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Exploring Contemporary Composition: Insights from Richard Barrett and Bernhard Lang

This seminar, taught by Prof. Sigman, delves into the works of contemporary composers Richard Barrett and Bernhard Lang. Students explore Barrett's integration of improvisation and live electronics, alongside Lang's unique looping techniques that challenge minimalist traditions. The course covers significant themes such as music's necessity and futility, and the role of performance as ritual. Key works, including Barrett's "Necessity" and Lang's "DW" series, highlight the intersection of music, philosophy, and human experience. Final presentations and exams conclude this enlightening semester.

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Exploring Contemporary Composition: Insights from Richard Barrett and Bernhard Lang

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  1. Contemporary Composition SeminarFall 2012 Instructor: Prof. SIGMAN Thursday 14:00-16:00 Lecture XI (LAST LECTURE!)

  2. 0.0 Important Dates • 12/13: FINAL PRESENTATIONS; Study Guide distributed • 12/20: FINAL EXAM (시험)

  3. 0.1: Assignment IV • Due 오늘!

  4. Topics: • I. Richard Barrett: Necessity (필요) and Futility(효과없음) • II. Bernhard Lang: Difference and Repetition

  5. I. Richard Barrett

  6. A. Bio • (b. 1959, Swansea, Wales, UK) • Studied genetics (유전학)and microbiology before composition • Founder of 2 electronics improvisation groups: FURT (duo) and fORCH (large ensemble) • Active in the UK, Amsterdam, and Berlin

  7. [FURT in Concert] • http://www.youtube.com/watch?v=-5eI9g5jTNg

  8. B. Major Works • Cycles of pieces for various soloists, ensembles, electronics, and media installations: OPENING OF THE MOUTH, , DARK MATTER, negatives, CONSTRUCTION, and Fictions • Vanity (1990-94) for orchestra • Tracts (1984-96) for piano • http://www.ump.co.uk/barrett.htm

  9. C. Common Themes • Integration of score-based performance, improvisation, and live electronics • Performance physicality • Music and text: Samuel Beckett and Paul Celan • Music and politics • Large-scale Cycles • Unconventional/alien performance contexts • Ritual (의식)

  10. Necessity and Futility • Music as necessary human activity • Music also as futile and absurd activity • Such a contradiction gives composition its impetus to continue, and its complexity—much like the human condition

  11. D. delta (1990-93) • from the cycle negatives • For alto flute, trombone, anklung, sitar, 10-string guitar, and strings

  12. E. Interference (1996-2000) • for solo contrabass clarinet (+ voice and pedal bass drum) • Clarinetist also sings (4.5 octave range!) • Text: Lucretius, De rerum naturam (On the Nature of Things) , on the destruction (파멸ㅎ 기) of the universe • New type of virtuosity • Performance as ritual; performer as shaman (샤만)

  13. Contexts • 1. Solo • 2. DARK MATTER cycle (with ensemble and live electronic improvisation)

  14. Interference Recordings • Solo: http://www.youtube.com/watch?v=GaBLbANg588

  15. II. Bernhard Lang

  16. A. Bio • (b. 1957, Linz, Austria) • Studied philosophy and German philology, as well as composition and piano • Based in Vienna

  17. B. Other Musical Activities/Influences

  18. 1. Improvisation

  19. 2. Punk Bands

  20. 3. DJ Culture

  21. C. Important Works • Differenz/Wiederholung (DW) series • Monadologieseries • I Hate Mozart (opera) • http://members.chello.at/bernhard.lang/

  22. D. Loops • Main technique in Lang’s work • Unlike Minimalist pieces (by Reich, Glass, etc.), Lang’s loops are complex, noisy, and diverse • Loops at different tempi • Looped material derived from: jazz, improvisation, pop, and non-Western music sources

  23. Here are typical Philip Glass “loops”: • http://www.youtube.com/watch?v=JfFMdllASbM

  24. Here are Bernhard Lang loops: • http://www.youtube.com/watch?v=XJr8hr1EK8Q • [expressive, dynamic, complex, noisy]

  25. Film Influence: Martin Arnold [Austrian filmmaker, b. 1959] • http://www.youtube.com/watch?v=nzMvQtVEXok • Looped and manipulated moments in film history –examined under a “microscope”

  26. E. Differenz/Wiederholung • Based upon philosopher Gille Deleuze’s book Différence et Répétition (1968) • Human identity in the post-modern condition

  27. Repetition and the Machine: Industrial vs. Post-industrial Era

  28. Repetition as: • Habit (습관적 해위) • Ritual • Addiction(중독) • Microscope • Remix Device • Machine (Robot/Non-Human) Behaviour

  29. F. DW2 (1999) • For 2 singers (1 Western, 1 Arabic), 1 rapper, electric guitar, violin, electronics, and chamber ensemble • 7 sections • Texts: William S. Burroughs and Christian Loidl

  30. Ex) Section I: “Dead Repetitions” • Text: William S. Burroughs on habit/routine • Material: derived from improvisation, jazz, and electronica • Difficult to perform

  31. [ENDLECTURES] 너무 감사합니다! Thanks! Merci! Danke! Grazie! Takk fyrir! どうもありがとうございました! 謝謝! ευχαριστώ!

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