#cantata korea

[brookstonalmanac]

Events 12.26 (before 1950)

887 – Berengar I is elected as king of Italy by the lords of Lombardy. He is crowned with the Iron Crown of Lombardy at Pavia. 1481 – Battle of Westbroek: An army of 4,000 to 5,000 soldiers raised by David of Burgundy, Bishop of Utrecht, attacks an armed mob of people from nearby Utrecht who were trying to avenge the massacre of the inhabitants of Westbroek. 1704 – Second Battle of Anandpur: In the Second Battle of Anandpur, Aurangzeb's two generals, Wazir Khan and Zaberdast Khan executed two children of Guru Gobind Singh, Zorawar Singh aged eight and Fateh Singh aged five, by burying them alive into a wall. 1709 – The opera Agrippina by George Frideric Handel premiered in Venice. 1723 – Bach led the first performance of Darzu ist erschienen der Sohn Gottes, BWV 40, his first Christmas Cantata composed for Leipzig. 1776 – American Revolutionary War: In the Battle of Trenton, the Continental Army attacks and successfully defeats a garrison of Hessian forces. 1790 – Louis XVI of France gives his public assent to Civil Constitution of the Clergy during the French Revolution. 1793 – Second Battle of Wissembourg: France defeats Austria. 1799 – Henry Lee III's eulogy to George Washington in congress declares him as "first in war, first in peace and first in the hearts of his countrymen". 1805 – Austria and France sign the Treaty of Pressburg. 1806 – Battles of Pultusk and Golymin: Russian forces hold French forces under Napoleon. 1811 – A theater fire in Richmond, Virginia kills the Governor of Virginia George William Smith and the president of the First National Bank of Virginia Abraham B. Venable. 1825 – Advocates of liberalism in Russia rise up against Czar Nicholas I in the Decembrist revolt, but are later suppressed. 1843 – The discovery of octonions by John T. Graves, who denoted them with a boldface O, was announced to his mathematician friend William Hamilton, discoverer of quaternions, in a letter on this date. 1860 – First Rules derby is held between Sheffield F.C. and Hallam F.C., the oldest football fixture in the world. 1861 – American Civil War: The Trent Affair: Confederate diplomatic envoys James Murray Mason and John Slidell are freed by the United States government, thus heading off a possible war between the United States and the United Kingdom. 1862 – American Civil War: The Battle of Chickasaw Bayou begins as General William Tecumseh Sherman begins landing his troops. 1862 – The largest mass-hanging in U.S. history took place in Mankato, Minnesota, where 38 Native Americans died. 1871 – Thespis, the first Gilbert and Sullivan collaboration, debuts. 1898 – Marie and Pierre Curie announce the isolation of radium. 1919 – Babe Ruth of the Boston Red Sox is sold to the New York Yankees by owner Harry Frazee, allegedly establishing the Curse of the Bambino superstition. 1941 – U.S. President Franklin D. Roosevelt signs a bill establishing the fourth Thursday in November as Thanksgiving Day in the United States. 1941 – British Prime Minister Winston Churchill addresses a joint meeting of the U.S. Congress. 1943 – World War II: German warship Scharnhorst is sunk off of Norway's North Cape after a battle against major Royal Navy forces. 1944 – World War II: George S. Patton's Third Army breaks the encirclement of surrounded U.S. forces at Bastogne, Belgium. 1948 – Cardinal József Mindszenty is arrested in Hungary and accused of treason and conspiracy. 1948 – The last Soviet troops withdraw from North Korea.

[bluesky88diary]

Don't know why I fell in such distress. News about rent feels like a sudden backstab. Need a little time to adapt and keep moving. But reality makes me so sad. Things are so complicated I don't dare even say why. Don't want to say anything bad about parents. But it's tough. They always oppose my goals, forcing me to achieve their own. Well ....

Jesus is my helper at all times. Who else I can count on. Just need a little time to adapt for new circumstances and find out what to do next. I need to learn how to be consistent. Because I'm losing much time to figure out which way to go. Today I could have enough for confidently get visa and move in Korea. But I wasted half trying to figure out what is better. I see all these better opportunities are merely throws back, slowing me down.

Learn to be consistent. Perhaps I mean by this also don't make mistakes. Funny sentence. Just move forward, no matter how difficult it feels, and trust everything else to Divine Wisdom.

You like strong stories like this, right? Have another one. Last Sabbath we were practicing Christmas cantata. So you remember that Korean guy I mentioned on photo? He wasn't there. So I asked his gf where is Mike. And answer was more than weird.

