Wolf Notes Wolf Notes. New Music Publication2

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Piano Lessons by Dan Star

WolfNotes Volume1,Number2,June

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32913735 Cornelius Cardew

Read Free For 30 Days Sign In MichaelPisaro

2011

Niujie (Ox Street) Mosque, Beijing,

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Read Free For 30 Days Sign In Published by Compost and Height



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wolfnotes Image: Trevor Simmons

Contents Howcanweoutsmartthesenseofcontinuity Thateludesourstepsasitpreparesus Forultimatewishfulthinki Forultimatewishfulthinkingoncethemin ngoncethemindhas dhas ended Sincethislastthoughtbothconfinesanduplifts us? JohnAshbery

An objec object, t, a space, space, an infini infinite te number number of measureme measurements. nts. Wolf Notes Notes is an attempt attempt atanopenplatform,eachindividualisfree to refa refash shio ion n the the comp compos osit itio ion n devi devise sed d in our our appr approa oach ch, , we init initia iate te, , they they init initia iate te. . Foundinjuxtaposition,inharmony,atthe baseandsummitofpotentiality. An open openne ness ss is ines inesca capa pabl ble e with within in any any media,itistobeembraced,toberealised.  UploadAll and any degree degree of interp interpret retati ation on will will fallwithinmyriadroomsofdisposition.So to inhale inhale and exhal exhale, e, to move move toward towards s a positivesenseofproduction,WolfNotesin Read Freeits For totali 30 ality tot ty is hope hope to the the imposs impossibi ibilit lity y of maximumopenness. Days

This This work, work, and the works works contai contained ned, , are Sign In not objec objectiv tive e fact, fact, they they are in a consta constant nt flux flux of inte interp rpre reta tati tion on, , of feed feedba back ck and and

MichaelPisaro……………………………………6- 11

PreparedPiano(sketchbook)

JasonKahn………………………………………….12- 32

Noteson“UnheardDelhi”

AdamSonderberg……… – 36 33 – TickMarkStudies:Ramones- Ramones(Sire,1976) ……………………… .

SimonReynell …………………………………...37- 40 Thoughtsonnotbeing a musician

Fantastical Zoology…………………………….41 – 42

ByJephJerman

CoverImage………………………………………..43 TrevorSimmons

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PreparedPiano(sketchbook) MichaelPisaro(1997 –2000)

1.Prepareapiano.

2.Theyfoundthepointintheroommostdistantfromthepiano. 3a.Theinsideofthepiano. 3b.Theoutsideofthepiano. watc tche hed d the the blue blue-white 4. The The pian piano o mirr mirror ors s the clouds clouds moving moving above above. . We wa white film film projectedonthepolished projectedonthe polishedblackscreen.

birchtree, , splitlong splitlong 5. A birchtree

crooked d white white V written written ago as it fansoutlik fansoutlike e a crooke shoreline,demarkingthesky. shoreline,demarking thesky. ,

o n the

6.Weopenthelidandthencloseit,repeatingasnecessary. hepianoforthenumberof unitsindicated. 7.Irolledadie,andstayedsilentlyatthepianoforthenumberof 7.Irolledadie,andstayedsilentlyatt 8.Shevisitedthepianoofafriend

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onanevening hewasnotpresent.

9.Theyselect,usingsomeprocedure,90sounds.After arrangingthesesoundsina random orderandnumberingthem,theyplayanumberedso undwhenindicatedwith adot,donotplayitwhenindicatedbyaspace,keepingapulseof30seconds.

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10.Thepianistrecitesintothepiano,atapulseof5secondspernumber,allofthe numbers inhisaddressbook.

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11.Asoundisselectedandplayedonthepiano84timesinarow.Thisisdoneoncea 11.Asoundisselectedandplayedonthepiano84timesinarow.Thisisdoneoncea dayatthesametime,fromDecember12toMarch5(March4inaleapyear). 12.Alongropehangsstraightdownfromtheceiling,directlyabovethepiano. (Itdoesnotmove.) 13. Five Rooms

CeilingbyTurrell. WallsbyMauser. MirrorsbyReinhardt. SpacebyMartin. PianobyLewitt. 14.Arepertoire:

•EmbryonsDesséchés bySatie (played4timesdaily) . . One pageselectedeachdayatrandomfromthe FitzwilliamVirginalBook  BeethovenStringQuartets;or,onceinawhile,aBagatelle.  •JohnCage’sSonatasandInterludes (playedwithoutpreparation). •“I’maKingBee.”  •PoemsbyRobertCreeley. •SonatasbyDomenicoScarlatti. •The GoldbergVariat ions ions. •

•

•

“TheCooCooBird.”

15.Theyfindanold,deadpiano,andclearouttheinsides.Theyfillthebodywith evergr evergreen een needles, needles, continu continuing ing to replace replace the needles needles with fresh fresh ones as they they turn fromgreentobrown.

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16a.MainStreet.

16b.TheVillageGre en. 16c.TheLibrary. 16d.TheTrainStation.


16e.TheSchool.

16f.ShopWindows. 16g.Lights. 16h.Yourstreet. 16i.Yourhouse.

16j.Yourroom.

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19.WehavefoundawaytoaddonetonebetweenEandF.(Notamicrotone.) 19.Wehavefoundawayto addonetonebetweenEandF.(Notamicrotone.)

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20.Awhite room —fourwalls,aceiling,afloor.Nosha fourwalls,aceiling,afloor.Noshadows;lightfillingthespace. dows;lightfillingthespace. In

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21.Zither.

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22.Threepia nosarelin edupsidebyside. (Thesecondismissing. )

thisroomisacompletelywhitepiano of theexactdimensionsoftheroom.

lightly scrape thelowestpianostring,startingattheend 23.Usingyourfingernail,youlightly ofthestringfarthestawayfromthekeyboard,movingtowardsthekey board,once per second,allowingextratimetoman euverthroughthesupports. (Pedaldown.) 24. 24. He will will have have plac placed ed a micr microp opho hone ne gent gently ly on the the pian piano o stri string ngs, s, turn turned ed it on, on, keepingtheamplifieratlowvolume. keepingtheamplifieratlowvolume. Waiting. 25.Onemorningthedoorwaywas obstructed byatoypiano. 26.Sheplayedoneortwopiecesatthepianoof2to5secondslengtheveryday.Most involve involved d two or three three note note cluster clusters s played played in an ascending ascending or a descendin descending g series. series. Therewas occasionalvocalaccompaniment. ( forCocoa) forCocoa ) 27.Thepianoimaginesagreaterorfinalpiano.Itbelie 27.Thepianoimaginesagreat erorfinalpiano.Itbelievesthatinthefu vesthatinthefuturetherewill beapianothat exceedsthepotentialofpresentdaypianos. exceedsthepoten tialofpresentdaypianos. Allonehearsnowisfai nt singing.Somedaytherewillbeapianoofpuresinging,thepiano’sideaofitself.

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music comes from , project projected ed on a pinkish pinkish-white screen. The music 28.A 28.A film film of apiano ap iano, behindthescreen. ShownattheChamps-Élyséestheatre withthelightson,thefilmis barelyvisible.Themusic,playedonabrok barelyvisible.Themusic,playedonabrokenviolin,isbarelyaudible.Someone enviolin,isbarelyaudible.Someoneleaves leaves in disgust: “This is not a piano. piano.” ” As repor reporte ted d in the the Paris Paris paper papers s the next next day day, the showingwasattendedbya showingwasattendedbyatleast100 tleast100people,14 people,14 ornooneatall. Ariotdidordidnot ,

ensue.Refreshmentswereorwerenotserved.

29.Onenoteplayedonapianowiththepedaldown. 29.Onenoteplayedonapianowiththepedaldown. Alltheotherstringsresonatein proportiontotheirproximitytotheoriginal. Read Free For 30 b

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30.Theyimagine,inasmuchdetailaspossible,thenotesE andE,asplayedonthe piano. After After five five minut minutes, es, they they play play these these tones tones.. They They repea repeat t this this until until they they can anticip ateeverysoundtobeheard. 31.Twopianosareinpreciselythesameplaceatthesametime. Inthenextmoment,

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34a.Allpianos. 34b.ThepianosofAmerica. 34c.Thispiano. 34d.Notasinglepiano. 34e.(blank)— Itisnotyetnamed,butisalwaysthere. 35.Thepianoisasinglematerial,whichforitsuserequiresdivisionintosecondary materials.Itssoundsarethose ofmaterialunfoldingintime. Timeonlycarriesthem tothe fullextensionofthematerial.Beyondthisliesanareaun countedbytime. 36.(Materials) •

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Sounds1,2,3and4

37.From88possible:

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38.Lefthand:F G , ,

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1.(Oranyothersound.)

