Memory of the Future: Joan Grossman’s Video and David McIntire’s Music

H   istory is marked by catastrophic events that defy meaning and understanding. The 20th century was a century of prosperity and progress; it was also history’s bloodiest. The death toll from war and genocide reached 140 million people. Trauma of this magnitude poses grave challenges to memory and thought. This work explores failures of memory and cognition—The Blackout—as a condition that plagues history, and is particularly problematic in an era of mass media, in which memory is increasingly disembodied and virtualized, undermined by [what might be called] a ‘Generalized Media Disorder’. Technologies of media and war are creating a condition in which the virtual world is displacing the ethical world. The Blackout is a space of memory and thinking that collapses with Catastrophe and falls into a stupor. Humanity has been nearly extinguished by the tremendous violence it has enacted, pushing philosophy, language and ethics to their limits.”
  — BLACKOUT, jacket blurb.

A nd music can be both a political act and powerful antidote to the collapse of social memory and the erosion of community... the withdrawal into passive, vegetative isolation, each at home, continually surfing Netflix, surfing the web.

• McIntire – ‘Revenants’ (electroacoustic recording, live percussion, 20-min)
  
• McIntire & Grossman – ‘Singing Bowl’ (video, electroacoustic, live percussion, 47-min)

T he combination of the video imagery and the live and the electroacoustic music was imaginative and highly listenable and watchable. Joan Grossman’s video was elegant... with a simple beauty that leveraged symmetries across the vertical and/or horizontal axes in the center of the 8 x 6-meter projection screen in Epperson Auditorium. The video involved replication and reflection of imagery in kaleidoscope fashion, at times with superimposed additional imagery blended into the central part of the visual field.


U nlike certain computer music / media compositions where the composer-artists ‘try too hard’ or succumb to temptation and use too many of the diverse array of techniques and patches available to them (resulting in sensory overload for the audience, hindering our grasping a memorable meaning or narrative arc), McIntire and Grossman achieved a satisfying, deliciously cohesive, coherent effect.


P ercussionists Jennifer Wagner and Christopher Howard performed at percussion tables on the right- and left-hand sides of the auditorium, while the recorded electroacoustic tracks were played through Mackie SRS 450® powered monitors and SRS 1500® subwoofer at the front of house. Seated as I was front-and-center, the antiphonal bells and gongs and cymbals, and glass wine goblets bowed across their rims with violin bows, and hammered and brushed brass bowls, and Equilibrium® tuned-box slit-drums, and Daisy® BBs rolling on the underside of a tom-tom drum head—all of this was wonderfully ‘immersive’ with the house lights dimmed. Great sibilance of the live percussion sounds, creating a rich contrast to the electronically-filtered and distorted sampled-voice and other sound content in the digital-recording tracks. [The ‘live’ elements might be better still if yet another pair of percussionists were added, positioning them toward the rear of the auditorium/performancespace so that the entire audience could experience the intense immersive effects that we did at the front.]


T he electroacoustic recording and reproduction/sound-reinforcement EQ was expertly done by McIntire. Both of the pieces have a low-pitch ‘red-spectrum’ rumble—almost boilerroom-like, or intrauterine—that imparts a subtle but pervasive ‘interiority’ to the music, very chesty, very warm.

G etting the pre-recorded digital tracks to ‘sit’ well amongst live performers relies on the tracks having an even level, a congenial tonal and level balance, and the right reverberant ambience. McIntire does this superbly, gracefully executing minor adjustments at the workstation control-surface in response to moment-to-moment performance decisions made by Wagner and Howard. Compressor and gain automation settings were spot-on, so that the percussion sounds sat happily in-track, with none of the live percussion effects sounding too loud or too quiet or clashing with the pre-recorded sonic material and synthesizer tracks.

F or some of the voice content (e.g., DECtalk Hawking-esque recitations of NOAA National Weather Service Marine Forecasts; alpha-bravo-charlie...romeo-sierra-tango...zulu), McIntire adds density to the voice sample by upping the compression ratio to maybe around 6:1 or 8:1 and then adjusts the threshold to a couple of dB on average-level parts. This means quieter sections are left alone and anything louder is jumped-on hard, bringing it closer to the average level. The coherence or cohesiveness of these two compositions, each with its volume level and acoustic complexity ascending to a climax about two-thirds of the way through and then tapering to a quiet conclusion, is nicely enhanced by this approach.

