music

Voyager Spacecraft

Dear Steve Cannon / Tribes, This is the highest resolution version of the photo of Saturn that appeared recently in The Times that I could find online. It is from NASA’s website. http://photojournal.jpl.nasa.gov/catalog/pia17172

PIA17172_modest

NASA explains that it is a composite mosaic assembled from 141 wide-angle images and taken over a 4 hour period on July 19, 2013 from the Cassini-Huygens spacecraft. The spacecraft was launched from Earth in 1997 to study the Saturn system specifically.

The second picture is a detail which shows our planet Earth as a speck, but clearly visible towards the lower right of the main subject.

Earth from Saturn 2

Wow !!!

http://www.nasa.gov/mission_pages/cassini/multimedia/pia17171.html - .Uo6rjt3PYpc

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Also here, at your request, is the complete list of the music that is traveling aboard the Voyager 1 and 2 spacecraft (launched from Earth in 1977). The Voyager 1 spacecraft is believed to have recently passed the outer reaches of our Solar System (17 billion miles from The Sun).

Voyager 1

The music, sounds and images on the Voyager spacecraft were compiled by a team led by astronomer Carl Sagan of Cornell University on a disc known as The Voyager Golden Record.

The music:

Bach, Brandenburg Concerto No. 2 in F. First Movement, Munich Bach    Orchestra, Karl Richter, conductor. 4:40

Java, court gamelan, "Kinds of Flowers," recorded by Robert Brown. 4:43

Senegal, percussion, recorded by Charles Duvelle. 2:08

Zaire, Pygmy girls' initiation song, recorded by Colin Turnbull. 0:56

Australia, Aborigine songs, "Morning Star" and "Devil Bird," recorded by  Sandra LeBrun Holmes. 1:26

Mexico, "El Cascabel," performed by Lorenzo Barcelata and the Mariachi México. 3:14

“Johnny B. Goode," written and performed by Chuck Berry. 2:38

New Guinea, men's house song, recorded by Robert MacLennan. 1:20

Japan, shakuhachi, "Tsuru No Sugomori" ("Crane's Nest,") performed by Goro Yamaguchi. 4:51

Bach, "Gavotte en rondeaux" from the Partita No. 3 in E major for Violin, performed by Arthur Grumiaux. 2:55

Mozart, The Magic Flute, Queen of the Night aria, no. 14. Edda Moser, soprano. Bavarian State Opera, Munich, Wolfgang Sawallisch, conductor. 2:55

Georgian S.S.R., chorus, "Tchakrulo," collected by Radio Moscow. 2:18

Peru, panpipes and drum, collected by Casa de la Cultura, Lima. 0:52

"Melancholy Blues," performed by Louis Armstrong and his Hot Seven. 3:05

Azerbaijan S.S.R., bagpipes, recorded by Radio Moscow. 2:30

Stravinsky, Rite of Spring, Sacrificial Dance, Columbia Symphony Orchestra, Igor Stravinsky, conductor. 4:35

Bach, The Well-Tempered Clavier, Book 2, Prelude and Fugue in C, No.1. Glenn Gould, piano. 4:48

Beethoven, Fifth Symphony, First Movement, the Philharmonia Orchestra, Otto Klemperer, conductor. 7:20

Bulgaria, "Izlel je Delyo Hagdutin," sung by Valya Balkanska. 4:59

Navajo Indians, Night Chant, recorded by Willard Rhodes. 0:57

Holborne, Paueans, Galliards, Almains and Other Short Aeirs, "The Fairie Round," performed by David Munrow and the Early Music Consort of London. 1:17

Solomon Islands, panpipes, collected by the Solomon Islands Broadcasting Service. 1:12

Peru, wedding song, recorded by John Cohen. 0:38

China, ch'in, "Flowing Streams," performed by Kuan P'ing-hu. 7:37

India, raga, "Jaat Kahan Ho," sung by Surshri Kesar Bai Kerkar. 3:30

"Dark Was the Night, ( Cold Was the Ground )" written and performed by Blind Willie Johnson. 3:15

Beethoven, String Quartet No. 13 in B flat, Opus 130, Cavatina, performed by Budapest String Quartet. 6:37

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Here Comes The Sun, written by George Harrison and recorded on The Beatles’ Abbey Road was to be included on The Voyager Golden Record but rights of usage were withheld by then license holders of the recording, EMI. Otherwise all 4 then living members of the group had consented to the song’s usage on Voyager spacecraft.