"I don't know. Maybe home.... Who is Mike? I don't know who is Mike." And older men around become to mimic her words "who is Mike?" All laughed including her. Guess my thoughts. How could he feel knowing this response? It was so rude, I couldn't get it, staring at people around with big eyes. I would break up after such a thing, and never look back.

But after awhile perhaps she realized what she did, steeped off and covered herself completely under jacket, as if hiding from shame. She didn't practice anymore, spent all rest time hiding. After we done rehearsal her face wasn't the same. I think she got the lesson.

In modern world are so many reasons to stay alone. I think it's easier to control feelings or fluids that dare to build relationships. But such life isn't complete.

Then I ask myself how to maintain our warmth in hearts. There is no answer, but only ask Jesus keep it for us. I don't know another way in modern cruel reality of greed and selfishness.

Therefore I pray and say to myself also, whatever it takes, how many else challenges we have to face, I won't change my heart to you, because Jesus never changed his heart toward us too. He is always the same kindly loving heavenly father.

[thornyboxes-blog]

부른이, 작곡, 편곡 - 지담 노을, 하늘 그리고 바람에 즉흥적으로. Singer, Composer - Jidam Sky, sunset and wind were so beautiful that I took video improvisedly. #video #seoul #seúl #korea #corea #music #musica #instamusic #composer #singersongwriter #singer #영상 #음악 #달의뒷편 #스튜디오달의뒷편 #예술집단달의뒷편 @composer_jidam #cantata

[dailyexo]

Baekhyun - 180927 2018 Korea Sale Festa K-Pop Open Concert - [1, 2]

Credit: Love Cantata.

[zeldaspeaksmindfulness]

Christmas is right around the corner!

Christmas Cantata is a musical from Korea unlike any other musical!

Get your tickets NOW!

Thanks for sharing!

Make someone else's day!

https://www.youtube.com/watch?v=ieuLmzN7oUo

#sharingiscaring  #christmascantata #chicago #wintrustarena

#hln #hlntvshow #higherlearning #zeldaspeaks #wednesday

[marwahstudios]

The Premier Show of Film on Jesus FOR UNTO US at AAFT

Noida: The premier show of film “For Unto Us” produced by International Youth Fellowship of South Korea directed by Samuel Fischer was screened here at Asian Academy of Film and Television at Noida Film City for the students of Cinema.

“We have always believed in the sincere education at AAFT, that is the reason the management has decided to have Premier show of our film FOR UNTO US for India at AAFT. It is the story on Jesus This is a film adaptation of the highly acclaimed Christmas Cantata concert by Gracia. The film has costed three hundred thousand dollars” informed Paul Song Director India for International Youth Fellowship.

The film is being released at the right time of Christmas; the effect of the film has to be powerful. It does not matter what language you have expressed yourself in Cinema, the real language of Cinema is Emotions,” said Dr. Sandeep Marwah Chancellor of AAFT University formally inaugurated the cinema.

The different roles have been played by actors Garry Vinson Anderson, Hyemi Choi, Gracias Choir, Andrew S Cortez, Douglas DoNascimento, Antonio Garcia Jr., Derell E Jones, Paul Lee. Music is by Hyemi Choi, Dawoon Jeong, Baekhap Kim, Soobin Park and Daehyun Yoon. The Cinematography is by Samuel Fischer and the film edited by Kenji Ito.

The screening was followed by question answers session with the cinema students. Later Dr. Marwah honoured Paul Song with the life membership of World Peace Development and Research Foundation of Marwah Studios. The event was planned by Indo South Korea Film and Cultural Forum and International Chamber of Media and Entertainment Industry.

[marketnewsri]

Nursing Home Software Market Opportunities, Drivers and Growth Factors 2020-2026

October 22, 2020: Geographically, global Nursing Home Software Market competition by top manufacturers, with production, price, revenue (value) and market share for each manufacturer; the top players including •    PointClickCare Corp. •    Matrix Care Inc •    Netsmart •    American HealthTech •    OnShift •    Cantata Health •    Promantra •    Cliniconex On the basis of product, we research the production, revenue, price, market share and growth rate, primarily split into •    On-Premise •    Cloud-based