39.Apianoissomethingtotouch.( toJohn )

Michael Pisaroisacomposerandguitarist,amemberoftheWandelweiserComposersEnsembleand Michael founderanddirectoroftheExperimentalMusicWorkshop. SeveralCDsofhisworkhavebeenreleasedbysuchlabelsasEditionWandelweiserRecords,Compost and an d He Heigh ight, t, co conf nfro ront, nt, An Anot othe her r Tim Timbr bre, e, Ca Cath thno nor, r, Nin Nine e Wi Wind nds s an and d ot othe hers rs, , in incl clud udin ing g mo most str rec ecen entl tly y "transparent "trans parent city,volumes 1–4", “anunrhymedchord”, “hear “hearing ing metal1”, “A Waveand Waves” and "harmonyseries(11–16)". HehasperformedmanyofhisownworksandthoseofcloseassociatesAntoineBeuger,KunsuShim,Jürg FreyandManfredWerder,andworksfromtheexperimentaltradition,especiallyJohnCage,Christian Wolff,JamesTenneyandGeorgeBrecht.

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Noteson“UnheardDelhi” ByJasonKahn

Forthemonthof November2010 IwasanartistinresidenceinDelhiwiththeSwissArtsCouncil

ProHelvetiaandthemediaresearchcenterSarai.Oneofmyproposedprojectsforthisresidency wasa continua continuation tion ofmy “UnheardCitie “UnheardCities”seriesofworks,which s”seriesofworks,which I'vebeenreal I'vebeenrealizingsince2002. “UnheardCities”explore “UnheardCities”exploreshowweperceive showweperceiveurbansoundenvir urbansoundenvironmentsinthefo onmentsintheformofinstallat rmofinstallations, ions, musicalperf musicalperforma ormances nces and, inthecaseof “UnheardDelhi “UnheardDelhi,,”worksforradio. In“UnheardDelhi”I In“UnheardDelhi”I interviewedeightpeopl interviewedeightpeoplewiththequestion ewiththequestion,“ ,“Whatisyourfav Whatisyourfavoritesoundorsounden oritesoundorsoundenvironmen vironmentin tin Delhi?”Irecordedalltheanswersandthenwentoutinthecityandrecordedthecorresponding sounds.The sounds.The resulti resultingrecor ngrecording dings s andinterviews andinterviews were were then mixedtogeth mixedtogetherfor erfor an approxi approximat mately ely 60-minute minute long audio portrai portrait t of thecity. thecity. I produce produced d an earlier earlier versionof versionof thispiece,“Unheard Zürich,”in2007.

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Thepieceworksonseverallevels,perhapsthefirstbeingthattheinterview Thepieceworksonseverallevels,perhapsthefirst beingthattheintervieweescometoreflect eescometoreflecton on thesoundenvironmentsofthecityinwhichtheylive.ManyofthepeopleIinterviewedhadgreat thesoundenvironmentsofthecityin whichtheylive.ManyofthepeopleIinterviewedhadgreat

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ss. . Fina Finall lly y, the the soun sound d of the envi enviro ronm nmen ents ts wh whic ich h I othe otherw rwis ise e migh might t have have neve never r come come acro across Audiobooks inte interv rvie iewe wees es' ' voic voices es prov provid ides es anot anothe her r imag image e of the the city city in wh whic ich h they they live live. . Not Not only only do the record recordings ings ofthe sounds sounds they designat designatedbut edbut theirvoicesthemse theirvoicesthemselves lves lend a sonic sonic mirrorto mirrorto the greaterurbansoundscapeinwhichtheylive.Myhopeisthatpeoplehear inwhichtheylive.Myhopeisthatpeoplehearingthesepieceswillalso ingthesepieceswillalso Magazines greaterurbansoundscape cometo cometo refle reflect ct onthe sounds sounds ofthe places places inwhich they they live, ive, and not just just the sounds sounds which which disturbthembutalsothesoundsinwhichtheyfindsolace,shelterorjoy. Documents

As a side side note note, , it occu occurr rred ed to me much much late later r afte after r fini finish shin ing g the the piec piece e that that the the wo word rd “sar “sarai” ai”  beside a highw highway ay. . Where Where trav travele elers rs and trans transla late tes s in Hindi Hindi to “An enclos enclosed ed space space in a city city or beside Sheet Music carava caravans ns can find shelter shelter, , companion companionship ship and sustenan sustenance. ce. A tavern tavern, , a public public house, house, a meeting meeting place.Adestinationandapointofdeparture place.Adestinationandapointofdeparture.Aplacetorestinthemiddle .Aplacetorestinthemiddleofajourney ofajourney..”Formany ofthepeopleIintervieweditwascl ofthepeopleIintervieweditwascleartomethat eartomethatthesoundstheychos thesoundstheychosecreat ecreatedforthemaspace edforthemaspace of shelt shelter er, , a sense sense of compa companio nionsh nship ip or even even a place place of desti destinat nation ion, , where where they they would would go for for enjoymentorrest.Inthissense,“UnheardDelhi”isnotjustaboutsoundsbutabout socialspaces andhowsoundcontributestothecreationofthesespaces. Inthe followin following g textsI textsI give give thenameof each intervie interviewee, wee, theirvocatio theirvocation,an n,an excerp excerptfrom tfrom their their interviewandnotesabouthowtherecordingsoftheirsoundsweremade.Thesetexts followthe orderofthefinalversionof“UnheardDelhi.”

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1.Alankar(student)

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“Peop “People le comin coming g out on the stree streets ts marchi marching ng toget together her, , trying trying to bring bring out a coll collect ectiv ive e voic voice, e, sound.”

Alankar's

sounddesignatedacollectivespacesymbolizedbythesoundofpeopledemonstrating. As such such, , this this mean meant t that that I had had to find find a demo demons nstr trat atio ion n in Delh Delhi. i. In fact, act, ther there e are are oft often utwhenorwherethey demonstrationsinDelhib demonstrationsinDelhibut,like ut,likemanythings manythingsinIndia,itisno inIndia,itisnoteasytofi teasytofindo ndoutwhenorwherethey are.AsasidenoteIshouldmentionthatIwasinDelhiwithmypartnerandthreeofmychildren (atthat time ages three three years, years, sixyearsand seven seven months).This months).This mademe far less mobile mobile and flexiblethanifIhadbeeninDelhialone .Weoftenalltroopedoutintothecitytogether,thewhole familyintowbehindme,searchingforthesesounds.Anditwasoftenamatterofpureluckor coin coinci cide denc nce e that that I mana manage ged d to find find the the soun sounds ds to be reco record rded ed. . In seve severa ral l case cases, s, the the soun sounds ds the int intervi erview ewee ees s we were re alr already eady soun sounds ds I had had recor ecorde ded d duri during ng our our prev previo ious us designated designated by the wanderingsthroughthecit wanderingsthroughthecity y,inwhichcaseIdidn't ,inwhichcaseIdidn'thavetoseekthe havetoseektheseout.Butthiswassel seout.Butthiswasseldomthe domthe case.