M cIntire’s EQ and engineering are commendable as noted above, and he does not go overboard on special effects. His EQ cuts are made over quite narrow bands, and his boosting is gentle and wide. McIntire gently applies boosts in the 50-300Hz band to add warmth. He applies cuts in the 1 KHz band, to deemphasize nasal vocal sounds, and adds generous ‘presence’ with boosts between 4 KHz and 8 KHz. The magical sense of Nature and air and space involves a wide boost applied between 12 KHz and 20 KHz, and that was really beautiful up-front, seated in Row #1. With these two compositions that explore the interplay between Nature and Technology, between humankind and other species—between inanimate noisy things like water (sometimes seemingly talking to us, almost alive, almost human), and supposedly-sentient creatures (humans) who often act in hostile, destructive and uncaring ways as though they were inanimate—the musical and artistic success absolutely depends upon making these EQ choices right.

I n summary, a fantastic, powerful experience—beautifully composed, engineered, filmed, edited, and performed. Very happy!

T he ArtSounds series, of which the McIntire-Grossman ‘Memory of the Future’ program was a part, is co-sponsored by UMKC Conservatory and Kansas City Art Institute.

J oan Grossman is a Brooklyn, New York-based independent media artist and producer. Her work has been screened in more than 20 countries and won numerous awards. She is currently Visiting Professor in Film & Media Arts at UMKC. Grossman was formerly a producer for NPR and Voice of America on a variety of programs, including All Things Considered, Afropop Worldwide, Kids America, and The Territory of Art. She has worked in Africa, China, Russia, and throughout Europe, has produced media for public interest organizations and NGOs, and has also worked as producer on European documentaries and feature films. Joan has a Ph.D. in Media and Philosophy from the European Graduate School and has taught film production and theory. She has worked with leading theorists and filmmakers such as Agnes Varda, Claude Lanzmann, Chantal Akerman, Jean Baudrillard, and Jacques Derrida. Her book, ‘Blackout: On Memory & Catastrophe’, was published in 2009 (link below).

D avid McIntire is a Kansas City, Missouri-based composer who, with composer-musicologist Kyle Gann, co-directed the 2009 Second International Conference on Minimalist Music at UMKC Conservatory. In 2010, he launched Irritable Hedgehog Music, a record label focusing on minimalist and soundscape compositions. McIntire has performed with Colorblind James Experience. With pianist R. Andrew Lee he has produced a recording of Tom Johnson’s ‘Hour for Piano’ (link below).

• David McIntire website
  
• WordsAboutMusic (David McIntire blog)
  
• IrritableHedgehog website
  
• Joan Grossman website
  
• DropCity (Joan Grossman & Tom McCourt project)
  
• Grossman J. BLACKOUT: On Memory and Catastrophe. Atropos, 2009.
  
• Lee R. Tom Johnson: An Hour for Piano, (CDBY, 2011.)
  
• Equilibrium wood log-drums and slit-drums
  
• Da-Lite projection screen designer applet

Outreach: Sphinx Chamber Orchestra, Urioste and White, and Harlem String Quartet

T    he ensemble, conducted by Damon Gupton, opened its program with a shimmering, lovingly-shaped reading of Sibelius’s ‘Andante Festivo’. All the hallmarks of a first-rate string ensemble were in place: its tone was warm and varied, it moved with unity and fluidity, and its textures were appealingly transparent.”
  —  Allan Kozinn, New York Times, 06-OCT-2010.

T he inaugural program of the new Alliance between Friends of Chamber Music and the UMKC Conservatory of Music and Dance occurred yesterday afternoon—a concert by Sphinx Chamber Orchestra and the Harlem Quartet.

S phinx was founded in 1996 by Aaron Dworkin, a violinist, and is based in Detroit. It is dedicated to developing young black and Hispanic classical musicians and composers, providing instruments, scholarships, and support. The SCO is a 20-piece chamber orchestra, widely acclaimed for its precise and passionate playing, conducted by Damon Gupton (previously Assistant Conductor of Kansas City Symphony and winner of the 2007 Eduardo Mata International Conducting Competition, the Robert J. Harth Conducting Prize, and other awards). The Harlem Quartet is comprised of Sphinx alumni Ilmar Gavilán (violin), Melissa White (violin), Juan-Miguel Hernandez (viola), and Paul Wiancko (cello).

