwick, and York.Recordings of eleven of the improvisations are available

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-44943562050625222972009-05-29T23:59:00.005Z2012-01-31T18:29:40.354Z

A selection of articles relating to theory of composition and improvisation.If anything here fails to clarify, please bring this to my attention. Correspondence is, in any case, welcome.Two programme notesAcoustics | NotationDialogue, with David M. GrundyPart 1 | Part 2 | Part 3An essay on microtonality, or subtle intonation *Part 2 added 29 Jan 2012Part 1 | Part 2 | Part 3 due 12 February

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-10450572420125750292009-05-29T00:00:00.002Z2012-01-28T23:34:51.822Z

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,

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-18731494049879183922009-05-28T00:00:00.002Z2012-01-28T23:35:21.277Z

How 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 thought

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-44540677811609115862009-05-27T00:00:00.008Z2012-01-28T23:26:03.604Z

(This 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

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-3313458271109975162009-05-26T00:00:00.002Z2012-01-28T23:28:09.178Z

DMG | 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

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-40904386492649343472009-05-25T00:00:00.003Z2012-01-28T23:32:09.784Z

DMG | 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

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-85011891334527961022009-05-24T18:00:00.004Z2012-02-01T19:48:13.766Z

‘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 nor

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-39498444827647443062009-05-24T12:00:00.017Z2012-02-01T19:47:40.332Z

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 ‘ultra-chromatic’

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-67797230579968414332009-05-22T00:00:00.000Z2012-01-08T20:18:57.057Z

In 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) augmented

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-38201158403512179372009-05-02T00:00:00.004Z2012-01-30T09:00:49.970Z

Styles-Kauphmann lives in Berlin, Germany.Comments and questions are welcome; please make contact in the first instance by e-mail.

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-65494792958789671602009-05-01T00:00:00.000Z2012-01-08T20:20:06.951Z

Do 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

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-86315283149409988172006-01-01T00:00:00.003Z2011-07-12T09:02:17.914Z

A graduate of Trinity College, Cambridge, and previous scholarship holder of the Studienstiftung des deutschen Volkes, I offer private tuition in the disciplines ofAural Training | Music TheoryFree Composition | Free ImprovisationWestern Music HistoryLessons are given at my studio in Berlin. Long-distance tuition via email correspondence and VoIP is also available, except for aural training and

Styles J. Kauphmannnoreply@blogger.comtag:blogger.com,1999:blog-35978088.post-1727984604584338462004-12-31T23:59:00.006Z2012-01-25T14:53:30.511Z

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