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ProgreReportThetateoftheArtafter
ixteenYearofDeigningandPlaing
lectroacouticound-culpture
ADTAILDXAMINATIONOFORIGINALINTRUMNTANDRFLCTION
ONTHIRCULTURALCONTXT
MarkAppleaum

Originall pulihed in New Muic and Aethetic in the 21t Centur vol. 4 lectronic in New Muic, edited Clau-teffen
Mahnkopf, Frank Cox and Wolfram churig (Hofheim: Wolke Verlag (http://www.wolke-verlag.de/new_muic.html), 2006).
Repulihedwiththekindpermiionofthepuliher.Theauthorhaintegratedariefpotcriptforpulicationinthiiueof
eContact!.

A technical and thetic invetigation of the deign, contruction, and application of m ound-culpture
need to e firt located within the context of m muical work a a whole. A uch, I here preent the
tripartiteA.C..T.,orAppleaumCreativendeavorTaxonomattheoutet.uchagrandioedeviceapireto
eailluminatingaiturelipretentiou.

TheA.C..T.
Irefertothefirtareaofmcreativeworkanon-vernacularcompoition.
[1. And, rather glil, uncompromiing and unmarketale muic. Over the ear I have ettled on the leat offenive ut not-too-
helpfultermnon-vernacularmuic.Othercompoerprefertheequallunuccefulmonikerartmuic,theduiouerioumuic,
ortheunavorhighrowmuic.]Theeareolo,chamer,orchetral,choral,andoperaticwork,occaionallwith
electronic. The compoition run the gamut of thetic orientation, intrumentation, and form. Depite their
diverit(read:collectivechao),litenerwillnotemultitudinourecurrence(read:oeion)amongthem,
theretracingofeveralartitictheme(read:fetihe),andtheconervationofvarioucompoitionaldevice
(read:hermeticfad).uttheirhiddencommonalititheirprofeionalheavinetomeakindofaumed
urden that undercore the accumulation of a career. Whim, humor, and aurdit are frequent and
welcome viitor to m non-vernacular compoition (alongide the more aundant gravit, angt, and more
angt). The point i that tlitic variet and formal multiplicit are not evidence of levit in the matter of
profeionalcommitment.
Incontrat,theecondareaitran-idiomaticimproviationandintrumentuilding.omaticall,thedeignand
contructionofound-culpture,whichinvolvehammerandawandelectricdrillandolderingiron,feel
likearadicalldiimilaractivittocompoingnon-vernacularmuic.ecauetheeintrumentareintended
motlavehicleforimproviationIcluterthemtogetherwithtran-idiomaticimproviation,acatch-alllael
formactivitieaaperformer(onpiano,liveelectronic,oround-culpture),inaolocontextorwithagroup
uch a m enemle [ic] the tanford Improviation Collective (whoe repertoire include John Zorn
Cora) and in variou inter-media collaoration uch a That rainwave Chick, in which neural activit i
convertedintoound,andtheConcertoforFloritandnemle,animproviationcoreforchamerenemle
who accompan a performance florit. M invetment in thee activitie and m commitment toward
methodicall evolving relevant eniilitie i coniderale. ut, perhap ecaue I have almot no formal
trainingintheeactivitieandcertainlnopedigreeIfindthatthereialieratingfluiditandeainein
m approach to them. Put another wa, I am expected to e ale to write a good tring quartet, ut an
contriutionthatImightmaketothefieldofintrumentdeigniaerendipitoudividend.Thetringquartet
hitoricalaundanceaaturatedgluterectanevengreaterimpedimentinthewaofcompoingagood
one; wherea the ocurit of uilding ound-culpture make the relative imalance of thee ordeal even
morepronounced.

The third area of m work i jazz piano improviation. The fact that thi activit need no further explanation
hould e undercored; roadl peaking, thi i the onl exoteric activit in the taxonom. Thi ugget a
rough claification of thee activitie centralit or marginalit a the are apprehended in four cultural
context:

Figure1.AppleaumCreativendeavorTaxonomCulturaltatu.