For more on Voyager, Cassini-Huygens and our fascinating exploration of the vast universe, link to NASA’s

website: http://www.nasa.gov/

Bests -Rafael

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Jason Moran Live bei Tribes

A special post for our German friends. To view the details on Jason Moran's appearance at Tribes in English, and how you can secure your seat, go here.

Jason Moran Live bei Tribes 

Sonntag, 29. Mai, 17h00-19h00, 15 $ am Eingang

Begrenzte Platzzahl, bitte reservieren

Pianist, Komponist und Bandleader Jason Moran, dessen kühner und genre-übergreifender Jazz die unterschiedlichsten musikalischen Richtungen kombiniert, widmet Tribes ein Solokonzert am Piano. Moran wurde in Houston, Texas, geboren und zog mit 18 Jahren nach New York, um mit Jaki Byard an der Manhattan School of Music zu studieren. Nach seinem Abschluss bekam er einen Plattenvertrag von Blue Note Records, mit denen er seither acht von der Kritik gefeierte Platten produziert hat, darunter sein jüngstes Album TEN. Moran wurde 2010 mit dem McArthur-Preis ausgezeichnet und hat mit zahllosen Ikonen des Jazz zusammengearbeitet: Wayne Shorter, Charles Lloyd, Greg Osby, Cassandra Wilson, Dave Holland, Paul Motian und vielen anderen mehr. Daneben arbeitet er mit zahlreichen visuellen- und Performancekünstlern wie Joan Jonas, Kara Walker, Adrian Piper, Glenn Ligon und Adam Pendleton zusammen. Mit Neuinterpretationen klassischer Werke und eigenen Kompositionen erweitert er die Grenzen des Jazz und spielt eine herausragende Rolle in dessen Entwicklung im 21. Jahrhundert.

 

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Reveiw of Alex Ross's The Rest is Noise by Aaron Hayes