Request a Free Sample Copy of this Report @ https://www.radiantinsights.com/research/global-nursing-home-software-market-analysis/request-sample For the end users/applications, this report focuses on the status and outlook for major applications/end users, consumption (sales), market share and growth rate of Nursing Home Software for each application, including •    Nursing •    Hospice Care •    Others Production, consumption, revenue, market share and growth rate are the key targets for Nursing Home Software from 2014 to 2026 (forecast) in these regions •    China •    USA •    Europe •    Japan •    Korea •    India •    Southeast Asia •    South America Table of Contents 1 Report Overview    1.1 Definition    1.2 Manufacturers and Regions Overview        1.2.1 Manufacturers Overview        1.2.2 Regions Overview    1.3 Type Overview    1.4 Application Overview    1.5 Industrial Chain        1.5.1 Nursing Home Software Overall Industrial Chain        1.5.2 Upstream        1.5.3 Downstream        1.5.4 Economic/Political Environment

2 Global Nursing Home Software Market Assesment by Types    2.1 Overall Market Performance        2.1.1 Product Type Market Performance (Volume)        2.1.2 Product Type Market Performance (Value)    2.2 China Nursing Home Software Market Performance    2.3 USA Nursing Home Software Market Performance    2.4 Europe Nursing Home Software Market Performance    2.5 Japan Nursing Home Software Market Performance    2.6 Korea Nursing Home Software Market Performance    2.7 India Nursing Home Software Market Performance    2.8 Southeast Asia Nursing Home Software Market Performance    2.9 South America Nursing Home Software Market Performance 3 Global Nursing Home Software Market Assesment by Application    3.1 Overall Market Performance (Volume)    3.2 China Nursing Home Software Market Performance (Volume)    3.3 USA Nursing Home Software Market Performance (Volume)    3.4 Europe Nursing Home Software Market Performance (Volume)    3.5 Japan Nursing Home Software Market Performance (Volume)    3.6 Korea Nursing Home Software Market Performance (Volume)    3.7 India Nursing Home Software Market Performance (Volume)    3.8 Southeast Asia Nursing Home Software Market Performance (Volume) Download Full Research Report @ https://www.radiantinsights.com/research/global-nursing-home-software-market-analysis About Radiant Insights: At Radiant Insights, we work with the aim to reach the highest levels of customer satisfaction. Our representatives strive to understand diverse client requirements and cater to the same with the most innovative and functional solutions.

Media Contact:

Michelle Thoras.

Corporate Sales Specialist

Radiant Insights, Inc.

Phone: +1-415-349-0054

Toll Free: 1-888-928-9744

Email: sales@radiantinsights.com

Web:

https://www.radiantinsights.com/

[gaparfipield]

••• ::2020 Korean Churches Easter Online Joint Worship:: 🌐 Homepage https://www.goodnews.or.kr/event/easter 🔗 GoodNews TV(youtube) https://www.youtube.com/user/GoodNewsInternet 🔗 GoodNews Facebook (Live) https://www.facebook.com/goodnewsmission/ 🌏 - Korea Local Time - 🇰🇷 ⏰ TIME: 5:00am | 10:00am ⏰ 7:00pm (Easter Cantata) 📆 DATE: Saturday April 11th 🌎 - Jamaica Local Time - 🇯🇲 ⏰ TIME: EST 3:00pm | 8:00pm 📆 DATE: Saturday April 11th ⏰ 5:00am (Easter Cantata) 📆 Sunday April 12th Jesus was crucified on the cross and resurrected in three days to justify us. You are invited to the Korean Churches Easter Online Joint Worship overflowing with hope and joy. We ask for much attendance in this worldwide Eater Joint Worship. ※ In effort to prevent spread of coronavirus the Easter United Service will be held online. ••• #GoodNewsMission #EasterService #instalove #instalike #instadaily #instafame #instafollow #instagram https://www.instagram.com/p/B-z4iptHwEc/?igshid=1a4t3zug2h3if

[cutepicsofstar]

Okay this is going to get a little weird (cue theme song) but I wrote a quick 3 stanzas of a song dedicated to the future Queen of Mewni. Warning, its based on a song from North Korea called "Cantata to Kim Jong Il" so don't get offended if I am implying that the Butterfly family is running Mewni like North Korea and considering I can't send you a link, I am going to post it here. Since I don't have enough room now, this is a two parter.

Ummmmmmm ok? I won’t judge you for it

[maorimaorimaori]

Today is the second day of my solo show.

Please come to see my new pieces.