What contitute a generic ene of culture could e deated exhautivel. If we can, for now, evade thi
aggravationwenoticeatartlingcontratetweengenericcultureandthecultureattheUniveritofCalifornia
atanDiego(UCD)whereIundertookmmateranddoctoraldegreefrom198996.Jazzinotpopular
muicintheeneofgrorecordale,utmotWeternerhaveheardofit,andomeevenlikeit.Wherea
non-vernacularmuicandtran-idiomaticimproviationandintrumentdeignarecompletelofftheradarfor
motindividual.AlthoughjazzwaaprominentcomponentoftheundergraduatecurriculumatUCD,itwaa
pariahinthegraduateprogram.Ormoreaccuratel,itwaarepectedgenreofmuicthatcompoerwerenot
uppoedtoependingtimeworkingon.Thecompoitionofnon-vernacularmuicwacentraltotheculture.
uildingintrumentwaatleattolerated,andwhenforthepurpoeofextendingatimralpaletteorrefininga
temofintonationitwahighlencouraged,awereimproviationalendeavorthatweretliticallatract
orharedakinhipinmethodorurfacepatinatoceleratedhitoricchool(e.g.theNewYorkchool,
MuicalettronicaViva,etc.).Noneofthiwaofficialpolicandnoonewareponileforit.Itwaavie.It
effectivel relegated m jazz piano plaing to the cloet a a covert avocation for man ear the
quinteenceofadontak,donttellpraxi.AttheametimeIhavenocomplaintaoutthi.Iundertookm
graduatedegreeatUCDprecielecaueofthoethingthatUCDcaredaoutdeepl.Mattitudewato
engagethatcommunitattheinterectionofourmutualinteret,whichwahappilplentiful.
[2.And,outofintinct,Icontinuedtoplajazzconcurrentlinothermilieu.]

WhenIaumedmfirttenure-trackteachingpoitionatMiiippitateUniverit(MU)Ifoundthatallof
mcreativeendeavorweremarginalized.Achoolthatconferredonlaachelaureateinmuiceducationand
maintained an ocenel deified zealoune for it athletic, Miiippi tate Univerit worhipped it
marching and aove all ele and to the near-excluion of other interet arcane odditie uch a muic
hitorandtheperformanceofclaicalmuic.Improal,mworkwaalwawarmlreceivedalargeand
eagerpulicwho,Ielievetothida,awmworkaalocalraritanexoticcurioittoome,andaunique
panaceatoafew.In2000IjoinedthefacultattanfordUniveritwhereallofmcreativeendeavorhave
found a happ, nourihing home among everal overlapping group of receptive colleague, tudent, and
audience.
[3.Iconcedethatthedifferencemanoteintitutional.PerhapIamomehowmorecapalenowaapokemanformwork,or
thatIamimplwillingtohareallofitfacetroadl.]

Themultiplicitofmcreativeendeavorhaveparkedometocallmworkchizophrenic(inthepopular,not
clinical ue of the word). A more accurate diagnoi would e diociative identit diorder. The DM IV-TR
provide a numer of mptom, ome of which eem, from an artitic tandpoint, to e highl deirale
qualitie:

two or more ditinct identitie or peronalit tate, each with it own lating pattern of ening, thinking aout, and
relatingtoelfandtheenvironment;andatleattwooftheeidentitierecurrentltakecontroloftheperonehavior.
[4. American Pchiatric Aociation, Diagnotic and tatitical Manual of Mental Diorder, 2000. Diociative Identit
Diorderidiorder300.14.]