• Jean Sibelius – Andante festivo (1922)
  
• Sergei Prokofiev – Allegro con brio (from Sonata for 2 violins, Op. 56, 1932) [Elena Urioste and Melissa White]
  
• Gabriela Lena Frank – Coquetos (2001) [from ‘Leyendas’]
  
• George Walker – Lyric for Strings (1946)
  
• Joaquin Turina – La oración del torero, Op. 34 (1925) [Harlem Quartet]
  
• Frederick Tillis – ‘Wade in the Water’ (from Spiritual Fantasy No. 12, 1988) [Harlem Quartet]
  
• Felix Mendelssohn – Sinfonia No. 7 in D minor (1822)
  
• Coleridge-Taylor Perkinson – Allegro furioso (from Sinfonietta No. 1, 1953)

T he White Recital Hall at UMKC was nearly filled to capacity on this mild, sunny Sunday afternoon—more than 500 people attended. Such a crowd is evidence of the effectiveness that alliance between classical musical presenters and university-based conservatories can achieve, aided by appropriate pre-concert notice in the media. Masterclasses and educational sessions conducted by SCO in collaboration with the UMKC Conservatory Academy’s ‘Musical Bridges’ outreach program before and after the concert included programs at Eisenhower Middle School, Ruskin High School, Paseo Academy, and the Youth Symphony of Kansas City, with members of SCO coaching the students. In all, many hundreds of young music students participated.

P    rograms like this help to insure that the Arts are available, not just to a few, but to everyone.”
  —  Peter Witte, Dean, UMKC Conservatory of Music and Dance.

T he entire concert was exceptionally good and received an enthusiastic standing ovation at its conclusion. It’s not my habit in this blog to do ‘reviews’ per se, but I particularly loved the Prokofiev violin duo and can’t help but say a few words about that.

T his fourth movement, the Allegro con brio, is a fast rondo with athletic, angular, in-your-face themes for the two violins. Urioste and White were a tour de force, spirited and incisive. I had previously heard Urioste perform in 2007 when she was completing her studies at Curtis Institute of Music in Philadelphia. I’d previously heard White when she was at New England Conservatory in Boston. It was a delight to hear these two perform together; to recalibrate my recollections and impressions from several years ago; and to experience their pyrotechnical interactions with each other in this challenging, aggressive piece.

P    rokofiev left his homeland for the West six months after the 1917 Russian Revolution and did not see it again until 1927, when he returned for a concert tour. A second tour followed in 1929, and a third, in 1932, marked the beginning of his gradual—and entirely voluntary—repatriation, which was completed by 1936. Just before that 1932 visit he composed his ‘Sonata for Two Violins’ during a holiday at Ste. Maxime (near St. Tropez) for performance in the concerts of the Paris chamber music group called Triton. The four brief movements, which Svyatoslav Prokofiev, the composer’s son, characterized as being ‘lyrical, playful, fantastical, and violent in turn,’ are filled with striking themes. The highly effective sequence apparently reflects the format of the old ‘sonata da chiesa’, and the content gives a fairly clear indication of the warmer style Prokofiev would adopt after his wanderings in the West, increasingly more ‘embracing’ rather than ‘biting’ or confrontational...”
  —  Richard Freed, Program Note, Kennedy Center, 2004.

I n this mid-term election season in the U.S. that is nothing if not biting or confrontational, Urioste and White provided a welcome antidote. Their playing embodied a politically active, assertive, insightful tone. Embracing, never bellicose or grizzly bear-like. Their playing conveyed a sense of optimism that fair compromise can be achieved, with shared resolve to forge that compromise right away. “Here is how we do it! Here! Listen!”

T heir performance was redemptive—enough to inspire hope for this country’s future, in dimensions far beyond Sphinx, far beyond serious music.

I n conclusion, congratulations to SCO and Harlem Quartet on their tour, and on their luminous performance in Kansas City yesterday. Heartfelt thanks to SCO and Harlem Quartet for their leadership, and for their generous outreach activities that help so many young students. Bravo!