Maori Egami solo exhibition「Cantata」



2019.6.1 Sat- 6.15 Sat

13:00 - 20:00(close : Sun, Mon)

(*6.15 close at 18:00)

gallery N Kanda-Shataku @galleryn



46 Kanda Ashiyacho, Chiyoda-ku, Tokyo Alta Building 6F

tel 080-3060-7809



2 minutes walk from JR Kanda Station East Exit A 2-minute walk from Tokyo Metro Ginza Line Kanda Station Exit 1 A 5-minute walk from Toei Shinjuku Line Iwamotocho Station A1 Exit





http://www.f-g-n.jp







Maori Egami



1985 born in Aichi　

2009 BFA,Aichi prefectual university of fine arts and music

2011 MFA,Aichi prefectual university of fine arts and music





【Solo exhibition】

2010  ‘weakness’, gallery N, Aichi

2011  Maori Egami exhibition ,CBC studio gallery, Aichi

         ‘weight’, gallery N, Aichi

2012  Maori egami exhibition , alternative space Maru, Korea

2013  ‘endless walls’ ,gallery N,Aichi

          ’get lost’ ,Satellite Gallery of APUFAM, Aichi

2015　‘invisible/it’s become clear since then’ ,gallery N,Aichi

2017　’tide’,gallery N,Aichi

2018 Solo exhibition,Gallery Kei-fu,Kyoto





【Awards】

2009 　 Kuwahara award(A top honor award),Aichi prefectual university of fine arts and music

2010 　 grand prize ,’Hatachi no kioku ten’, CBC studio gallery

2011 　 excellent student award, Aichi prefectual university of fine arts and music

　　      excellent work award,Aichi prefectual university of fine arts and music

　　　    Kazue Kobata prize(Judge’s prize),Art Award Tokyo Marunouchi 2011

2012 　 excellent student award, Aichi prefectual university of fine arts and music







【Public cllection】

University Art Museum of Aichi prefectural university of fine arts and music





#diary 

#workinprogress

#oilpainting #painting #chalkground 

#cobaltblue #aureolin

#drapes #frills

#art #comtemporaryart

#maoriegami

#nofilter

#galleryn #memo





#galleryN神田社宅

#cantata

#江上真織

[msniw]

Warren Lee - a Writer’s Tribute

As the vibrant but small Anglo community of Karmiel, Galilee continues to shrink with the passing of many senior members, I want to pay tribute to fellow independent writer, Warren Sanford Lee, who enjoyed a very active recent return to Israel although in his late eighties.

A warm, often funny companion and a great writerly colleague, US-born Lee made important contributions at both Karmiel Writers Group meetings and sessions of the western Galilee branch of the Voices Israel poetry society in Nahariya.

During this time, Lee published a lengthy novel,Shoot for the Moon whose storyline opens in Lancashire, U.K. and for which he sought some guidance from my husband and me. Indeed,Brian Fink’s contribution is mentioned among other authorial acknowledgements.

Born in Brooklyn, New York, Lee graduated from Brooklyn College before a three-year stint in the US Army took him to Korea as a translator with the Army Security Agency (ASA) – its then signals intelligence branch.

While at college Lee had enjoyed some experience as a sports writer with the New York Times and a later move to Pennsylvania saw him commissioned to write the lyrics to a cantata, The Song of the Stones, which was performed at the Union of American Hebrew Congregations (UAHC) convention. Later, he penned three plays, poetry and short stories.

Lee also enjoyed some local celebrity while living in western North Carolina when he wrote of the people in the region through a popular newspaper column, Connections.

Warren Sanford Lee leaves a devoted wife,Carolyn Levant-Lee who helped him with much of his work in later life. His first wife, Marcia and their three children all predeceased him.

© Natalie Wood (03 May 2019)

[thornyboxes-blog]

부른이, 작곡, 편곡 - 지담 아름다운 노을, 하늘 그리고 바람에 즉흥적으로. Singer, Composer - Jidam Sky, sunset and wind were so beautiful that I took video improvisedly. #video #seoul #seúl #korea #corea #music #musica #instamusic #composer #singersongwriter #singer #영상 #음악 #달의뒷편 #스튜디오달의뒷편 #예술집단달의뒷편 @composer_jidam #cantata

[dailyexo]

Baekhyun - 180927 2018 Korea Sale Festa K-Pop Open Concert

Credit: Love Cantata.

[zeldaspeaksmindfulness]

Christmas is right around the corner!

Christmas Cantata is a musical from Korea unlike any other musical!

Get your tickets NOW!

Thanks for sharing!