ButinAlankar'sanswerIwaspresentedwithaparticularchallenge.Tim ewasalsoveryshortfor this this proje project. ct. I was only only inDelhi for for aroun around d one month month and I was not just just produ producin cing g “Unhea “Unheard rd Delhi”but Delhi”but hadgiven aconcert (ofrecordi (ofrecordingsmadein ngsmadein thecity) andexhibite andexhibited d anew installa installation tion. . Some Some ofthe intervi interviews ews were were done near thebeginningofmystay,whichgavememoretimeto record record thesounds, butsome,likeAlankar' butsome,likeAlankar's, s, wer were e made closerto closerto theend, which which putme under under additi additiona onal l time time press pressur ure e to find find the sounds sounds. . I wo would uld'v 've e rathe rather r had the luxury luxury of many many more more leisurelywanderings throughthecity,butthisjustwasn'tpossible. TherecordingusedforAlankar TherecordingusedforAlankar'sanswerwasmadeonedaybef 'sanswerwasmadeonedaybeforeourdepartur oreourdeparture,nearConnaught e,nearConnaught Placeinthecenter Placeinthecenterof of NewDelhi.Wewere NewDelhi.Wewereactuall actuallyin yin searchofgiftstobring searchofgiftstobringbackforfamil backforfamilyand yand friendsandwereonourwaytoahugeemporiumfortraditionalhandcrafts.Aswecamecloserto emporium, um, I heard heard the soundof soundof what what see seemed med to bea demons demonstr trat ation ion inthe dista distance nce. . The  Upload the empori soundwasloudestrightinfrontoftheemporiumbutnodemonstrationwasinsight, thoughpolice infullriotgearwithautomaticweaponsstoodateachcorne infullriotgearwithautomati cweaponsstoodateachcorneroftheintersec roftheintersection.Itfinallydawned tion.Itfinallydawned onme that that a demonstr demonstratio ation n in anotherpartof anotherpartof thecitywas being being transmi transmitte tted d ata blaringloud blaringloud volumeoverloudspeakersmount ersmountedoneachcorn edoneachcorneroftheintersection.Itwasstrangetothinkthat eroftheintersection.Itwasstrangetothinkthat Read Free For 30volumeoverloudspeak thiswas thiswas thedemonstr thedemonstratio ationI nI hadlookedso hadlookedso longfor longfor,butin ,butin fact,itwas fact,itwas ademonstrat ademonstration, ion, albeita albeita Days disembodiedone.Thepolicewerethere,thetrafficwassnarledandpeoplestoodaroundonthe street,a sifwaitingforthedemonstrationtoappeararoundthecorneranysecond. Sign In

Thebestplacetorecordthiswasrightnexttoagroupofpolice,whokepteyingmesuspiciously. Although Although myrecordi myrecordingequipme ngequipmentwasrather ntwasrather unobtrusi unobtrusive, ve, Istillfelta senseof senseof dread.Myworst dread.Myworst

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2.ShwetaUpadhyay(journalist)

“Duri “During ng that that gap betwee between n wakefu wakefulne lness ss and sleep sleep you reall really y feel feel like like you are conne connect cted ed to somethingbeyond.”

Thiswasacaseofmehavingalreadyrecordedasoundwhichanintervieweehadchosen.Shweta Alankar, , her Upadhyay Upadhyay responde responded d with the sound of the muezzin' muezzin's s morning morning call to prayer prayer. . Like Alankar sound sound conne connect cted ed her to a specif specificspace icspace. . In this this case case not of prot protest est but a sense sense of spirit spiritual uality ity infusingthatplacewhereoneisneitherawakeorasleep. NearthebeginningofmystayIhadmadeanearlymorningtriptotheJamaMasjid,Del hi'smain mosqueandoneofthecity'smostimport mosqueandoneofthecit y'smostimportantcultur antculturalandhistoric alandhistoricalsites.Isatonthe alsites.Isatonthestepsleading stepsleading uptothemainentranceandthemuezzinbegantosing.Foranyonewhohasn'texperiencedthis,it certainlydoeshaveanotherworldlyfeeltoit ,instantlytransportingonetoanotherplace. DuringmytimeinDelhiIneverleftthehousewithoutmyrecorderandmicrophonesclippedtothe collarofmyjacketorshirt.IwasconstantlyrecordingandonthismorningattheJamaMasjidIwas ableto capturethesoundofthemuezzin,thoughIhadn'tbeenplanningonrecordingthis. ManyofthesoundschosenbythepeopleIinterviewedhadacert ManyofthesoundschosenbythepeopleIint erviewedhadacertainclaritytothe ainclaritytothem,theabilityto m,theabilityto cutthroughthedenseenvir cutthroughthedenseenvironme onmentof ntof Delhi'ssoundfieldsandcreat Delhi'ssoundfieldsandcreatea ea spaceoftheirown.The muezzin'scallwaslikeaknife,penetratingtherelativeearlymorningstillnessofOldDelhi.Ialso experie experienced nced this call later later during during theday and,surprisingly and,surprisingly, , it still still had thesame effect effect, , piercing piercing throughthecity'swallofnoi se.

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Audiobooks 3.IramGhufran(filmmaker)

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“Thatdelicatecracklingkindofsound.”

Iram Iram Ghufranwas Ghufranwas responsi responsible ble for Sarai Sarai hostin hosting g meand I spent spent a lot oftime speaki speaking ng with with her about her exper experien ience ces s with with sound sound in Delhi. Delhi. It was initi initiall ally y very very hard hard to inte intervi rview ew her as she Sheet Music about couldn't couldn't thinkof thinkof anysound whatsoev whatsoeverin erin thecitywhich pleasedher pleasedher.Her .Her initialrespo initialresponsetomy nsetomy question was,“ThesoundofmyharddiscwhenIturnitoneachmorning,”whichIcouldn'tquite acceptasanappropriateanswerasthissoundcouldhaveoccurredanywhereintheworldwhere shemighthavehadherharddiscwithher.Althoughanotherinterviewee(C handrikaGrover,see below)gaveasimilarresponseabout below)gaveasimilarresponseaboutthesoundofwaterflowing thesoundofwaterflowingfromhertap,Iconside fromhertap,Iconsideredthisas redthisas morespecifictoDelhiandthereforepressedIramforothersounds.Intheend,sheactuallygave memore answe answers rs than than I could could use. use. Itw as as if once once I plant planted ed this this idea, idea, somet somethin hing g whichshe whichshe admittedlyneverhadgivenmuchthoughtto,thetricklebecameaflood. Herfirstanswerwasthenthesoundoffoodfryingataroadsidestand.Ilovedherdescriptionof thissoundandhowitcreated this senseof senseof intimacy intimacy andsharedexperi andsharedexperience ence withallpeople who camefromDelhi.Ijustcouldn'tforthelifeofmeimaginehowIwouldbeabletocapturethisina recording.Asidefromthefactthatthecitywasvirtuallyalwaystooloudtorecordsomethingthis recording.Asidefromthefactthatthecitywasvirtuallyalwaystooloudtorecordsomet hingthis quiet quiet, , I could couldn't n't see gett getting ing closeenoug closeenough h to the the frying frying food food to reco record rd iteven ifI did bysome miraclefindaquietplacewithafoodstand.

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AfewdayslaterafterherinterviewIwasgoingthroughrecordingsIhadalreadymadeinthecity and stumb stumbled led across across the very very sound sound she had des descri cribe bed! d! This This had been been reco record rded ed on my early early morningtriptotheJamaMasjidinOldDelhi(seeabove).OnmywaytothemosqueIstoppedat oneofthesestandstodrinksomechai.Itwasstilldarkandthecitywasv eryquiet.Amanwas preparingsamosasandpak preparingsamosasandpakorasinthe orasinthehotoil.Idr hotoil.Idrankmychais ankmychaistandingve tandingveryclosetoth ryclosetothefryingfood efryingfood andwasthusabletorecor andwasthusabletorecordthissound,t dthissound,thoughatthet houghatthetimeIrememb imeIrememberbeingmor erbeingmoreentran eentrancedwith cedwith thisearlymorningatmospherethanwit hthesoundofthefryingfood,whichwasinfactmorea byproduct byproduct of thewhole record recording ing experie experience. nce. I think think this was oneof my favori favorite te record recordings ings of “UnheardDelhi.”


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Audiobooks 4.ChandrikaGrover(directorofProHelvetiaNewDelhi)

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“Whenyouturnonthetapinthemorningandwaterflowsfromit,it'ssweetmusictomyears.” “Whenyouturnonthe tapinthemorningandwaterflowsfromit,it'ssweetmusictomyears.”

Chandrik Chandrika'sanswerwas a'sanswerwas atonce very very simple simple andfor me very underst understandab andable.In le.In theshorttime Sheet Music livinginDelhiwehadexperienceddailywaterproblems.Watercamefromareservoirontheroof pumpedbyanincredi pumpedbyanincrediblyloudandoldwat blyloudandoldwaterpump, erpump,whichmoreofte whichmoreoftenthannotdidnotpumpor nthannotdidnotpumpor, , rathe atherr, only only pump pumped ed in the the morn mornin ings gs, , but but not not in the the afte aftern rnoo oons ns. . And And then then only only one one of our our bathroomsintheapartmenthadwaterflowingtothetoiletandone tothesink,andthewater heaterwouldn'talwaysfill...andsoon.Chandrika'sanswermademorethanperfectsenseforme! And, of course,our course,our problem problems s paled in comparis comparison on to those those many many people people in Delhi Delhi who perhaps perhaps didn'thaveanyrunningwateratall. Living

inZürich, where where crysta crystalline lline riversgushfromthemountai riversgushfromthemountainsand nsand lakes,oneeasilytake lakes,oneeasilytakes s for grantedthevalueofwater grantedthevalueofwater.ButinDelhi,eveninthemoreafflu .ButinDelhi,eveninthemoreaffluentpartsofthecitylike entpartsofthecityliketheonewe theonewe werestayingin,theavailabilityofwaterisadailyunc ertainty. ThesoundofwaterforChandrikathereforedefinedastateofmindandaportentfortheday's arrival.Imadethisrecordinginourapartmen arrival.Imadethisrec ordinginourapartmentonadaywhenthewaterwasinfactrunnin tonadaywhenthewaterwasinfactrunning.Ionly g.Ionly hadtomakesurethewaterpumpwasoffbeforestar tingtherecorder!