• Sphinx Chamber Orchestra website
  
• Sphinx Chamber Orchestra 2010 tour blog
  
• Harlem Quartet webpage at Sciolino Artist Management
  
• Elena Urioste website
  
• Coleridge-Taylor Perkinson page at AfriClassical.com
  
• Prokofiev Sonata for Two Violins, Op. 56, at prokofiev.org
  
• Prokofiev Sonata for Two Violins, Op. 56, at IMSLP (download blocked in U.S. [copyright])
  
• Prokofiev Sonata for Two Violins, Op. 56, at SheetMusicPlus.com

Renée Fleming Sings Brad Mehldau’s ‘Rilke: Book of Hours’

R enée Fleming’s performance last night in Kansas City was excellent.


    [50-sec clip, Renée Fleming, Brad Mehldau, ‘Rilke: Stundenbuch’, ‘Ich liebe dich, du sanftestes Gesetz’, 2006, 1.8MB MP3]

T he singing was gorgeous. The piano accompaniment by Bradley Moore was superb.

I  had not previously heard the Brad Mehldau composition, “Songs from Rainer Maria Rilke’s ‘Book of Hours’.” The ‘Love Sublime’ CD on which these were recorded was released in 2006. A disturbing thing for those familiar with Rilke’s poetry is the Anita Barrows-Joanna Macy Rilke translation used by Mehldau for these texts. Barrows and Macy convey mainly adulation and bended-knee piety, and strike out Rilke’s struggling with the problem of theodicy and anger towards a God who allows/causes suffering.

I n the first song (Mönchischen Leben #18, ‘Ich liebe dich, du sanftestes Gesetz’), Rilke’s God as ‘the [maleficent] forest from which we never escape’ is transmuted by Barrow and Macy into a uterine ‘forest that always surrounded us’.

T hroughout Barrow’s and Macy’s “translation” there is wholesale, highly-politicized editing going on. They delete major portions of some stanzas (?where they find that Rilke’s original text does not jibe with their own church’s teachings or their own personal religious views), as in the second song (from Pilgerschaft #3, ‘Ich bin nur einer deiner Ganzgeringen’). Likewise in the third song sung by Fleming last night (Pilgerschaft #31, ‘Und seine Sorgfalt ist uns wie ein Alb’). The fourth song (Pilgerschaft #32, ‘Lösch mir die Augen aus: ich kann dich sehn’) completely renovates Rilke’s sense of God as an insurmountable, lethal burden... into a maniacal, martyrous masochist-terrorist’s self-immolation ritual, suicide-bomber-style. Yikes!

L ike all good art songs, Mehldau’s writing affords the vocalist wide latitudes for rhythmic phrasing and melodic interpretation, and Fleming does not disappoint. Her ear ‘colonized’ by the buggy Barrows-Macy translation, she is compelled to become a ‘medium,’ clairvoyantly assaying what Rilke meant. She takes the words she is given, and turns them musically into something far closer to authentic Rilke. To hear her sing this is like hearing an alchemist at work, changing base metals into gold.

O f course, there can be no ‘last word’ in translation or poetical hermeneutics, and, equally well, there can hardly be a ‘first word’ either. Hermeneutics is a process, an ongoing reaction to questions about the subjectivity and finiteness of understanding. Mehldau’s composition, then, amounts to an elaborate invitation—to the singer, to the pianist, and to the audience—to (re-)examine the text and decide for themselves what it means, or whether this account of what Rilke wrote is authentic or not.

M any years ago, Gadamer came up with the term ‘philosophical hermeneutics’; here, Mehldau leaves it to Fleming and to us to resolve. Faced with an English translation so very far from what Rilke actually wrote, Fleming concentrates on the question of what happens to us when we ‘understand’. Suffice to say, very few singers are up to a challenge of this sort...

W hat I mean by all this is: hearing Rilke ‘in his own voice’ is important. An honest and genuinely gifted translator can achieve this, even with poetry. It is an altruistic act, this setting aside of one’s own prejudices and temptations in devotion to a poet’s own unique (and sometimes disagreeable—) expressions.

A  translator should never be an ‘editor’ in the way that Barrows and Macy allowed themselves to be, co-opting a text and bollocks with the truth. It’s about ‘transparency’.

W hat else? Mehldau offers an imaginative, dramatic, and widely-varied use of sound and silence, which Fleming takes full advantage of. Some links below, on sound art and acoustic ‘territories’ as compositional devices, may interest you in this regard.

• Renée Fleming website
  
• Harriman-Jewell series
  
• I love you, Gentlest of Ways
  
• No one lives his life.
  
