Occasionally, XEN RADIO will take the time to feature a longer work. Episode 8 was just such an episode, dedicated to Terry Riley’s 1975 work for electronic keyboard, Descending Moonshine Dervishes. To fill out the rest of the hour, we paid another visit to some of Easley Blackwood’s Microtonal Etudes.Continue reading
For this special edition of XEN RADIO, I was joined in the KPISS RV by the mircotonal rock band, The Mercury Tree. They’re in the midst of a tour all over the country and I was luck enough for them to make the time to visit the studio and to curate a playlist of xenharmonic/microtonal tracks that they love.Continue reading
Xenharmonic and microtonal music is more than “classical” experimentations and deviations from 12-tone equal temperament (in fact, there’s really quite a bit to say about how loaded the term “microtonal music” truly is — but that’s a discussion for another day), so this episode is almost completely filled with tracks from the rock, jazz, and other streams of xenharmonic music.Continue reading
After a break of one week, XEN RADIO returned to the air with an eclectic mix of mostly “non-classical” tracks of microtonal music.Continue reading
The first five weeks of Xen Radio are done. This week’s episode featured larger works (20+ minutes) such as Georg Friedrich Haas’ Limited Approximations and Ben Johnston’s String Quartet No. 6, along with a couple short electronic pieces by Dan Stearns.Continue reading
This week’s Xen Radio program was dedicated to microtonal piano music. It featured a few generations of piano music, ranging from the early quarter tone music of Ives and Wyschnegradsky to Kyle Gann’s 2011 work, Echoes of Nothing.Continue reading
This week’s episode featured music from a few different traditions of xenharmonic/microtonality: Wendy Carlos, Noah Jordan, Gÿorgy Ligeti, and Johnny Reinhard.Continue reading
The Renaissance practice of ‘intabulations’ was the arrangement of consort music – instrumental or vocal – for keyboard. An intabulation was the making of the impossible possible: a single person could now render a performance only possible by a consort. Late last year I began work on a series of new intabulations in just intonation. Created using notation software and with sampled sounds of classic electric pianos, they are in a some respect the impossible made possible. I recently published the first three of what will be a larger and longer set of works.
Recently someone made an interesting observation about paying money to have art made:
Sadly, commissining and promoting new music is an act of faith & idealism on behalf of an art that has almost no market value.— Richard Bratby (@RichardBratby) August 5, 2017
Yeah—lots of “art” doesn’t make sense from the standpoint of return on investment. But then again, we have this:
And I’m reminded of the claims that we need gatekeepers (i.e., contemporary patronage) to ensure the quality of art doesn’t degrade away.