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News, Thoughts, Soapboxes, and/or Essays

The best spam I’ve received this year.

FROM AGENT JOHN EDWARD GET BACK TO ME IMMEDIATELY?.

I received an INTEL MEMO from the WHITE HOUSE in my office today and I must advice you as follows:
1: I received an Intel from our wiretap internet protocol office that my communication with you have been breached by impostors which have prompted immediate action from my side to make sure that this transaction is secured. Today, I issue you this code for communication (G11) which must be contained both in the subject and at the end of any of my email letter to you, This is for your own good.
2: With instruction from the White House and the United states Department of Homeland Security, I am informing you that you due consignment box containing your total payment fund of US$10,000,000.00 (Ten Million United States Dollars) is approved for release and delivery to you as soon as you fulfill all “OBLIGATION” and offset the refundable “TAX CLEARANCE LEVY” mandated by the IRS on all consignment that has been in our vault over 3 months.
Note that as i write you now, your funds contained in your consignment box is presently in our maximum storage vault in Atlanta, GA and will only be marked cleared for release once you fulfill all “OBLIGATION” stated on your release questionnaire by Homeland security.
Once I hear from you, I will instruct further.
Regards,
Agent John Edward

Blueprints of Eternity selected for ICMC 2013

I was informed this morning that Blueprints of Eternity has been accepted for inclusion in 2013's International Computer Music Conference!

Acceptance message follows.

Dear Kyle Vanderburg,

On behalf of the International Computer Music Conference 2013, I am pleased to inform you that your submission, titled

Blueprints of Eternity

has been accepted.

Please note that if you submission is an installation submission, this acceptance is dependent on the ICMC's ability to facilitate your work. We will be in touch shortly to discuss installation and equipment requirements.
We have included the reviewers' comments at the end of this message. If you log into our openconf site you should also be able to access these. Let me know if you have any questions or concerns.

Please note that you will need to confirm your intention to present or perform by the 31st of May, 2013.

Authors of all works and papers presented at ICMC 2013 require registration as a delegate. If possible please do this by the 30th of June, 2013. This can be done from our Eventbrite page: http://www.eventbrite.com.au/myevent?eid=5863360469

Visit our website for up to date information and news on ICMC 2013. A full program will be released next month.

http://icmc2013.com.au/

Congratulations,
Program Committee, ICMC2013
conference@tura.com.au

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Strictly limited source material can be hazardous because it demands so much of the composer’s manipulation skill just to keep things interesting. In this case, the composer did achieve interesting transformations of the limited source.
But as a whole, structurally, it was not a strong attention-holder. Seemed to need much more dynamic contrast, and more timbral diversity. Spatially flat as well – needs to be opened up – and I’m not convinced that active diffusion will help much, given the relative lack of interplay between L and R.
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Blueprints of eternity. This work is a study in time using a kitchen timer as the sole source sound. There is a good sense of space after the open monophonic passage and some very neat and precise manipulations which sustain the narrative. The work also has a tight form. The sound recording as it stands does not lend itself easily to transformation and as a consequence some of the transformations are a little harsh. This may be partly mastering but partly the unresponsive nature of a timer click.
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Engaging sound material and journey from recognisable sound source to more abstracted detail. There are some attractive spatial trajectories and placements of materials within the overall structure. The closing section is particularly well handled. Because of the soundworld's timbral uniformity (all appearing to originate from one source), more variation in contour, shaping and depth perspective could be welcomed.

The Ernest Trumble Award for Outstanding Graduate Musicology Paper

Yesterday, I was awarded the Ernest Trumble Award for Outstanding Graduate Musicology Paper ™, and with it, a box of stuff that Dr. Lee found in his office. Here is the content of the box, in all its glory (in Turabian, of course):

Bukofzer, Manfred F. Music in the Baroque Era: from Monteverdi to Bach. New York: Norton, 1947.

David, Hans T. and Arthur Mendel, eds. The Bach Reader, A Life of Johann Sebastian Bach in Letters and Documents. New York: Norton, 1945.

David, Hans Theodore. J.S.Bach’s Musical Offering: History, Interpretation, and Analysis. New York: G. Schirmer, 1945.

Moser, Hans Joachim. Heinrich Schütz: His life and work. Translated by Carl F. Pfatteicher. Saint Louis: Concordia, 1959.

Terry, Charles Sanford. Bach, a Biography. 2nd ed. London: Oxford, 1950.

Unger, Melvin, ed. Bach: Journal of Riemenschneider Bach Institute 31 nos. 1-2, 35 nos. 1, 36 no. 2, 37 nos. 1-2, 38 nos. 1-2, 39 nos. 1-2, 40 nos. 1-2, 41 nos. 1-2, 42 nos. 1-2, 43 no. 1.

Annotated Program to the 68th annual Baldwin-Wallace College Bach Festival.

Annotated Program to the 69th annual Baldwin-Wallace College Bach Festival

1 seed rattle

1 remote to a Tascam CD RW5000

1 notebook

And the paper that caused all of this? Standardized Contrapuntal Technique and Bach's Riddle Canons from The Musical Offering.