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5.IshShehrawat(musician)

“Youcanreallyenjoythesecompletemoments ofsilenceandcompletechaos.”

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Ishwasoneof theintervi theinterviewee eweeswho swho Ididn'thavetoprodforananswer Ididn'thavetoprodforananswer.Maybebeca .Maybebecauseheis useheis a musicianormaybebecausehewasbornandraisedinDelhi,butheseemed hewasbornandraisedinDelhi,butheseemedtohavenopro tohavenoproblemin blemin connectingwithwhatIwasafterinmyinterview. HisfirstanswerreferredtotheparksinDelhi,whichcreatedacontextandacontrasttothecity's magnificentchaos.Forhim,itwas importanttohavethesequietplacestoreactivatetheprocess ofhearingagain.Thecity'sdense,churningsoundenvironmenttendstoblotthisout.ThoughI'd have have to say say that, that, like like Ish,I Ish,I also also found found a cert certain ain senseof senseof enjoym enjoymen ent t inthecity'snois inthecity'snoisies iest t areas. Therewassomethingincrediblyinvi Therewassomethingincrediblyinvigorat gorating,whennotatthesametimeutterlytax ing,whennotatthesametimeutterlytaxing,ofbeingin ing,ofbeingin the Chawri Chawri Bazar Bazar Road Road inOld Delhi Delhi ona we week ekda day y after afternoo noon n with with the stre street ets s too too full full to move move through,cloggedwithrickshaws,taxis,theoddcowandthis incrediblemassofhumanityinching itswayforwardthroughthedustandexhaustfumes.IfeltattimeslikeIwastrappedinatelevision tuned tuned between between station stations,spewing s,spewing white white noise andan endlessflick endlessflickerpatte erpatternof rnof snowy staticand staticand abruptglitches. Find ingaplacetorecordIsh'ssoundprovedtobenoproblematall,asrightaroundthecorner

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fromwherewelivedwastheKamlaNehruRidgeForest,ahugenationalparkfullofmonkeysand denseclustersofscre denseclustersofscreamingbirds.B amingbirds.Beingsomewhat eingsomewhatofananomalyfor ofananomalyforDelhi,theparkwasoftenfull Delhi,theparkwasoftenfull withjoggers,hikersorpeople picnicking.Itwasther picnicking .Itwastherefore eforesomewhatdif somewhatdifficultfindingaq ficultfindingaquietspotin uietspotin theparkwhichcouldsomehowcapturewhatIshwasreferringto.Duringtherecordingthebirds graduall gradually y grew grew in intensi intensity ty. . Atfirst mypresence mypresence frighte frightenedthem nedthem away away, butaftera few minutes minutes theyseeminglydecidedIposednothreatandresumedtheirchorusatfullvolume.Neartheendof therecordingyoucanhearamaninthedistancesingingonasqueakyswing.


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6.IramGhufran(filmmaker)

“Theygoonmakingthesoundandit'sdyinginallthenoisethatisaroundit.”

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InherinterviewIramdiscussedoneofthearchetypalproblemsinurbansoundenvironments:the drown drowning ing out of small, small, more more subtle subtle sounds sounds. . Here Here she was refe referr rring ing to the bell bell on the bicyc bicycle le rickshaw rickshaws.Althoug s.Although h I would would tend tend toagree with herin general general about about thesesmall thesesmall sounds sounds getting getting drownedout,Iwouldinparticulardisagreewithherabouttherickshawwallah'sbell.Eveninthe clogged ed Old Delhi Delhi stre street et, , these these bells bells alway always s see seemed med to siest depth depths s of a hopele hopelessl ssly y traf traffic fic-clogg noisiest magic magicall ally y appear appear, , ringi ringing ng clearl clearly y above above the din. din. I began began to ask mysel myself f if there there perhap perhaps s wasn' wasn't t somethinginthedesignofthesebellswhichmadethemspeciallysuitedto this this mosthosti mosthostileof leof environments.Ifanything,Ididn'thearthemdyinginallthenoisearoundthem,butrippingthis noiseasunderinthemostsubversiveofways,almost noiseasunderinthemostsubver siveofways,almost,itseemed,workingonasubconsciousleve ,itseemed,workingonasubconsciouslevel. l. Ialwaysknewtogetoutofthe waywhenIheardtheringofarickshawwallah'sbell. As with many of the recordi recordings ngs in “Unheard “Unheard Delhi, Delhi,” ” record recording ing a rickshaw rickshaw wallah's wallah's bell posed a numberofproblems.Icouldn'timaginejustrecordingthisonthestreet,evenifitwaspractically always goingon.Registeringthisonapsych goingon.Registeringthisonapsychologicallevel ologicallevelwasonething,butsomehowtransf wasonething,butsomehowtransferring erring this experie experienceto nceto a record recordingwas ingwas another another. . AndI didn'tfeelrightjustwalkingup didn'tfeelrightjustwalkingup toa rickshaw rickshaw wallahandtryingtoexplainthatIwantedtorecordhisbell.EvenifIdidfeelrightaboutthisIstill probablycouldn'thavedoneitasmostofthesedriver'sdon'tspeakmuchEnglishandIfiguredit wouldbeneartoimpossibletogetmypointacross.

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Intheend,Ihituponaveryelegantsolution.Everymorningd ifferentvendorsvisitedthecourtyard ofourapartmentcomplex.Therewasamansellingbread,anothermancamewiththemilk,and yetanotherwhobroughtve yetanotherwhobroughtvegetable getables.Theveget s.Thevegetablevendorarri ablevendorarrivedonalargeflat vedonalargeflatbedbicycle bedbicycle,piled ,piled highwithallkindsofvegetabl highwithallkindsofve getables.Andhehadab es.Andhehadabell,thesame ell,thesamebellthatal bellthatalltherick ltherickshawwallahsh shawwallahshad. ad. Wehadalreadygottentoknoweachotherovertheseveralweeksthatwehadbeenlivingatthe apartmen apartment. t. I just came outone morningwith morningwith mymicrophones mymicrophones andrecorderand andrecorderand asked asked him if I could could ringhis ringhis bell bell a few few times times. . Heseemedtounder Heseemedtounderst stand and,or ,or atleast atleast not care, care, and Imadethe recording.AndthenIboughtourvegetablesforthedayplusatipforhisbell.


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7.PriyaSen(filmmaker)

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Documents Priya Priya Sen'sanswe Sen'sanswer r reall really y hit upon upon my idea idea of sound sound defin defining ing a social social space. space. She She chosenot chosenot an

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“Itbecomeslikethislittle communalspace.”