Make someone else's day!

https://www.youtube.com/watch?v=ieuLmzN7oUo

#sharingiscaring  #christmascantata #chicago #wintrustarena

#hln #hlntvshow #higherlearning #zeldaspeaks #wednesday

[seongsilkang-kbs]

연희감리교회 성가대 #크리스마스 #칸타타 공연, 단원: #KBS강성실 참가, #MerryChristmas #Methodist #YonHuiChurch #cantatas #God #Jesus #Holyspirit #연희감리교회 #연희감리교회성가대 #감리교회  #축성탄 #성탄절 #MerryChristmas  #Seoul #Korea  ​Sing Noel O Holy Night God Rest You Merry, Gentlemen We Come to Worship you Hark! The Herald Angels Sing

[kraaks-avant-guardian]

Philip Corner

It all started in 1990 in Argentina, when I saw a small catalogue printed by Frog Peak composers’ collective. I was looking for experimental music from different, alternative resources due to the usual lack of information on these matters in South America.

— Daniel Varela

Many musicians and composers from the American Experimental tradition dealing with post-Cagean, minimalism, unusual sound resources, idiosyncratic electronic music and instructional scores were present in such a catalogue. But immediately some short descriptions on Philip Corner’s work took my attention in a way that triggered my curiosity, beyond my more conventional focus on Cage and New York School music that I began appreciating in my adolescent years. I’ve started my searching for minimalism and extreme experimental forms of music since early eighties and I felt from the beginning that Corner represent a true one-of-a-kind personality in the world of post-Cagean aesthetics. Soon I discovered that Corner’s work implied a varied spectrum of languages using all kind of sound resources, graphic scores, ecology, spirituality, performance and intermedia, even as a visual artist many times labeled as a plain “Fluxus artist.” A myriad of documents on him has been published in all sorts of media, books, catalogues and magazines throughout the years. With a music career which began in the ‘50’s, his first recordings commercially available in the mid-70s. Fortunately, since the late nineties, many documents of his music have been released, thanks to many small labels in Europe and (to a lesser extent) the United States.

After devouring papers and years of collecting materials on him, I thought that it was curious that nobody in USA or Europe was interested in writing an entire book on this complex and fascinating creative personality and work. For many reasons, I decided to start with this task, trying to compile information and my own comments and descriptions of some of his extremely wide body of work. I was very fortunate in the process, thanks to the kind generosity and interest of Philip Corner himself and also from his wife - choreographer and dancer Phoebe Neville. Both helped me a lot in my travels to Italy, visiting them and asking a lot of things and digging passionately into their impressive archives, with plenty of documents from the most radical years in the history of art (as well as doing long hours of telephone conversations overseas). This book project was warmly received and supported in Buenos Aires by a new publishing imprint, Templo en el Oído (the name comes from first “Sonnet to Orpheus” by Rainer Maria Rilke) and is being prepared to see the light of day in late 2013. First, it will be published in Spanish but I hope other people would be curious about the work in other languages too. I would be very happy to contribute in some manner to a wider appreciation on the work by one of the most remarkable composers of experimental music.

Philip Corner was born in 1933 in the Bronx and has lived in Italy since 1992. He is both a composer and an artist who has created multifarious works in a variety of contexts throughout his life. From the post-Cage sound-related musical compositions to his interpretations for piano, trombone, alphorn and gamelan, as well as his performance in Fluxus activities since the early sixties, Corner has been working towards achieving unity among his different creative periods, in which the most radical avant-garde expressions and a respect for art history (and its knowledge) blend in a most peculiar dialogue. In view of his diverse work and extensive catalogue, Corner has organized his own chronology by creative periods during which he has tackled different themes and whose gradual interweaving constitutes what he has called Lifework1, a unity blending everyday life, his creative activity and the constant flow between thinking and the sensitive realm. For over fifty years, Corner has combined concepts of highly formal abstraction with purely poetic moments expressed through such dissimilar means as calligraphy or a sonorous outdoor ride. His works comprise written scores or ‘pieces of reality’ such as stones, paper or shapes found in nature, which can be experienced either as a visual stimulus, a conversion to sound or an enigmatic shape drawn on a piece of paper.

