If he only has 5 minutes to illustrate this, I'd definitely play some Naked City pieces or perhaps Blues Noël (5:51), which seems quite representative of his compositional interests during the Spillane/Godard period. I saw a (disappointing) Ribot solo performance a couple of days ago which included a couple of études from "The Book of Heads". For the first time I realized that these pieces are really connected to the jump-cut stylings he's been working with for years, besides the obvious incidence on extended techniques. However, I'm not sure if that would work with an unprepared audience. Best, Efrén del Valle n.p: Bruce Haack "The Electric Lucifer" (Columbia- LP) --- Steve Smith <ssmith66@sprynet.com> escribió: > Given that your friend started in a classical
context, I'd recommend he play the string quartet 'Cat o' Nine Tails.'
Steve
-----Original Message----- From: Samerivertwice@aol.com Sent: Nov 7, 2003 1:35 PM To: zorn-list@lists.xmission.com Subject: Zorn Jump-Cuts?
<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>I just got the following message from a friend:<BR> <BR> <BR> <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><BR> </BLOCKQUOTE><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">And now, a question for you. Believe it or not, I talked about John Zorn for about 10 minutes in my Humanities course yesterday. We were covering 1870-1914, and I played selections from Debussy ("Claire de Lune"), Stravinksy (a selection from Rite of Spring), and a song by Schoenberg. One student commented that Schoenberg seemed to be trying too hard, being jarring just for the sake of being jarring and jumping from one thing to another quickly. The student commented that he wasn't aware of any contemporary musicians who do this kind of jumping around. I brought up Zorn and his jump-cut, cartoon-influenced aesthetic, and then I went into his interests in game theory, cartoon music, Japanese noise-as-aesthetic, thrash metal, jazz, klezmer, and classical music. I said I'd bring something in on Tuesday to play for them. Hence the question. If I have five or so minutes to play a representative piece or two, what would you recommend that best illustrates that jump-cut practice of his?</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR> </FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR> </FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR> </FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR> Can anyone help me/my friend? I suggested some Naked City stuff, but if there's a better sample of jump-cutting in Zorn's catalogue I'm open to suggestions.<BR> <BR> Thanks,<BR> Tom<BR> <BR> </FONT></HTML>
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