uniquesoundbutthesoundofaplace,asmallro uniquesoundbutthesoundofaplace,asmallroundaboutnearher undaboutnearherhouseinJongpurExt houseinJongpurExtension,a ension,a Sheet Music quietresidentialneighborhoodinsouthernNew Delhi.Itwashereatthisrotundaplacedinthe intersectionoffourstreetsthatpeopleinherneighborhoodmettoselltheirwares,washanddry theirclothesortojustrelaxandtalkwiththeneighbors. The idea of record recording ing an entire entire enviro environmen nment, t, as oppose opposed d to going going for for one partic particula ular r sound sound or eventreallyappealedtome.ThetrekouttoherhouseprovedtobeanotherofourDelhiodysseys, consistingofalongtrainride,averylongwalkandacoupleeatingstopsontheway.Whenwe rounda dabo bout ut I was was a bit bit disa disapp ppoi oint nted ed. . Ther There e was was nobo nobody dy ther there! e! No wo wome men n finall finally y found found the the roun washing,nopeoplesellin washing,nopeoplesellinganythin ganything,not g,not evenanyonesitt evenanyonesittingther ingthere.Wewalke e.Wewalked d abit furtherand furtherand found found a smallplay smallplaygr groun ound d and let let the kids kids relax relax and play play for for a while. while. I gave gave the situa situati tion o n some some thoughtanddecidedtogobacktotheroundaboutandmakearecording.Maybesomeonewould arrivewhileIwasthere,maybeweweretooearly. Ileftmyfamilyattheplaygroundandwentbacktotheroundabout.ItwasstillemptybutIwent ahead ahead and took took a seat seat and start started ed the reco record rder er. . Almost Almost as if by magic magic the vendor vendors s start started ed to appearfromdifferentdirections,circlingtherotundaandcallin gouttheirwares.Neighborswalked by,staringatmecuriousl by,staringatmecuriously. y.Apackofstaydogsapproachedmecautiously Apackofstaydogsapproachedmecautiouslyandsniffedatmyshoes. andsniffedatmyshoes. Nobo No body dy actu actual ally ly ent entered ered the the rotun otunda da but but I did did get the the sens sense e that that it was was the the hear heart t of this this neighborhood,thatsoonerorlatereveryoneconvergedhere.ThesoundsIrecordedrepresented neighborhood,thatsoonerorla tereveryoneconvergedhere.ThesoundsIrecordedrepresented thevortexofthissmallcommunityandIfeltthattherecording,evenifitdidn'tcapturePriya's precisedescription,didimpartthatsenseofthisparticularplace.

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8.Sajid Akbar(musician)

“Likeaconcentratedwaveofsoundofthesepeoplejustenjoyingtheserides.”

SajidAkbarcontactedmeoutofthebluewhileIwasinDelhi.He'dbeentomyinstallationatthe BhutaGalleryintheCraftsMuseumandhadafewquestions aboutthis.I aboutthis.I askedif askedif hewould be intere intereste stedin din doingan doingan intervie interviewfor“Unheard wfor“Unheard Delhi, Delhi,” ” towhichhereadilyagreed. towhichhereadilyagreed. Ionlymention this this here here as one of the great great probl problems ems facin facing g me in produ producin cing g this this piece piece was findin finding g enough enough peopletointerview,especially whenworkingundersuchpressingtimeconstraints.Ihad,infact, intervie interviewedsever wedseveralother alother peoplefor peoplefor thepiecebut someof their their answers answers, , thoughperhaps thoughperhaps very very interesting,forvariousreasonscouldn'tberecorded.Forexample,onepersonlikedthesound ofa specif specific ic truck truck horn horn that that had actual actually ly recen recentl tly y been been outlaw outlawed ed in Delhi Delhi and which which there therefo fore re no longerexis longerexisted ted.Or .Or somepeoplegavethesamesoundasothers somepeoplegavethesamesoundasothers.The .The soundof soundof trains,eith trains,eithertheir ertheir hornsoroftheactualtrainpassingby,orofbirdssinging, weresoundsseveralpeoplementioned. And then, then, some some sounds sounds I just just couldn couldn't 't track track down. down. So, So, the the more more people people I could could inte intervi rview ew, , the better better.Butit .Butit wasdifficul wasdifficulttofindenoughpeopl ttofindenoughpeopleandto eandto findthe findthe timeto timeto intervi interviewthem.Delh ewthem.Delhiis iis well over over an hour hour to meet meet some someon one e to mak make a five five-minute huge huge and it somet sometime imes s took me well intervie interview w.I couldn' couldn'tverywellexpe tverywellexpectpeople ctpeople totaketimeoutof totaketimeoutof theirdayand theirdayand cometo cometo me.Idid manage manage to make make severa several l of theinterviews theinterviews which finally finally ended ended up on thepiece at Sarai,which, Sarai,which, luckilyenough,wasjustaten -minutewalkfromourapartment. Sajid'sanswerreferredtothe“WorldofWonders,”anamusementparkoutontheabsolutenether reachesofDelhi,inanareadevoidofname,onlydesignatedasSector18.Whichallsoundedvery mysterioustome.Thetrainrideouttherewasreallylong,passingthroughvastswathesofDelhi slums,anincrediblydenselandscapeoftightlyclusteredapartmentbuildingsandnarrowstreets packedsolidwithpeople.WhenwereachedtheSector18metro stationthesceneoutsidewaslike a riot riot with with this this fant fantast astic icall ally y loud loud wall wall of traf traffic fic noise noise echoin echoing g betwe between en the road road and the the train train stationabove.Ittookusaroundtenminutesjusttocrossthestreettostartonourwaytothe triedtocrossaroadinDelhiwithouttrafficlightswewerevirtually amusementpark.AnytimewetriedtocrossaroadinDelhiwithouttrafficlightswewerevirtually amusementpark.Anytimewe likesittingducks,butwemiraculouslyalwaysmangedtoavoidcalamity.

We cont continu inued ed on throug through h what what see seemed med like like an endles endless s area area of shoppi shopping ng plaza plazas s and came came to anotherperilousroadcrossingtoahuge,evenbyWesternstandardshuge,shoppingmall.Ifeltlike rossingtoahuge,evenbyWesternstandardshuge,shoppingmall.Ifeltlike Read Free For 30anotherperilousroadc IwassuddenlybackinLosAngeles.TheonlydifferencewasthatinLosAngelestheywouldnever Days have have allowedsuchmassivesoundleakag allowedsuchmassivesoundleakage e from themall'sventilati themall'sventilationsyste onsystem.Twot m.Twoten-meterair ventsexhaledspentairfromthemall'sventilationsystem.Itfeltliketwojetengineswarmingup Sign In fortakeoff,thoughthesounditselfwasmuchmuchdeeper,fairlyrumblingmystomachwithits vibrations.

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greatrecording,withtheirpealsoflaughterpanningbackandforthacrossthestereofield.Icould Audiobooks verywellimagineSajid'samusementatpassingthisrideeachdayonhiswaytowork,whichwas perhapsthegreatestwonderofthissadamusementpark.

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9.IramGhufran(filmmaker)

“Asoundwhichisreallyexciting,funandjustveryvibrant.”

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Novembe November r isthe month month for weddings weddings in Delhi Delhi andthereis probablyno probablyno biggercelebr biggercelebratio ation n for a familythan havingit'ssonordaughterjoinedinholymatrimony.Iramrefersheretothe“baraat” process procession, ion, which is when the bridegr bridegroom oom travels travels on a horse horse to the wedding wedding ceremon ceremony y at the bride'shouse,accompaniedbyhisfriendsandfamilyandatroopofdrummers. Ithoughttomyself Ithoughttomyself,“Grea ,“Great,thiswillbean t,thiswillbean amazingreco amazingrecordin rdingbutwherewillI gbutwherewillI findthis?”WhenI findthis?”WhenI askedaroundtheinevitableanswerwas,“Oh,everywhere.Novemberisthemonthofweddings.” But“everywhere”wasformenowhereinDelhi,asIcouldn'tfin dmyselftraipsingaroundthecity onanendlesssearchforaweddingprocession.Butthen,aswasoftenthecaseduringourstayin Delhi,theanswercamealmostasifbymagic.SomeonefromSaraitoldmethedayafterIram's interviewthattherewouldbe aweddingrightnextdoorthatevening.Incredible! Thingsstartedtogetgoingaroundnightfall.IwentbacktoSaraiwithmydaughterJosephineand we stood stood outsid outside e the bride' bride's s house house tryin trying g to reco record rd the music, music, whichdidn' whichdidn't t reall really y see seem m to be happening happening yet. et. Sudden Suddenly ly, , a huge huge roar roar of drums drums erupt eruptedand edand the proce processi ssion on spille spilled d out on the streetwithhorses,athrongofpeopleinalltheirfineryandseveralmenbringingupthebackwith generatorsintowtopowerallthelights. Westoodbythesideoftheroadandrecordedtheprocessionasitmeanderedbackandforth betweenthebride'shouseandaHindutemplenotfaraway.Thedrumspannedbackandforth, recededinthebackground,pushedtotheforeground.Itwasapulsingma ssofbuzzing,snapping snaredrumssupportedbydeepertuneddholdrums.AsIramstated,“justvibrant.”

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Audiobooks 10. IshShehrawat(musician)

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“Allthetrainsgoingby,takingoutdifferentintervals.It'salmostlikeasong.”