Culture (Tradition, Assimilation) 1950 – 1959

He got his bachelor degree in music in the New York City College in 1955 and his Master of Arts degree in 1959, after having studied with Henry Cowell and Otto Luening at the Columbia University. From 1955 to 1957, he attended Olivier Messiaen’s analysis lessons at the Conservatoire National Supérieur de Musique. A study of the names will illustrate the context. An experimentalist such as Cowell—open to non-Western sounds besides being the creator of the cluster sound in the piano literature—made an impact on a young Corner, who would in turn attend the classes of (formalist) electronic music pioneer Otto Luening and who would be indelibly influenced by Messiaen 2. Philip Corner’s later mobilization to South Korea to serve in the Army, between 1959 and 1960, put him in touch with the music and culture of that remote place, thus providing him with a different experience which would mark his whole subsequent creative life: his study of calligraphy with the local teacher Ki-sung Kim, the very man who would re-christen him with as poetic a name as it would become premonitory: Gwan Pok. This Korean expression is translatable as “contemplating waterfall,” a condition that Corner would revisit many years later through different experiences of conceptual music, like his remarkable “Ear Journeys: Water.”

During this period, Corner noticeably put emphasis on those means that he felt close to. The piano sheet music from his first period includes twelve-tone pieces, as well as others which refer back to classical forms from his catalog (preludes and fugues, a fantasy, a scherzo for wind instruments and a rondeau for trombone). His “Etincelles” (sparks) for piano is one of the first examples of repetitive music—minimalist perhaps—including dissonant elements whose variation lies in the strict indication of nuances for each note.3 In “Homage to Couperin,” for clavichord and tape with sounds and noises, he makes reference to the French Baroque master, whose work Corner combined with an unconventional sense of electronic music.

The World (Graphic Innovations and Indeterminacy) 1960-1975

Back from Korea, Corner resumed his activity in California and moved to New York soon afterwards, where he would develop increasingly experimental work. Two milestones undoubtedly marked this period: the foundation of the Tone Roads Chamber Ensemble and his participation as in-residence composer and performer of the Judson Dance Theater. The name ‘Tone Roads’ came from two compositions written by Charles Ives for chamber orchestra. This group was made up of two other young colleagues and friends of Corner’s who would eventually become outstanding figures within the experimental music scene: violinist Malcolm Goldstein and the pianist James Tenney, both of them composers also. The idea behind Tone Roads was to take as a starting point American experimentalist masters—Ruggles and Cowell, the expatriate composer Varèse—and the great international avant-garde represented by Messiaen or Webern. Corner would acknowledge the merits of the past while opening new paths towards a promising future. To his interest in Satie, Corner added his contact with Earle Brown (at the height of his mobile forms) and topless cellist Charlotte Moorman who played Nam June Paik’s “TV cello”4.

It was during the Judson Dance Theatre period that Corner gave free rein to his own ideas within a field of open experimentation and form innovation. Corner added fresh air into the post-Cage world concepts through a series of indeterminate scores, diverse graphic forms, tape music and a varied degree of indeterminacy. His 3-volume From the Judson Days5 records cover the 1961-1965 period, although other pieces span back to some earlier years Works made within the most radical pursuit of a new sound (and social) world and the pre-historical division between New York musical pieces and districts: towards the North, the world close to the powerful institutions (Columbia, Juilliard); heading South, a concrete jungle with (in those days) poor apartments and lofts serving as improvised theatres which sheltered the boldest artistic dreams. The Judson period gave Corner a leading role in one of the most productive moments of avant-garde art, when the Living Theatre experiences would blend with the onset of postmodern dance, which would go far beyond Graham’s and Cunningham’s models by adding movements from everyday life and which would be in line with the advent of the most extreme minimalism. It will suffice to give but a few examples of that time: Lucinda Pastime is a piece of Corner’s made for choreographer Lucinda Childs by using a tape recorder to capture sounds from different kitchen tools hitting against the sink; “Oracle, a Cantata on Images of War”—which was requested by the Living Theatre—included all kinds of explosions caused by microphone plug saturation and implied a clear anti-war plea in the midst of the Vietnam War.

On top of that, there is another key element in Corner’s early sixties stage. The use of musical notation with instructions and the incorporation of actions stemming from a more immediate and zen-like sense of happening made Corner also became a foundation of the Fluxus movement. Since its beginnings, the friendship between Corner, Alison Knowles and Dick Higgins resulted in a dialogue that has continued onto the present, even after Higgins’ death. Corner would also play a key role in conceiving the elements that of an expressive protominimalism—he himself would remember that Young objected to his unisons with crescendo 6: he combined them with the poetical addition of various actions. Without actually attending it, Corner took part in the Fluxus Internationale Festspiele Neuester Musik held in Wiesbaden in 1962. George Maciunas, Dick Higgins, Alison Knowles, Wolf Vostell, Benjamin Patterson and Emmett Williams presented their ‘Piano Activities,’ which caused the biggest scandal of the festival- throughout the concert by destroying a piano whose pieces were auctioned among the attendants.