Iwillconcedethatothermptomareledeiraleuchafailuretointegrateapectofidentit,memor,
and concioune. However, m divere muical puruit, which ma appear autonomou, are in fact
interconnected. The emantic conception of m non-vernacular muic ha a total influence over m tran-
idiomatic improviation and intrument deign, and a partial influence on m jazz piano plaing. That i, the
muical material that comprie a ound-culpture performance ound ver much like that of m chamer
piece. (And furthermore, the two categorie of creative endeavor are likel to hare imilar venue and
audience.)venaajazzmuicianIampartlinfluencedinightaacompoerofnon-vernacularmuic;I
findmelfthinkingintermofettheorlaereduponluechange,forexample.
[5. A the a: ou are what ou eat whether the nutrient are culinar or intellectual.] Converel, the eential
proceduralmodeofjazzimproviationinformmeniilitiewhenIimprovieonmound-culpture.
Thereilittleremnantofantliticreiduefromjazz,uthowIthink,howIrelatetootherindividual,howI
conceive of expreion and communication all decend from inight a a jazz muician. Furthermore, the
improviational impule partl manifet itelf in m non-vernacular compoition during thoe flight of
compoitionalimproviation,momentthateemtometoemoreakintothepontaneitofjazzthantothe
rigorou,chematic,pre-compoitional
[6.Iinvokethetermpre-compoitionalecaueomecompoerwillundertandtheeactivitieauch;however,inactualitIdo
notditinguihetweenpre-compoitionandcompoition.]planningandoercalculationthatconumeomuchofm
timeaacompoer.

Figure2.coreof561/2ft.,meaure1316.
(http://econtact.ca/12_3/image/appleaum_
56half_p4.gif)

ome influence are tranformed in nature a the are exported to neighoring creative endeavor. The
freedomthatIaociatewithjazz
[7.Ijazzfree?ThiiaquetionworthofanentiredeatethatIwillimpldodgehere.]manifetitelfaperformance
indeterminac
[8. A ditinguihed from compoitionalindeterminac (aleatoric procedure) which are uncommon in m work.] in m non-
vernacularcompoition,thoemomentinwhichplaerareinvitedtoadjutparticularmorphologicaldetail,
oftenontheflduringperformance.561/2ft.forchamerorchetraianexampleofahridofhighlwrought,
conventional,determinatenotationalpecificationpoitionedalongideprovocationfortightl-circumcried
indeterminateperformancerepone.Netedamongconventionalnotation(meaure13,15,and16),figure2
depictatriangularmoile(meaure14)inwhichplaereginatanofthreegivenmaterialandproceed
clockwie or counterclockwie uch that all three material are plaed during a rief and crupuloul
conducted7/8meaure.
[9.Peculiarto561/2ft.areitannotatedquotationthatrunalongtheottomofeachpage,akindofTalmudiccommentarthat
refer to the immediate meaure and to the work a a whole. The are intended at once to e hermeneuticall hermetic and
exegeticallexigent.]

Figure3illutrateothertrategie:anearl-Feldmanequeoxnotationinwhichonlthenumerofhighand
lowarticulationareprovidedpereat;ameauretoerepeatedx+1timewherexithenumeroftimeit
take three or more plaer to tand up in protet; and an atract graphic notation (rotated 90 degree for
each intrumental ection) marked impl 5" and neceitating a pre-mediated or udden exegei each
plaer.

Figure3.coreofMarkAppleaum561/2
ft.,meaure3337.
(http://econtact.ca/12_3/image/appleaum_
56half_p8.gif)

Converel, the veral rationale that characterize the academic tradition of non-vernacular compoitional
pedagoglikeallthing,foretterandforworehathetranformedeffectofengenderingincreaedpre-
determinationinmjazzwork,varioutightlplannedandconcioularguedarrangementdeciion,formal
cheme,andoforth.

OverthepattwodecadeIhavedivinedanimprecietheticmetaolimthatgoverntheirinterrelation.For
example,atthetimeinmlifewhenIamnotplaingmuch(enough?)jazz,Ifindthatmnon-vernacularmuic
iincreainglindeterminate.AndwhenIamnotcompoingmuchnon-vernacularmuic,Inoticethatmjazz
work ecome highl pecified and fraught with rigorou arrangement (thing that can e plaed right or
wrong),thepiritualantitheiofaandleadernappingthriceandcallingmerellueinF.Thiiimplan
oervationthateemtouggetomethingaoutmownartiticfoodgroup.Iamnotarguingforthepurit
oftheeendeavor,andIhaveeenaeneficiartimeandagainthecroingoverofthoughtfromonerealm
to another. In fact, in the larger ene, I can attriute all of m creativit to the imple formula of oerving
phenomenainonecontextordiciplineandimportingitintoanother.Theound-culpturereideattheheart
ofthipractice.