IfounditinterestinghowIshtunedintoenvironmentalsoundsasmusicalstatements.Itprobably should have have come come as no surpri surprise se to me, as Ish is a music musician ian, , but then, then, I see seem m toknow many many Sheet Music should musicianswhowouldn'tconsider musicianswhowouldn 'tconsiderthesesoundsasmusica thesesoundsasmusical.Forme,th l.Forme,though,Delhiprovedtobeone ofthemostmusical ofthemostmusicalcitiesI'd citiesI'deverspen everspenttimein.Andher ttimein.AndhereIshcameupwithagoodex eIshcameupwithagoodexampl ampleofa eofa soundenvironmentwhichprobablyonlyexistsinDelhi.Hehadlivednearatrainstationforsome time and became became entran entrancedwith cedwith t he incoming incoming and outgoing outgoing trainstooting trainstooting their their airhorns. The descriptionsoundedgrea descriptionsoundedgreatbutIcouldn't tbutIcouldn'treallyimaginewha reallyimaginewhatthisactuallycoul tthisactuallycouldsoundlikenorho dsoundlikenorhow w Iwouldbeabletofindthis.I'dalreadybeenattheOldDelhitrainstationand,thoughthere were infacttrainssoundingtheirhornsthere,itlackedthedensityandclarityofIsh'sdescription. Seve Severa ral l days days befo before re going going home home to Zürich Zürich, , we made made our way way to one of Delhi' Delhi's s classi classic c touris tourist t destinations,Humayun'sTomb,theso-calledlittlebrotheroftheTajMahal.Afterhavingalookat thetomb,wewentdowntothesurroundingparktoflysomekiteswe'dboughtforthekidsona triptoVaranasi.Itwasawarmandwindyday.Itookabreakfromkiteflyingandwentovertositin theshadetocool off.Suddenl off.SuddenlyI yI heardin heardin thedistance thedistancewhatsoundedlik whatsoundedlikea ea trainhorn.Andthen trainhorn.Andthen another.Irealiz another.Irealizedthatthiswasth edthatthiswasthesoundIshhadbeenre esoundIshhadbeenreferring ferringto.Thewindcarr to.Thewindcarriedthesoundof iedthesoundof these these horns over over from from theNazrat theNazrat Nizamud Nizamuddinrailwa dinrailway y station, station, about ninekilometer ninekilometers s awayfrom Humayun'sTomb.Itwasinfactabeautifulsound,likeasongandabitmournful.PerhapsIhad beenreflectingonthefactthatwewouldsoonbeleavingDelhi,acitywhichcouldinequalparts driveonecrazyandbeutterlycaptivating atthesametime. This was another another case speaking speaking for never never leaving leaving the house without without my record recording ing equipmen equipment. t. Given Given the time time const constra raint ints s I was was workin working g under under, , I most most certa certainl inly y would would have have never never found found this this soundnomatterhowhardIhadtried.

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Audiobooks 11.IramGhufran(filmmaker)

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“Everybellislikesomebodypraying,somebodyaskingforsomething.”

IramansweredherewithoneofthemostubiquitoussoundstobeheardinIndia:templebells.In everywhereand reand most of intensely ly spiritual spiritually ly conscious conscious country country like like India, India, there there are temples everywhe Sheet Music an intense them have have bells. bells. Even Even in the courtya courtyard rd of our apartment apartment building building theneighbors theneighbors had erecte erected d a smallHindutemple,completewithitsownpriestwhospentthedaysthere,sittinginaspacenot muchlargerthanhimself. Andhereagain, Andhereagain,an an answerwhere answerwhere asoundisappreciate asoundisappreciatednotjustforthepleasur dnotjustforthepleasureof eof itinand of itself,butasasymbolofsomethingelse.AsinShwetaUpadhyay'slinktothemuezzin'smorning calltofeeling“youareconnectedtosomethingbeyond,”sotoodotheso undofthesetemplebells repr represe esent nt a connec connecti tion on to a place place or forc force e beyon beyond, d, somet somethin hing g all powerf powerful, ul, benev benevole olent nt and nurturing. Thoughin Thoughin herintervi herinterviewIramref ewIramrefere erenced nced this soundto soundto aparknearher house,I house,I feltthatthereal feltthatthereal issueherewasthesoundofthe bellsandwhattheyrepresented,nottheparknearIram'shouse whereshesometimesheardthese.AndforthisreasonIdecidedtomak whereshesometimes heardthese.AndforthisreasonIdecidedtomaketherecording etherecordingataHindu ataHindu templenear templenear ourapartment.OnceagainI ourapartment.OnceagainI wasamazed wasamazed athow many ofthe sounds sounds record recordedfor edfor wereeitherfoundin din theneighborh theneighborhoodwhere oodwhere wewerestaying wewerestaying orfromsounds “UnheardDelhi” wereeitherfoun whichI'dalreadyrecordedbeforetheactualinterviewshadbeenmade.

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12.SadafRaza(projectsorganizer,ProHelvetiaNewDelhi)

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cityisstillnotupandawakebutitslowly ebutitslowlyiswakingup.Andthat iswakingup.Andthat'swhen 'swhen “Youcanhearwhenthe cityisstillnotupandawak youheardifferentsounds.”

SadafRazawasinfactthefirstpersonIinterviewedfor“Unhea SadafRazawasinfactthefirstpersonIint erviewedfor“UnheardDelhi, rdDelhi,”andthiswhenshewasin ”andthiswhenshewasin Zürich h ona tripfor tripfor the the New New Delhioffic Delhioffice e ofthe Swiss Arts Arts Council Council Pro Helvet Helvetia. ia. I felt felt that that this Sheet Music Züric recor recordin ding g would would be a good good way way to end the the piece piece, , in stark stark cont contra rast st to its beginn beginning ing with with the stormin stormingsoundof gsoundof peopledemons peopledemonstra trating ting.Sadafchosenota .Sadafchosenota specific specific sound but,rather but,rather,a ,a time of daywhereonecouldheardiffe daywhereonecouldh eardifferentsounds rentsoundsatall.MuchasIshspokeabout atall.MuchasIshspokeaboutbeingabletore beingabletoreactivat activate e theprocessoflisteningbyvisitingparksinDelhi,sotoodidSadaffindsolaceintheearlymorning hours,whentheshopswer hours,whentheshopswerejustopenin ejustopeningandthedayhad gandthedayhadyettof yettofallintoth allintothevortexofDelhi'smass ofnearly17,000,000peopletryingtonavigateitswaythroughthecity. Sitting Sitting herein herein Zürichas Zürichas Iwritethis,the Iwritethis,the ideaofbeingableto“heardiff ideaofbeingableto“heardiffere erentsounds ntsounds”seemslike ”seemslike nothin nothing g remar remarka kable ble. . I can can hear hear the the wind wind blowin blowing g throug through hthe the tree trees, s, kids kids playin playing g down down in the courtyard,astreetcarrollingby,thechurchbellringingoutthetimeofdayandbirdssinging.But then then I thinkback thinkback to Delhi, Delhi, to Connau Connaugh ght t Place, Place, whichis whichis the areaSadaf areaSadaf gave gave for for beingable beingable to morningsilence.AndIremembernowthat,really,asidefromtheoccasional experiencethisearlymorningsilence.AndIremembernowthat,really,asidefromtheoccasional experiencethisearly rickshawbellorthepiercin rickshawbellorthepiercing,snarlingbuzz g,snarlingbuzzofmotorcy ofmotorcyclehorns,allIre clehorns,allIreallycanreca allycanrecallofthisplaceis llofthisplaceis a dens dense e wave wave of traf traffi fic c wind windin ing g arou around nd and and arou around nd a hub hub of seve seven n majo major r thoroughf thoroughfares, ares, all convergingonacircleofupscalerestaurants,boutiquesandtouristtraps.Iliketothinkofmyselfas a“trainedlistener a“trainedlistener,,”whichmeansI'vedevelop ”whichmeansI'vedevelopedasensibilitytoliste edasensibilitytolisteningthroug ningthroughyearsofpractic hyearsofpractice, e, butinDelhi,andperhapslikenoothercityI'vespenttimein,myso butinDelhi,andperhapslike noothercityI'vespenttimein,myso -called “trained “trained ears” ears” often came upempty,try upempty,try asI might.Perhap might.Perhaps,though s,though,“empt ,“empty” y” isthe wrongword.Maybe wrongword.Maybe overloade overloaded d would would be more more accur accurat ate, e, as the densit density y of this this city' city's s sound sound envir environm onmen ent t was like like no other other I'd I'd experience perienced,justin d,justin termsof termsof thesheer amountof amountof differe differentsoundspote ntsoundspotentia ntiallyhappen llyhappeningatany ingatany onemoment.Ofcourse,thereareplacesoflesssoundsorquietersounds,liketheparks,butthese arefewandfarbetween.Whenonewantstohearmorethen,asSadafsoastutelysummedup, onemustbeupat“thecrackofdawn.”