In connection with the Fluxus movement, we have his CarrotChewPerformance, an unusual event consisting in a carrot-chewing activity, as well as a series of conceptual works through which he has exhibited his vision of minimalism before this movement came to be known as such. “OM Emerging” is part of his series of sound-mantra-based works and it is intended for sustained-note instruments as well as his “Metal Meditations” series, which includes all kinds of explorations on the sounds of resonant metal, like “Gong!” Corner’s untiring experimentation during this period became increasingly interdisciplinary, as shown by his pieces written as open instructions in the format known as ‘prose music.’ The sound sources can be derived from all kinds of instruments, dance activities, magnetophone tapes and the special field of action music, which is connected with performance art.

Mind (instruction pages with examples; precisions added to freedom) 1972 – 1989.

It is in 1972 that Corner co-founded Sounds out from Silent Spaces with his then wife, astrologist and medium Julie Winter. This workshop fostered the contemplation of sounds in nature without too many preconceived plans and focused on the ability to have open ears to both the surrounding world and the inner being. With some common points with Cage’s sound world (and eventually with Pauline Oliveros’ Deep Listening principles) together with its own nuances, the workshop meetings continued until 1979. The other milestone of this period is a deepening of knowledge about the gamelan, which Corner would show through his ‘Gamelan Series’—around five hundred pieces featuring varied levels of determinacy, in which he developed a somewhat poetic but mostly rigorously constructed writing, almost likened to poetic algorithms where each decision stage leads to new paths of sonorous options. These pieces could be interpreted on traditional gamelan instruments, while appealing to a sense of form resulting from minimalist repetitionism, as well as from various strategies of open and random music. Corner’s idea did not consist in repeating his own framework of “hard” musicological research, but in the possibility of expanding his ideas about resonant music, the use of metals and a strong concentration capacity, together with a meditative context derived from his interest in diverse forms of Oriental traditions, without neglecting intuitive, metaphysical or sensitive aspects7. The series also includes scores with open instrumentation or other scores clearly intended for piano, perhaps providing a new outlook of the new ideas resulting from the old research by Canadian composer Colin McPhee during the ‘30’s. He found a vehicle for the gamelan experience in his partnership with composer and ethnomusicologist Barbara Benary and composer Daniel Goode, who are co-founders of the Gamelan Son of Lion ensemble in 1976 and, to some extent, pioneers of the currently widespread movement of new music for gamelan8. Within a more conceptual field, Corner deepened his strategy of music scores with instructions and intermedia pieces, in which it would be more difficult to set the limits between calligraphy, drawing, facilities or existential environment. His “Petali Pianissimo” include flower petals between the piano strings; “Peace, Be Still” is a round with word repetitions like those in a soft prayer; “Orgasms’ are colourful aquarelas; and ‘Some Silences’ is a wide collection of suggestions for silent experimentation.

Body (Breakthrough to Conscious Spontaneity) 1989 – 1999

Pieces like “Passages from the material to the spiritual, and back” deal with a new living experience stage. Verbal Fluxus-like pieces expand into new territories. The old Judson Dance Theater experiences become workshops aimed at groups of dancers or people interested in body expression, such as the De Winter Course in Amsterdam, where ideas-compositions like “Gong/Ear,” “One Note Once,” “Music Silences and Gesture Stillness” would be combined—all of them sonorous-meditative spaces in which sound corporality and profound listening would outshine sound itself as a timbre or acoustic construction9. It was in those years that Corner made an important decision. He left behind his teaching career at Rutgers University in Nueva Jersey and decides to move to Italy, where he settles down in Reggio Emilia in 1992 with his current wife, dancer Phoebe Neville. After shipping his books and manuscripts—and becoming aware of “the weight of knowledge”—Corner reaches Italy in the pursuit of more adequate venues to present his works. At the same time, he starts a stage of lonely exploration of the sounds produced by the alphorn, an instrument easily adjustable to his trombone knowledge. The alphorn is endowed with an ancestral character consisting in continuous sounds and harmonic listening, and it allows expanded techniques such as simultaneous singing and playing. The kinship between the alphorn and the Tibetan trumpet or the didgeridoo features continuity, introspection and a concentrated touch to toy with harmonic sounds as common characteristics. For many years, Corner called such experiences ‘Earth Breath’ and took his instrument to clearings in the woods, both in the vicinity of the Alps and in the backyard of his own house, where the privacy is revealed in some recordings through bird singing and car noises from the adjacent street10. Likewise, the sound-life experience as daily meditation resumed in the exploration of metal sonority in other moments. Korean shaman cymbals are Corner’s favourite to obtain a sound consisting in different tap, times and nuances (these cymbals have a less resonant sound, more like “metal sheets,” than other similar instruments of Chinese origin, for example) 11.