New Yorker music critic Alex Ross's recently released book, The Rest is Noise: Listening to the Twentieth Century (Farrar, Straus and Giroux, $30) is an in-depth and entertaining study of 20th century classical music.  It describes the lives and work of composers from Mahler and Strauss all the way to contemporaries such as Kaija Saariaho, Tan Dun, and Sophia Gubadulina, with an incredible depth and breadth of knowledge not only about music, but also about history more generally.  It as been well reviewed (and rightly so) with names of famous readers expounding its greatness on the back cover: if it is promoted by as varied stars as Björk, Osvaldo Golijov, Emanuel Ax, and Richard Taruskin, it must be good.  But with all these reviewers, and the scope of the work, it is hard to figure out who this book is for, why he wrote it, or whether there is anything particularly significant to be found in it.Part of the answer to this question can be seen by the sorts of details Ross centers on.  He makes a great effort to pick out notable pieces of music and tries to describe them with an analyst's attention to detail, translating complex musical ideas into a generally readable instruction.  Overall, these analyses are very astute, approachable discussions of the inner workings of certain compositions, though at times they fall into overly stylized language and the problematic talk of metaphors and evocations without which, admittedly, non-technical music analysis would come to no conclusions.  In this way The Rest is Noise reads like the program notes to the biggest pieces of the century.  But program notes are things to read when the concert itself gets boring.  Is this all Ross is trying to accomplish?  When the music ceases to be clear in its meaning, as is the case with most of the music Ross discusses, the critic must step in and connect it with real people and events, to give it a meaning in the face of its seeming incomprehensibility.  Accompanied by his blog (of the same title as his book) the reader has access to a large discography for his or her "to listen to" lists, and mentions composers along with their most significant pieces, pieces with which to get a proper taste of each composer.  Oriented toward the unspecialized but educated concertgoer, it is written primarily for the same people who read the New Yorker.  In fact, its Manhattan-centric view of the world (though not unfairly; that is where all the interesting stuff happens) only emphasizes the connoisseur-oriented eclecticism which hovers slightly beneath the prose of the book. Central to the story line are the lives and personalities of the 20th century composers, the men (and a few women) of flesh and blood, as Unamuno would say.  Full of History Channel style trivia, the relationships among the composers - who knew who, who listened to who, who taught who, who lived down the road from who - makes an interesting read and also more soberly documents the connections through which the development of the music proceeded.  Usually these peripheral details seem to be meant as tidbits for popular consumption, interesting facts to quote at cocktail parties.  However, the extreme lack of such details in other discussions of music history are equally problematic and so the biographical, day to day anecdotes and connections serve to entertain the reader as well as to ground the ideas and ideologies at work in the practices of the various composers in a more understandable manner. For this reason, The Rest is Noise is also a valuable book for those with more specialization in music.  Musicians and Musical scholars who have been brought up in another musical historical context entirely, in the ‘music appreciation' class or an introduction to music history, which has its own modus operandi and own narratives, will benefit from the critically examining the lives and thoughts of various composers.  Rather that going through the same interpretations and same material, Ross takes a fresh look at many historical stories, with plenty of primary sources (and for that reason a great bibliographic section) while avoiding some of the more worn anecdotes.  It is notable that, while discussing Strauss, we do not read once about his depicting silverware in music, perhaps the first discussion of Strauss in fifty years not to do so.  The ideas about music also come under Ross's discussion, from the alleged historical inevitability of Schoenberg's music to the political content of music in Nazi Germany, the USSR, and the ‘40s and ‘50s US, or even the sacred nature of music in Messiaen, some ideas are tacitly denied, and some are interestingly sustained. Ross escapes a big issue in his title "Listening to the Twentieth Century" since it avoids naming what sort of music constitutes his topic.  Now, if you walked into Barnes and Noble, most of the music which Ross discusses could be found in the "classical" music section, though there is nothing classical about most of it.  And while Ross discusses the Beatles, the Velvet Underground and a variety of other ‘popular' musical artists, this book reinforces that specific realm of music, nowadays abiding mostly in the academy, of historically conscious, self-involved specialty of writing music to be listened to, thought about, and appreciated.  Even this definition seems lacking; still, it is not all music in the twentieth century to be sure, and this limitation is significant.  Jazz is discussed at times, as well as Rock, but the central focus is this music sometimes called "high," "legitimate," or "classical".  It might be described in the broader sense of music lacking self-evidence. But if there are biases in Ross's work, they are not those biases found in the Twentieth Century itself - which are precisely those biases which the Academic study of music inevitably fall into.  This book is an example of popular research which in many ways surpasses scholarly research through its grounded analysis avoiding impassioned commitment to one tradition or one sound.  But the book does this by forsaking the reason why the academics have such a different method: the investments towards certain traditions it seeks to uphold.  Atonality and the Schoenberg tradition is, for most official music history, the continuation of the modernist classicalism of European ‘classical music.'  Ross speaks of it from a distance, and thereby escapes the predominant understanding of20th century "high" music.  On one hand we have the bitter passion of the academy trying to keep alive the dying tradition out of which it arises, and on the other hand, Ross, his level prose situating this rhetoric along with its music and its time.  Hence the analysis in The Rest is Noise presents a high quality study in which nothing is at stake, unbiased and uncommitted. Yet it is clear that Ross is invested in the music he describes, but not because he says as much or commits to a rhetoric of value.  The investment is at once absent from the text and immanent to the whole work.  The project of the book is no less than to establish the canon of 20th century music, to place in encyclopedic detail those composers significant enough to be known by an educated audience.  While this was tentatively accomplished already for the first half of the 20th century, one strength of this book is Ross's astute awareness of the composers of the last 50 years.  Until now, history had been reserving judgment on these new developments, especially since they are so unpopular.  As Adorno, whom Ross has clearly struggled with, says about modern art, "What has terminated tradition can hardly count on one in which it would be given a place."  Still, Ross gives them a place, perhaps not one which they would have liked, but still better than they could have been given by the largely unappreciative and correlatively unwanted audiences. Music criticism has a tradition of producing excessively scathing, bombastic rhetorical tirades about composers and pieces. With both the music, and the ideas about music, Ross maintains a dispassionate- perhaps we could say Kantian-disinterestedness, which is refreshing after two hundred years of grandiloquence about the horrors and triumphs of certain composers. At the same time, these composers, historical events, and pieces of music are still under debate.  The dust has not settled on the Twentieth century, and in contrast to these debates Ross's tone sounds as close to authoritative as one can get these days. Still, Ross really has only nice things to say about the music - he might even convince some people to actually listen to some of it, which would be good - and his authoritative tone is inclusionary and intended for the betterment of people's general musical reception.  For both those who don't know what to think about 20th century music, as well as for those who already have dealt with some of it, The Rest is Noise provides an entertaining read and a nice resource for approaching the difficult music of the twentieth century.