The San Francisco Tape Music Festival 2012

January 20-22, 2012
ODC Theater
3153 17th
San Francisco

8pm, $15 [$8 underemployed] each night
$35 festival pass
Box office: 415.863.9834 or buy tickets online

“Cinema for your ears.” -- SF Weekly     “…literally surrounded by sound.” -- San Francisco Chronicle
“Tape Capsule” -- The New York Times


America's only festival devoted to the performance of audio works projected in three-dimensional space, with three distinct evenings of classic audio art and new fixed media compositions by 25 local and international composers. Hear members of the SF Tape Music Collective, along with guest composers, shape the sound live over a pristine surround system consisting of 16+ high-end loudspeakers while the audience is seated in complete darkness. It's a unique opportunity to experience music forming - literally - around you.

This year we celebrate 100 years of John Cage, with classic tape assemblages spanning his career, along with two new realizations of tape scores by the SF Tape Music Collective.

In addition, we present iconic masterpieces of the artform by Milton Babbitt, Raymond Scott, Jim Henson, Luc Ferrari, and The Beatles; and a diverse selection of local pieces includes new work by Bay Area luminaries Thom Blum, Cliff Caruthers, Jacob Felix Heule, Matt Ingalls, Kristin Miltner, Maggi Payne, and Rubber (() Cement.

We will also be marking 163 years of recorded sound by presenting the phonautograph realizations of Firstsounds.org (see above image). Listen to the first ever captured sounds, as you prepare for an evening of audio art that promises to engage and challenge your senses. From the earliest recording experiments to the latest innovations in sonic exploration, come and experience...

Finally, the festival's raison d'être is always hearing 'the state of the art' through works selected from our open call for submissions. The year we include pieces by Joseph Anderson (UK), Matthew Barnard (UK), Martin Bédard (Montréal), Christopher Burns (Milwaukee), Dan Joseph (New York), Orestis Karamanlis (Greece), Stelios Manousakis (Seattle), Émilie Payeur (Montréal), Alexander Schubert (Germany), Christopher Swithinbank (UK), Adam Basanta (Montréal), and John Young (UK).

The San Francisco Tape Music Festival -- It's cinema for your ears!


PROGRAM

FRIDAY 8p
John Cage (1912-1992) - Williams Mix (1952-53)
John Cage (1912-1992) - Imaginary Landscape No.5 (1952)
Luc Ferrari (1929-2005) - Les Arythmiques - VI (2009)
Maggi Payne (Berkeley) - Glassy Metals (2009)
Jacob Felix Heule (San Francisco) - Counterpoint (2012)
Thom Blum (San Francisco) - Couplings (2012)
Cliff Caruthers (Oakland) - (2012)
Matthew Barnard (UK) - The Piano Makers (2011)
Orestis Karamanlis (Greece) - Sterfos (2009)
Émilie Payeur (Montréal) - Matière contre vide (2011)
and a 1859 Phonautogram by Édouard-Léon Scott de Martinville (1817-1879)


SATURDAY 8p
John Cage (1912-1992) - Roaratorio, an Irish circus on Finnegans Wake - Part IV (1979)
John Cage (1912-1992) - Five Hanau Silence (1991)
The Beatles (1957-1970) - Turn me on Deadman (9 noituloveR) (1968)
Raymond Scott (1908-1994) with Jim Henson (1936-1990) - Limbo: The Organized Mind (1974)
Kristin Miltner (Oakland) - Syrinx (2012)
Joseph Anderson (UK) - ChAnGE's MUSIC (1996)
Christopher Burns (Milwaukee) - Jacquard (2011)
Matt Ingalls (Oakland) - Collage (2012)
Martin Bédard (Montréal) - Champs de fouilles (Excavations) (2011)
Christopher Swithinbank (UK) - La leggerezza delle città (2010)
and an 1859 Phonautogram by Édouard-Léon Scott de Martinville (1817-1879)


SUNDAY 8p
John Cage (1912-1992) - Fontana Mix (1958)
John Cage (1912-1992) - Bird Cage (excerpt) (1972)
Milton Babbitt (1916-2011) - Ensembles for Synthesizer (1964)
Rubber (() Cement (San Francisco) - "The Hydrogen Affair" Tritum fast talks the Szilard simpletones (~2000)
Adam Basanta (Montréal) - a glass is not a glass (2010) 
Dan Joseph (New York) - Periodicity Piece #6 (2008)
Stelios Manousakis (Seattle) - Megas Diakosmos (2011)
Alexander Schubert (Germany) - Nachtschatten (2009)
John Young (UK) - Lamentations (2009)
and an 1859 Phonautogram by Édouard-Léon Scott de Martinville (1817-1879)




funded in part by The San Francisco Grants for the Arts and The Aaron Copland Fund for Music
equipment kindly provided by The Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University and The Paul Dresher Ensemble