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Still,IfoundConnaughtPlaceearlyinthemorningnotasshedescribedit.PerhapsIwasn'tthere earlyenough,orperhapsthecityhasalreadyoutgrownhermemoriesofit.Inanycase, Idecided tomakearecordingofthis tomakearecordingofthisearlymorningenvi earlymorningenvironmentnot ronmentnotfarfromtheSisg farfromtheSisganjGurudwar anjGurudwara,alarge a,alarge SikhTempleinOldDelhionChandniChowk.Ihadtomakeseveraltripstothisareabeforefinding Read Free For 30therighttimeandplacetocaptur therighttimeandplacetocapturewhatIthough ewhatIthoughtbestrepr tbestrepresented esentedSadaf'swordsofbeing Sadaf'swordsofbeingableto ableto “heardifferentsounds,”butwhenIfinallydidmaketherecordingIknewthatperhapsmorethan Days anythingelseI'dheardinDelhithiswasthebest.Normally,duringthedaythisknotofwinding alleywaysandnarrowstreetsisahighpressurezoneofeveryconceivablesound,allatseemingly alleywaysandnarrowstreetsisahighpressurezoneofeveryconceivablesound,allatseemingly Sign In fullvolume.Yetintheearlymorningitalmostfeltlik fullvolume.Yetintheearlymorningitalmostfeltlikeanabandonedcity eanabandonedcity.Thiswasthetimeofthe .Thiswasthetimeofthe day whenthe cow cows s wandere wandered d listlessl listlessly y through through the streets streets and the snap of door locks locks clicking clicking

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Books JasonKahn Born1960,NewYork,USA. .




Composition,installations,percussion,electronics. BasedinZürich,Switzerland.

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Exhibitions and conce Exhibitions concerts rts in museum museums, s, galle galleries, ries, art spaces spaces, , fest festivals ivals and clubs throu throughout ghout Europ Europe, e, North and South America, Americ a, Austr Australia, alia, Egypt, Hong Kong, India India, , Isra Israel, el, Japan Japan, , Kore Korea, a, Leban Lebanon, on, Malay Malaysia, sia, Mexic Mexico, o, New Zeala Zealand, nd, Russia Russia, , Magazines Singapore,TurkeyandSouthAfrica. Soundpiecesforfilm,danceandradio.

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TickMarkStudies Ramones – – Ramones

(Sire,1976)

ByAdamSonderberg

Thealbumswelovehaveiteasy.Ifthey’rewithinearshottheycanluxuriateinthe praise—beitham-fisted,needlesslyabstractorrecklesslypassionate —heapedupon them.It’sarelationshipcomplicatedprimarily,ifatall,byextra them.It’sarelationshipcomplicatedprimaril y,ifatall,byextra -musicalassociations: variousandsundryhormone- and/oradrenaline-churningexperiencesinvolvinglove, loss,theft,success,orabjectfailure. Ican’trememberwhenIfirstheardtheRamones’debutalbum,butmyrelationship with these these fourt fourteen een songs songs is doubt doubtles lessly sly mirro mirrore red d in the lives lives of count countles less s other other listenersofallages,ther listenersofallages,therebyrenderi ebyrenderingarhapsodicapprec ngarhapsodicappreciationofitspowert iationofitspowertoexcit oexcite, e, inspir inspire, e, and trans transfo form rm large largely ly super superflu fluous ous (and (and also also outsid outside e the purvie purview w ofWolf Notes).

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TheTickMarkStudiescameaboutasanattempttofrustratemyexperiencewiththis andotherbelovedrecords.Intheprocess,Ihopedtointerrogatemylisteninghabits and,asaresult,cultivateanewformof‘activelistening.’Thefollowingpagesconsist of two two atte attemp mpts ts to grap graphi hica call lly y repr repres esen ent t all all of the the sing single le snar snare e hits hits pres presen ent t on idea of ‘act ‘activ ive e list listen enin ing’ g’ cons consis ists ts of a pass passiv ive e body body (usu (usual ally ly sitt sittin ing g Ramones. My idea comfortablyorrecumbent)andactivemind.Bytranscribingtheactivityofthesnare drum,mybodyplayedanactiveroleinlistening,andthismadeforaphysicallytense hour. hour. Theresultingdocumen Theresultingdocument t draws draws inspira inspirationfrom,and tionfrom,and is indebte indebted d to, thevisual aesthet aesthetics ics of Minimalism Minimalism; ; it attempt attempts s to transcr transcribe, ibe, embody embody, and acknowledg acknowledge e the aural and visual visual rigor rigor that that compri comprised sed the found foundat ation ion of the Ramone Ramones’ s’ maste masterfu rfully lly executedcraft.

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comp mpos oser er, , on one e-th thir ird d of Ha Hapt ptic ic, , an and d fo form rmer er co-di dire rect ctor or of the Dr Dropp opp Adam Sonderberg is a co Ensem En sembl ble. e. He is the aut author hor of the re rece centl ntly y pub publis lished hed American Hou Hours rs wit with h Ger German man Eff Effici icienc ency y (Entr’acte)andmaintainsablogbythesamename.

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ThoughtsonNotBeingaMusician BySimonReynell

There’sanoteonthestairs:“Thingsarenotverygood.Herefusestoeatbecauseof diarrh ea – sojuice,coffee,tea(inredcanister sojuice,coffee,tea(inredcanister). ).”Mymother’sgonetoarehearsalfor ”Mymother’sgonetoarehearsalfor anEasterperformanceoftheSt.MatthewPassion,andI’vecomebacktothehouse whereI whereI grew grew upin Bradfo Bradfordtolook rdtolook aftermy aftermy fatherforthehourswhileshe’ fatherforthehourswhileshe’saway saway. . 93andhasbeensubjecttodebilitatinginf tatinginfectionsformuch ectionsformuchofthepastyear ofthepastyear.He’s .He’s He’s 93andhasbeensubjecttodebili hadtroubleswallowingforsometime,andfromhisbedroomupstairsIhearanugly, phlegmycougheveryminuteorsoashetriestoclearhiswindpipe.Hisbalanceis several al falls falls haveleft haveleft his skin skin marke marked d with with count countles less s dark dark bruise bruises s which which poor, and sever refusetoheal.Intellectuallyhe’sstillprettymuchthere,andhelistenseverydayto thenewsinFrenchandGermanaswellasEnglish,buttheconstantailmentsmake himmiserableandhe’sreadytodie.

In my late late teena teenage ge year years s I hated hated him and we had furiou furious s futile futile argu argumen ments ts about about politics.ButbythetimeIstartedtohavechildren,we’dlearnedtosteproundour ideologicaldifferences.Heretiredfromhisjobasaca rdiologistandmellowed,andI managedtocontr managedtocontrolmyOedipa olmyOedipalrages lrages. . Soformychildrenastheygrewuphewasa Soformychildrenastheygrewuphewasa lovelygranddad:kind,supportive,non - judgmentaland quietlyloving. quietlylovi ng.

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ith only only his [I’v [I’ve e just just been been up to chec check k on him, him, and and he’ he’s asle asleep ep now now, curl curled ed up with wrinkl wrinkled ed face face and unruly unruly grey grey hair hair poking poking out of the cover covers, s, lookin looking g wizene wizened d and horriblyvulnerable]

My mother mother is still still active, active, playing playing viola in several several amateur amateur orches orchestra tras s and chamber chamber th groups.Forher80 birthdayafewweeksback16ofhermusicalfriendscameand spenttheday spenttheday playing playing chambermusicinvarious chambermusicinvarious formati formationsinfourroomsround onsinfourroomsround the house.WhenIwasyoungshewas‘just’ahousewife,butmyfather’ssister – whowas an inspir inspirat ation ional al music music teach teacher er – enco encour urag aged ed her her to tak take up musi music c agai again, n, and and it becamefirstapassionatehobby,thenameansofearninganindependentincomeas

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that if wereallywanted wereallywanted todo somethin something, g, we’ we’d d do itanyway. itanyway. I’m sure that if we’ we’d d asked asked for for lesson lessons, s, he’d he’d have have happil happily y paid paid for for them, them, but none none of us ever ever did, did, even even spentmostofourpocketmoneyonLPsandlist yonLPsandlistenedtomusic enedtomusic thoughasteenagerswe spentmostofourpocketmone hardandseriously.Ioftensaythatnotlearni hardandseriously.Ioftensaythatnotlearningtoplaythepianoisthebigg ngtoplaythepianoisthebiggestregr estregret et ofmylife,butIstillstruggletounderstandwhyIdidn’t.