AriefutImmodetHitorofMound-culpture
Theconjunctionofditantorneighoringdicipline,uchatheinterectionofviualartandmuic,ringu
totheverdefinitionofaound-culpture:anintrumentintendedequallforitarretingviualappealandit
alluringonicqualitie.Thereiaujectiveditinctionhereecaueallintrumenthaveomedegreeofviual
appeal,uchaintrumentwithelaorate,non-functionaldecorativeornamentation.Andallpieceofviualart
canconceivaleplaed(regardleofwhetherornotuchanactionwillcaueitplaertoearretedor
implejectedfromamueum).Themattermaimpleoneofintention.

Althoughcontemporaround-culptureiaomewhateotericfield,itinonethelepopulatednumerou
dedicatedifcollectivelunorganizedpractitioner.Ieganuildingound-culpturein1990whenIecamea
graduate tudent at UCD and chanced upon a neglected ound-culpture Tom Nunn that wa collecting
dutincontraaitertTuretzkoffice.Nunn,aformerUCDtudentandanFrancicoaAreamuician,
continue to make eautiful and extraordinar ound-culpture. Nunn intrument, the ug, made an
immediateimpreiononmeandIetofftouildmownintrument.

Mouetrap
Thatfirtintrumentwathemouetrap.Outfittedwithamouetrap,thenameoweevenmoretothemaxim
touildaettermouetrap.
[10. I ucceeded onl in the ene that thi intrument i etter uited to m own muicalit, a more peronal mouetrap.] The
mouetrapiataletopintrument,roughlinthehapeofaaketallackoard.Iti4feetwideand3feet
deep, mounted on three leg that place it urface roughl 27.75 inche aove the floor. The oundoard i
made of 1/2 inch Dougla-fir plwood. Attached to the oundoard urface i a urfeit of hardware, found-
oject,andjunkthatcaneplucked,craped,owed,tapped,troked,etc.Theeojectinclude:

fourteen1/4inchthreadedrodmountedverticallatheightrangingfrom6to35inche;
fivelengthofleadpipeandfivelengthofPVCplaticpiperangingfrom5to12inche;
largeandmallgalvanizedteelcaterwheel;threepringtretchedhorizontallalongtheoundoardto
approximatel9,17,and29inche;
twopringdoortop;ametalhoehorn;ateelratchet;
twomallandtwolargeplatichaircom,eachconitingofgroupoffineteethandgroupofthickteeth;
tworowofnail(26and28innumer)conitingoffourdifferentlengthandthicknee,poundedinto
theoundoardatvariouheightandthuproducingaortedtochaticpitche;
twokotowiretring(electricguitartring,uuall.016inchgauge)tretchedthrougheehook,
pulle,andturnuckleoatoallowthreeeparateplucking(andfingervirato)length,eachwitha
uniquepitchandcollectiveltunale;
twelveadditionalwiretring,arrangedintotwogroupofix,mountedunderneaththeurfaceofthe
oundoardonthenearideoftheplaer,eachtunalewithanindividualturnuckle,andterminatingintwo
lockingguitarnut;
apieceofronzeraiingrod,twitedintoanerraticallcurledtam-treewithalowtorch
[11.Thetam-treewanotincludedintheoriginaldeignofthemouetrap.Itwaaddedatthetimeofmecondound-
culpture,themini-moue.];
alengthofcorrugatedcoppergatuing,ecuredtotheoundoardatothend;
 aquareofAtroturf;
twopieceofnon-kidadheivecutinthehapeoftriangleandgluedtotheoundoard;
and,indeed,amouetrapwhoepringwadeactivatedaftermanruiedfinger.