Pieces such as “Modern Meditation” include a space where cushions are placed in a circular pattern, on a polished floor over which participants can see their own reflection. Pieces such as “Modern M” include a space where cushions are placed in a circular pattern. The circle is a highly glazed (auto lacquer) surface placed vertically (not the floor) in front of which is the meditation cushion. This in a sense balances another work entitled “Self Crucifixion.” Both works were done for Carlo Catellani’s collection.

“La Scala della Montagna” is a participatory piece in which sounds come from cowbells and resonant elements. Within the more corporal experience-related dimension, there are pieces such as “Several Sexuelementos” (“loving scores for private performance”) or his erotic writings obviously titled “Symphysies.” In some way, the period towards a conscious spontaneity involves a progressive integration of elements that will become more notorious during the current and last years of his career. This involves the moving body, the sound, the energies, the use of diverse materials (instruments, resonant metals, percussion elements, etc). To a great extent, ‘Gong/Ear’ or ‘Earth Breath’ concepts have a share of improvisation as a result of the interplay between musicians and/or dancers (or others: Corner’s knowledge about visual arts and his long-time friendship with Canadian tachiste Paul-Émile Borduas is worth bearing in mind). Each bodily or sonorous gesture or action can be commented on or discussed by the group on an open-duration basis. Exercises known as ‘Elementals’ explore the possibilities of primary structures: a single sound, silence, sustained tones, temporal extremes, the conversion of numbers into rhythms, among other options.

Spirit, Soul (Integration and Synthesis). Since 1999

An interesting title to unashamedly warn about some concepts which have been long banished from the avant garde and experimental art, as well as from a major part of the 20th century culture. Corner is not fearful of evoking concepts related to what seems to be the past of human history. In the same way, he pursues an interest (which he never lost) in the major musical works in history. A connoisseur of ancient music, the Baroque masters and the piano literature of the Romantic period, Philip Corner is able to mingle his own experimental radical nature with seemingly incongruent sources. This coherence of his becomes feasible by taking fragments of sheet music to be reinterpreted, such as in “Passacaglia” for piano (on Heinrich Ignaz Franz von Biber) or in “The Opening Motive of Varèse’s Density 21.5… as a revelation,” a kind of strategy that has enabled him to revisit Couperin, Chopin, Saint Säens and many others who sound rather hateful to the experimental environment. During January of 2011, the New York Times opened a survey to choose “the ten greatest composers of all time.” Quite annoyed at the understatement, Corner responded by sending a letter in which he explained his disagreement and the blunder committed by the prestigious newspaper. Exhibiting a tremendous knowledge and a remarkable capacity for problem-thinking, Corner started his discussion by pointing out twenty-seven critical items of technical innovation (within Western music, while acknowledging the fact that there is music elsewhere). The beginning: the shift from monophonic music (plainsong) to polyphony; point 27: the assimilation of extra-European techniques and instruments. While the average music lover would think of Mozart, Bach and Beethoven, Corner goes back to the Notre Dame School and reaches Harry Partch or Lou Harrison, thus expanding the initial list of “indispensable composers” from ten to ninety, among which the Salzburg genius is obviously included12.

His instruction pieces seem to be increasingly open and poetic, leaving a certain degree of responsibility to the interpreter. In any case, several scores of Corner’s involve a great deal of playful spirit or sensuous expressiveness; however, he himself has often emphasized the dangers brought about by some interpreters doing “very disgusting” things with his work13. When concepts are respectfully recreated and expanded, with utmost generosity, Corner admits that “the merit must be attributed to the player rather than to the composer.” This integration can also be found in ‘Political Pieces’ (a series about social concerns) and in the title that provides the composer’s best example of that period: “Dialog between Rationality and Emotions,” suggestions for any number of instrumentalists.

Th is article was published originally on www.perfectsoundforever.com. Big kudos to the magazine for letting us use their article.