Carbon Copy Building. By Bang on a Can. Michael Gordon, David Lang, Julia Wolfe, music; Ben Katchor, text and drawings. Cantaloupe Music CA-21038, 2006.

2008 ◽  
Vol 2 (4) ◽  
pp. 593-595
Author(s):  
Andrew Flory
Keyword(s):  
2021 ◽  
Vol 5 (2) ◽  
pp. 117-117
Author(s):  
May Chiao
Keyword(s):  

2006 ◽  
Vol 34 (1) ◽  
pp. 103-119 ◽  
Author(s):  
Hassan Ahmed Ibrahim

AbstractShaykh Muhammad ibn 'Abd al-Wahhāb (1703–1791) and Shāh Walī Allāh (1703–1762) were, indeed, the two key Mujaddis in the entire eighteenth-century Muslim world. Many scholarly and amateurish works were produced in English, Arabic, Urdu and other languages on their substantial achievements, but I am not aware of any independent comparative study of their careers and thought. This paper is, however, just a preliminary attempt to construct such a comparison and contrast through studying some aspects of their colourful lives and intellectual legacies. The discourse contests, in particular, the neologism "Indian Wahhābism", which had been coined by some orientalists to designate the Indian Islamic reformist movement, because, to say the least, it implicitly, but without justification, condemned it as a carbon copy of Wahhābism, and its vanguard, Shāh Walī Allāh, as a replica of his contemporary Muhammad ibn 'Abd al-Wahhāb. The discourse suggests that the Shaykh and the Shāh founded and spearheaded distinct, but largely dissimilar, systems and schools of thought in the pre-modernist era that have had far-reaching impacts on subsequent Islamic reformist movements worldwide.


2021 ◽  
Vol 15 ◽  
Author(s):  
Giorgio Vallortigara

Animals need to distinguish sensory input caused by their own movement from sensory input which is due to stimuli in the outside world. This can be done by an efference copy mechanism, a carbon copy of the movement-command that is routed to sensory structures. Here I tried to link the mechanism of the efference copy with the idea of the philosopher Thomas Reid that the senses would have a double province, to make us feel, and to make us perceive, and that, as argued by psychologist Nicholas Humphrey, the former would identify with the signals from bodily sense organs with an internalized evaluative response, i.e., with phenomenal consciousness. I discussed a possible departure from the classical implementation of the efference copy mechanism that can effectively provide the senses with such a double province, and possibly allow us some progress in understanding the nature of consciousness.


Author(s):  
Tim Rutherford-Johnson

Providing first a comprehensive history of spiritual minimalism– the extraordinarily successful phenomenon that made unlikely stars of Henryk Górecki, Arvo Pärt, and John Tavener in the early 1990s–this chapter makes the case that by the end of the 20th century new music had entered into a new and transformative relationship with the media and the commercial market, through new listening practices such as soundtracking, and through marketing towards new audiences. This is supported by discussions of composers and collectives that have particularly engaged with these, including Bang on a Can, Nonclassical and, in particular, Edition Wandelweiser.


Industry ◽  
2021 ◽  
pp. 190-220
Author(s):  
William Robin

In the 1990s, Bang on a Can jumped from releasing albums on the academic label Composers Recordings, Inc. to signing a contract with the major label Sony Classical. Their path emblematized an unusual moment in recording contemporary music: after Nonesuch’s 1992 recording of Henryk Górecki’s Symphony No. 3 became extraordinarily popular, major labels looked to contemporary music as a means to reach new listeners. Whereas new music had previously been the provenance of noncommercial labels like CRI, major labels began investing in new composers and new institutions like Bang on a Can in the hopes of turning new profits. From Sony, Bang on a Can jumped to Philips’s Point Music and released their rendition of Brian Eno’s Music for Airports, an album designed to reach new rock audience; and from there, amidst the industry tumult of the late 1990s, they struck out on their own with the independent label Cantaloupe Music.


Author(s):  
Jane Manning

This chapter describes American composer Missy Mazzoli’s As Long As We Live (2013). Showing the influence of figures such as the Dutch composer Louis Andriessen as well as some of those involved in the worldwide Bang-on-a-Can movement, this work, which is also available in a version for baritone, could just as easily fit a club setting or popular concert as a more formal recital venue. In order to alleviate balance problems, the singer could be amplified if need be. It is even possible that singer and pianist could be the same person, a situation more frequently found in ‘pop’ concerts. The straightforward appeal and seductively euphonious harmonies of this extended song conceal considerable artistic acumen and an acute ear for subtleties of timbre. Both the simplicity of the vocal line and the characteristically repetitive nature of the piano writing are deceptive. A classically trained singer with a well-centred purity of tone and a firm middle register is surely essential to achieve the pinpoint tuning of intervals, many of which are quite close and clash with the piano’s triadic harmonies.


Nature ◽  
2009 ◽  
Vol 458 (7240) ◽  
pp. 814-815
Author(s):  
Eric Hand
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document