• His caring is a nightmare to us,
  
• Extinguish my eyes, I’ll go on seeing you,
  
• Rilke.de
  
• ’Book of Hours’ in German
  
• ’Book of Hours’ some of Barbara Deutsch’s 1941 english translations
  
• Fondation Rainer Maria Rilke
  
• Brad Mehldau website
  
• Brad Mehldau page at Wikipedia
  
• Fleming R. Mehdau: Rilke: Book of Hours. (Nonesuch, 2006.)
  
• Caltman R. The Language of Hermeneutics. SUNY, 2010.
  
• Chrzanowska-Kluczewska E, Szpila G, eds. In Search of (Non)Sense. Cambridge Univ, 2009.
  
• Cronin M. Translation and Identity. Routledge, 2006.
  
• Eco U. Mouse or Rat: Translation as Negotiation. Phoenix, 2004.
  
• Eisenhauer R. The Fate of Translation. Peter Lang, 2005.
  
• Folkerth W. The Sound of Shakespeare. Routledge, 2002.
  
• Gadamer H-G. (Linge D, tr.) Philosophical Hermeneutics. 2e. Univ California, 2008.
  
• Grossman E. Why Translation Matters. Yale Univ, 2010.
  
• Ives P, Lacorte R, eds. Gramsci, Language, and Translation. Lexington, 2010.
  
• Labelle B. Acoustic Territories: Sound Culture and Everyday Life. Continuum, 2010.
  
• Mieszkowski S, Smith J, de Valck M, eds. Sonic Interventions. Rodopi, 2008.
  
• Prochnik G. In Pursuit of Silence: Listening for Meaning in a World of Noise. Doubleday, 2010.
  
• Ricoeur P. On Translation (Thinking in Action). Routledge, 2006.
  
• Ricoeur P. Conflict of Interpretations: Essays in Hermeneutics I. Athlone, 2000.
  
• Rosen S. Hermeneutics as Politics. 2e. Yale Univ, 2003.
  
• Sallis J. On Translation. Indiana Univ, 2002.
  
• Saunders J, ed. The Ashgate Research Companion to Experimental Music. Ashgate, 2009.
  
• Toop D. Sinister Resonance: The Mediumship of the Listener. Continuum, 2010.
  
• Trim R. Metaphor Networks: The Comparative Evolution of Figurative Language. Palgrave-Macmillan, 2007.
  
• Vandevelde P. The Task of the Interpreter: Text, Meaning, and Negotiation. Univ Pittsburgh, 2005.
  
• Voegelin S. Listening to Noise and Silence: Towards a Philosophy of Sound Art. Continuum, 2010.

MATA Young Composers Now! Festival: Ears Are the Way to Hearts and Minds

W    hat could be the relationship between a viola solo and the destruction of large portions Iraq’s archaeological heritage during the Gulf War? How could a trombone solo possibly relate to the suffering of Iraq’s children as a consequence of past United States’ led United Nations’ economic sanctions imposed on Iraq? What does music have to do with environmental change and the Gobi Desert?”
  —  Katia Tiutiunnik, The Symbolic Dimension: An Exploration of the Compositional Process, 2010.

I f you are in New York over the next several days and are interested in having your musical horizons stretched, be sure to sample the offerings in this year’s MATA Festival, whose events are being held at Le Poisson Rouge in Greenwich Village.

M ATA’s opening last night featured a 2-hour presentation of an interactive sound work ‘Totem for Gobi-New York’ by composer Matt Wright in LPR’s downstairs black-box Gallery Bar with improvisations by renowned U.K. saxophonist Evan Parker. The experience was a poignant period of speculating on the methods and practices of making, experiencing, and thinking about music… imaginative musical meditation about the future of the natural world, faced with the challenges of human population and global development.

T he user is immersed by ‘Gobi’ in a sonic environment with 8 studio monitor speakers overhead plus two large flat-panel video screens that respond to track-pad controller movements with fluid shifts in volume levels and desert imagery. A rhythm pulses continuously, but the intensities of the individual elements (or tracks) are altered by user movement of the track-pads. The participants are able to create their own sonic arrangement of the parts, altering the musical environment with which other participants then interact. The work is a fluid and immersive environment with us users becoming less conscious of ourselves engineering a mix of sounds and more conscious of a constructed environment, experienced sonically, that we symbolically manipulate.

