![]() Nothing is known in advance of making the music. To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation values the unpredictable and unknowable possibilities that might be activated by not specifying pitches and rhythms. It was really out of that understanding of both community and the individual–which was in her manifesto–that became the principle, or the philosophy, of the music that I began to write.“»(Oliveros) If anyone becomes dominant, the rest of the group should come up and absorb that dominance back into the texture of the piece, «expressing at the deep structure what the SCUM Manifesto meant. The cues in this piece are given collectively through light - a red section is followed by a yellow and a blue section, and there are two additional cues given by strobe light. In the middle section of the piece the performers are invited to imitate each other‘s pitches and modulations. Oliveros‘s composition asks the performers to choose five pitches each and to play very long tones, modulated or unmodulated. Pauline Oliveros wrote in 1970 after reading the text Scum Manifesto by Valerie Solanas (who is also known for shooting Andy Warhol). They are following the score To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation, which the composer Six performers are pushing towards a paradigm shift in the future. In a series of blog posts we focus on the individual works shown in the exhibition Portrait of an Eyeby Pauline Boudry/Renate Lorenz – this time To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation in which six performers are following the score of the same name, which the composer Pauline Oliveros wrote in 1970 after reading the text Scum Manifesto by Valerie Solanas. ![]()
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