Der Meister aus Santa Barbara hat mir erlaubt, zwei seiner optisch kargen, aber konzeptuell hochstringenten Visualisierungen der Musik anderer Komponisten (James Tenney und Frederic Rzewski) hier einzustellen, die Anfang der 1990er Jahre auf einem Atari ST-Rechner (sic!) entstanden. Viel Spaß!
Zur Tenney-Visualisierung gehört folgender Text Barlows:
Jim Tenney’s Spectral Canon for Conlon Nancarrow was conceived in 1972 and realized a couple of years later – Nancarrow himself punched the notes on piano roll. The present version was realized at the Darmstadt Summer Courses on July 29, 1990 by Clarence Barlow – the formulas from which the piece derives were programmed in Pascal into an Atari computer, the MIDI output being sent to a computer-controlled player piano. Jim Tenney was also present. In this work, 24 repeated harmonics of and including the second lowest A on the piano first accelerate, each from once every four seconds to six times a second, and then decelerate back to once every four seconds. The partials enter every eight attacks of the fundamental. In 1974 Tenney stopped the process after under four minutes at a point where all partials are played simultaneously for the first time. In 1990 Barlow allowed the process to complete itself, the piece thereby lasting two minutes longer.
Weltsicht aus der Nische 
Schöne Entstehungsgeschichte des Tenney-Barlow-Stücks und dann dazu das akustisch-optische Vergnügen der Umsetzung.
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Wusste gar nicht, das Rzewski so konzeptuelle Musik geschrieben hat.
Pünktlich zur Saison:
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@JJäger – ganz wundervoller Beitrag, dieses „Music Box Piece in 4 Parts“ 😀
Besten Dank dafür!
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