**

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***

Sheet Music

When When my fathe ather r had had a str stroke oke abou about t 10 year years s ago, ago, he knew knew exac exactl tly y wh what at was was happen happening ing as he fell fell to the floor floor and start started ed vomit vomiting ing, , but he didn’t didn’t know know if he’d he’d recover,be paralys paralysedordie. edordie. Infactheregainedvirt Infactheregainedvirtuall uallyallhis yallhis mobilityrem mobilityremarka arkably bly quickly.Mymotherrangmeandmybrotherstoinformustendayslater,whenhe was out of hospit hospital al and itwas clearhe clearhe was goingto goingto be alrigh alright. t. For For ten ten daysshe daysshe hadn’trungbec auseshedidn’twanttoworryusandmakeasonganddanceabout somethingthatmightturnouttobenothing.

She’samusician,butshedoesn’tliketo“make She’samusician,butshedoesn’tliketo“makeasonganddance” asonganddance”.Idon’tknowif .Idon’tknowif it’s just our family, or typical of a subsection of the midd middle le clas class s of my par parents ents’ ’ genera generation tion, , or a featur feature e of social social life life in a northern northern industria industrial l city where where Methodis Methodist t believers,butyoudon’twanttomak twanttomakeafussorrisk eafussorrisk attitudeslingerevenamongstnon -believers,butyoudon’ lookingstupidbyover-dramatisingthings.Yougetonwithlife,whichusuallyinvolves thlife,whichusuallyinvolves serv servin ing g othe other r peop people le’’s need needs s wh whet ethe her r as doct doctor or, , teac teache her r or musi musici cian an. . And And you you instinctivelydistrustpeoplewhoare‘showy’orhavepretensions.

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My mother mother plays plays music music every every day day, but she hasn’t hasn’t ever ever compo composed sed anyth anything ing. . She’s contenttoplay contenttoplay otherpeople’scompositions,organise otherpeople’scompositions,organiseconcertsandwriteprogramme concertsandwriteprogramme note notes s abou about t the the wo work rks s of grea great t comp compos oser ers. s. Crea Creati tivi vity ty is for for othe other r peop people le – a privilegedfewwhoyourevere,butwithoutbeingfoolishenoughtoimaginethatyou mighteverbecomeoneofthem.Theyexistsomewhereelse mighteverbecomeoneofthem.Theyexistsomewhereelse – – Londonperhaps,Paris orBerlinorVienna,butnotBradford.Andtheyliveanotherkindofexisten orBerlinorVienna,butnotBradf ord.Andtheyliveanotherkindofexistence:riskier ce:riskier, , Romantic vision vision that I can more more precari precarious, ous, andmoreproneto traged tragedy y. It’s It’s a post-Romantic critique intellectually intellectually,butisactuallyquit ,butisactuallyquitehardtoshak ehardtoshakeoff eoff.Iamafterallmypare .Iamafterallmyparents’ nts’ child;IrunaCDlabel,recordingandproducingdiscsof“improvisedandcuttingedge contemporarymusic” contemporarymusic”,butIleavethecreativit ,butIleavethecreativitytoothers,notwantingtomak ytoothers,notwantingtomakeaso easong anddance- orafoolof- myself.

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Singinganddancing:Iprettymuchstoppedsingingattheageof12whenIdecidedI

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Sheet Music




FordecadesI’vetoldmyse FordecadesI’vetoldmyselfthatI’veleft lfthatI’veleftstartingto startingtoolate.HowcanIenvisagepla olate.HowcanIenvisageplayin ying the the pianowitho pianowithouthavi uthavingalre ngalready ady done done year years s ofpractic ofpractice? e? My handswillneve handswillnever r be suppleenough.InmyMethodist -infusedconsciousness,music – likeeverythingelse worthwhile - shouldbetheproductofhardworkandstudiedapplication.Andthe like aton atonal al musi music c shou should ldn’ n’t t exem exempt pt me from from many many hour hours s of practicing fact fact that I lik scales.

ButwithsomeofthemusicIlove,instrumentalvirtuosityisnolongerimportant,let aloneessential.Anyonecanmakeinterestingsoundswithdigitalelectronics.Thenit becomesevenmoreterri becomesevenmoreterrifying fying,because ,because there’ there’s s nolongeran excuse excuse tohidebehind. tohidebehind. What’ What’s s to stop stop me comp compos osin ing g a grea great t piec piece e of elec electr tron onic ic musi music c exce except pt my ow own n mediocri mediocrity?I ty?I fearthatI’ll fearthatI’llbe be foundoutandjustconf foundoutandjustconfirmthat irmthatI’mnotcreat I’mnotcreativeatall, iveatall, consciousnes sness s andtimidity andtimidity are mixed mixed mysecret hopes hopes andpretensio andpretensions. ns. Self -consciou for for all mysecret criticism;Iwasahighachieveracademically academically,soIcanquicklypic ,soIcanquicklypickholes kholes withsharpself -criticism;Iwasahighachiever inanddismissanycreativeprojectthatItentativelytrymyhandat.

[He’s [He’s woken and has stumb stumbled led to the toile toilet. t. Incon Incontin tinenc ence e would would be the ultima ultimate te humiliationforamanwho’salwaysbeenproudlyindependent,andwould,I’msure, prompthimtotakethepillsthatwouldenditwhilemymother’sawayplayingmusic. That’swhyshewant smehere,soIcanrefillhisg smehere,soIcanrefillhisglassofgrapef lassofgrapefruitjuice,and ruitjuice,andkeephim keephim listeningtotheradioandthetickingofhisbedsideclockuntilshe’sbacktocontinue thevigil]

****

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

**

So am I stuck? stuck? Condemned Condemned to endlessl endlessly y serve serve other other people’ people’s s creativ creativity ity instead instead of exploringmyown?It’salltooeasytoblamemypar exploringmyown?It’salltooeasytoblamemyparentsforthewa entsforthewaytheybrought ytheybroughtme me up.Andit’salsotooeasytochastisemyselfin apatternofself -criticismthat does nothingtobreakthecircle.

Myfather’sdyingisinevitablyatimeforself -reflection,andperhapsthat’sthejoltI needtostartdoing aswellasserving.I’malready55andtheclockkeepsticking.I’m sure sure that that at first first my voice voice will will warble warble embarr embarrass assing ingly ly, , and my early early step steps s will will be gaucheandclumsy,butperhapsit’stimeatlasttoriskmakingasonganddance.

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March,2011

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FantasticalZoology byJephJerman

Iwouldpostulateananimalthatlivesat Iwouldpostulateananimalthatlivesatthefarreach thefarreachesoftheatmospher esoftheatmosphere,"hanging" e,"hanging" in spac space e and and movi moving ng by elec electr tric ic/m /mec echa hani nica cal l ener energy gy orig origin inat atin ing g in its its thou though ght t proc proces esse ses. s. Does Doesn' n't t need need to eat, eat, as it exis exists ts in a sta state of not not quit quite e beco becomi ming ng, , a nebulous nebulous almost almost-form form caugh caught t at the trans transiti ition on stag stage e betwee between n consc consciou iousne sness ss and form form. . Very ery diff diffic icul ult t to see, see, but but occa occasi sion onal ally ly they they do dip dip clos closer er to us and and can can be witnessedwithinfra-redcamerasorgoggles.Whenseen,theyresembl eslightlyjelly fish without without trailing trailing tentac tentacles les or more accura accurately tely giant giant cells cells that that constan constantly tly change change shape, shape, as the the edges edges are are cont continu inuall ally y shifti shifting ng back back and fort forth h betwe between en thoug thought ht and energy.Theycanbecalleddownbyattractingattentiontooneself.

JephJerman isanAmericansoundartistwhohasrecordedunderthename HandsTo andasamember

ofmanygroupsincluding AnimistOrchestra andHisMastersVoice.

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Coverimage:TrevorSimmons


TrevorSimmons isbasedinS isbasedinSouthLondon outhLondon,hasastudi ,hasastudioinCamberwe oinCamberwell. ll. Sign In

Moreofhisworkcanbe Moreofhis workcanbeseenatwww.okya. seenatwww.okya.co.uk/trevor co.uk/trevor_simmons _simmons


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Wolf Notes Wolf Notes. New Music Publication2

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