T here is powerful political irony in having ‘Totem-Gobi’ installed in a bar setting, as opposed to, say, a museum. In the bar, the human participants are interacting with the controls in a playful, cavalier, irreverent way, characteristic of routine ‘cocktail behavior’ and oblivious to what they have just done to the music by touching the track-pad in the way that they did. By contrast, in a museum or other setting with reverent behavioral customs the ‘Totem-Gobi’ participants may tend to interact in a manner that is attentive to cause-and-effect, the moral consequences of their actions. How poetically fitting this is. Humankind: most of us oblivious to our environmental impacts—on the Gobi, and on the Earth as a whole.

1) Generate a population of motifs and sound envelopes;
2) Construct timbre model;
3) Evaluate fitness of population members based on an example sound or set of sounds;
4) Select ‘parent’ motifs and pairs of population members to ‘crossover’ their genotypes;
5) Perform ‘crossover’ using genetic algorithm;
6) Perform mutation of motifs;
7) Evaluate the ‘fitness’ of resulting mutants based on an example sound or set of sounds;
8) Survivors’ and replace the current population with new one;
9) Check if the termination condition is satisfied; if not, go back to step 3, otherwise stop the algorithm.

T he algorithm starts by generating a population of candidate sounds. These are weighted samples such as sine wave, square wave, noises, fractals, etc. The timbre model is constructed using a [Kohonen?] neural network. This is an unsupervised machine learning algorithm that self-organizes into a ‘feature map’. In the construction phase of the timbre model the neural network is trained with the initial population and the example sound. The neural network self-organizes into a feature map of sound spectra under the influence of audience-participants’ interactions with the two computer track-pads—one on either end of the LPR’s darkened Gallery Bar.

I    s there any difference between improvisation and composition? If so, maybe it has to do with notation. If notated scores create a written literature of music, then improvised compositions create an oral literature of music. But most improvisation involves some degree of notation, at least in principle. And most notated music involves some degree of improvisation... Maybe it has to do with speed. Improvisation happens in the moment, while composition can take a very long time. But if improvisation is spontaneous composition, and composition is a kind of deliberated improvisation, then again it’s just a matter of degree...”
  —  John Luther Adams, NewMusicBox, 2001.

T uesday evening’s MATA program at LPR will include works by Christopher McIntyre, Antye Greie, and Bjørn Erik Haugen, Lisa Coons’s ‘Cythère’ (a musical ‘trauma ballet’ ?!), Fabian Svensson’s ‘Singing and Dancing’, Daniel Wohl’s ‘Glitch’, and a world premiere by Nathan Davis, co-commissioned by MATA and Carlsbad Music Festival, performed by Calder String Quartet. Cool.

B y the way, you might like to have a look at the recent book on symbolic and evolutionary music, by Eduardo Miranda (Professor in Computer Music at the University of Plymouth and Edgard Varèse Guest Professor of Computer Music at the Technical University of Berlin) and Al Biles (Professor of Information Technology at the Rochester Institute of Technology) [link below].

P    arker’s inventions stick in the ears like fish hooks.”
  —  Scott Hacker, Cadence, 1994.

• MATA Festival website
  
• Le Poisson Rouge website
  
• Evan Parker page at Univ Sheffield
  
• Calder Quartet website
  
• Eiben A, Smith J. Introduction to Evolutionary Computing. Springer, 2010.
  
• Jankowski M, Kuska J. Connected components labeling: Algorithms in Mathematica, Java, C++ and C#. New Ideas in Symbolic Computation: Proc 6th Intl Mathematica Symposium, 2004.
  
• Levitin D. This Is Your Brain on Music: The Science of a Human Obsession. Plume, 2007.
  
• Miranda E, Bils J, eds. Evolutionary Computer Music. Springer, 2007.
  
• Sacks O. Musicophilia: Tales of Music and the Brain. Vintage, 2008.
  
• Sivanandam S, Deepa S. An Introduction to Genetic Algorithms. Springer, 2009.
  
• Tiutiunnik K. The Symbolic Dimension: An Exploration of the Compositional Process. Alpha, 2010.
  
• Wooten V. The Music Lesson: A Spiritual Search for Growth Through Music. Berkley, 2008.
  
• Ystad S, et al., eds. Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music: 5th International Symposium, CMMR 2008 Copenhagen. Springer, 2009.
  
• Zorn J, ed. Arcana II: Musicians on Music. Tzadik, 2007.