<b>Transcript of VARIATIONS #1, by Jon Leidecker</b> ☞ <a title="http://rwm.macba.cat/uploads/variations/01_Variations_eng_script.pdf/" href="http://bit.ly/ggLzop" target="_blank" rel="nofollow" class="twitter-timeline-link">http://bit.ly/ggLzop</a> <br>
<br>Do not miss this amazing journey into the history of appropiative collage!<br><br><b>VARIATIONS #1. Transition</b><br><b>Summary: </b><br>The first episode of this overview of appropriative collage in music covers the years 1909 through 1961, beginning with Charles Ives, who composed in a cut and paste style with sheet music in a way that anticipated what later composers would do with multi-track tapes and mixers. We skip through decades to arrive at 'Twisting The Dials', the Happiness Boys' 1928 tribute to late night radio surfing, before moving to John Cage's proto-sampling pieces for radio and tape, 'Credo In US' and the 'Imaginary Landscapes'. We witness the million-selling cut-in records of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated dissection of a single recording of Elvis: 'Collage No. 1', the first remix.<br>
<br>The concept of an original work of music, attributible to and owned by a single author is a fairly recent development. Music was passed on through generations as an oral culture, communicated through sound itself across generations, even for centuries after the invention of written music. Only by the fourteenth century had it become standard practice for a composer to sign his name to a piece of music, slowly reenforcing the concept of the author as individual creator.<br>
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Epsiode #1: <a href="http://rwm.macba.cat/en/curatorial?id_capsula=499">http://rwm.macba.cat/en/curatorial?id_capsula=499</a><br>MP3: <a href="http://rwm.macba.cat/uploads/variations/01_Variations.mp3"><span class="omp_field">http://rwm.macba.cat/uploads/variations/01_Variations.mp3</span></a><br>
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