Mark Applebaum, Associate Professor of Composition and Theory in the Department of Music, composed The Metaphysics of Notation specifically for installation at the Cantor Arts Center at Stanford. The complete work includes a full hand-drawn score (72’ in length, in twelve 6’ panels), two corresponding mobiles, and the print now hanging in the Music Library, which reproduces the entire drawn score.
Blog topic: Music
“To please the taste of the public”
Early American Tune Books
(1761 – 1808)
An article in SF Gate celebrating the opening of the 55th annual Monterey Jazz Festival highlights the MJF Collection in the Archive of Recorded Sound. The article, by Jeanne Cooper, includes an interview with Jerry McBride, Head of the ARS.
Read it here.
Visit the Monterey Jazz Festival Collection page.
What's the first name you think of when considering the development of electronic music? Edgard Varèse? John Cage? Karlheinz Stockhausen? Now how about computer music? Max Mathews should be at the top of your list. While at Bell Laboratories in 1957, Mathews wrote the program MUSIC, ushering in an era of digital synthesis and composition. MUSIC went through many iterations, but its lasting influence can be seen in contemporary programs such as Max/MSP, itself named after the late pioneer.