Figure4.Themouetrap.
(http://econtact.ca/12_3/image/appleaum_
mouetrap.jpg)

Theeojectareallecurelmountedtotheoundoardothattheirvirationtranfertoandareamplified
the oundoard. The oundoard, which i painted with a texturized pra paint (a ump, imulated lue
granitecompoiteunderneatheverallaerofclearenamel)itelfmaeplaedtapped,cratched,etc.
and i outfitted with eight cheap, urplu piezo contact element that are arranged in a tereo configuration:
four piezo on the left (three topide and one underneath) feed a four-channel paive reitance mixer that
conolidate it input into one ingle unalanced 1/4 inch left-ide output; a mirror image of the piezo and
reitancemixercontitutetheright-ideelectronic.

Originall the mouetrap oundoard wa one olid piece of plwood. When percuionit teven chick
programmedmmouetrapoloZero-Oneatthe1992DarmtadtFerienkurefrNeueMuik,Ifoundmelfin
a quandar over how to tranport it affordal to German. The olution wa to diale the majorit of the
mouetrap attachment and leg, to cut the oundoard in half and fold one ide over the other, and to
ecurethepartinacutomcommercialflightcae.Theactofcuttingthemouetrapintwowaatraumatic
oneformeutithadanunexpectedenefit:thetereoeparationofthetwogroupofpiezoecamemore
ditinct.
[12. In fact, there i a utantial amount of cro talk among the piezo; later I found that one piezo per oundoard wa
ufficient.] A decorative aluminum trip wa added to cover the mouetrap car; ecaue the cut had to e
made lightl off of the intrument center axi (in order to pa electronic running eneath), a econd
aluminumtripwaaddedoatolookmmetrical.

Infact,themouetraphaagreatdealofmmetr.LeadpipeontheplaerleftarealancedwithPVCpipe
ontheplaerright,amirrorimage.Theameitrueoftheplacementofcom,pring,nail,tring,threaded
rod,anddoortop.Meanwhile,theplacementofthetwoteelwheelontheplaerleftialancedthe
placement of the hoehorn and ratchet in the commenurate location on the plaer right. The mmetric
alance, omething that i aent in m mot of m muical formulation, appeal to me in the cae of the
ound-culptureergonomic.Forexample,itihandtohaveetofnailonoththeleftandrightothat
trill (with ingle choptick placed etween two adjacent nail and ocillating among them), or continuou
gliandi(producedtrokingalongtherowofnail),caneexecutedimultaneoulwithouttheneceitof
reachingovertooneidewiththeoppoitehand.AndifIdoturnmodtowardoneideoftheintrument,I
findthatIhaveanear-completecomplementofojectwithinthatide.

eventhreadedrodareattachedtoeachideofthemouetrap,utecauethereideinoneadjacentarc,a
gliando acro them will e heard clearl croing from left to right in the tereo field or vice vera. The
corrugatedcoppergatuing,whichiuuallplaedlikeaguiro,haendattachedtooththeleftandright
ideoftheoundoard.Auch,aguirotrokefromoneidetotheothercreateaparticularlpotentene
ofmovementacrothetereofield.

Mini-moue

Figure5.Themini-moueintheforeground,
ittingontopofthemouetrap.
(http://econtact.ca/12_3/image/appleaum_
minimoue.jpg)

The next ound-culpture wa, however, fundamentall different. The monophonic mini-moue i a miniature
mouetrap,mallenoughtoitonthemuicdekofagrandpianoothatothnewandtraditionalintrument
can e plaed imultaneoul. The mini-moue, a well a all of the uequent intrument, can e een a
refinement of the propertie of the mouetrap. The mini-moue portailit i particularl attractive. It
rectangularoundoardimadeofolidpine21inchewide,7inchedeepand3/4inchthick.Thefourleg
teeloltwithruerendcapvarinlengthothattheackoftheintrumentihigherthanthefront,the
oundoardlopingdowntowardtheplaerata36degreeangle.Thereionlonepiezocontactpickup,wired
toa1/4inchjack.

Manoftheattachmenteenonthemouetrapappearonthemini-moue,includingtheignaturemouetrap.
Thetwitedronzeraiingrodtheo-calledtam-treewhoecomplextam-likeoundcaneproduced
trikingorowingwaoattractiveinoundandlookthatImadenineofthemforthemini-moue,averitale
orchetra of tam-tree. In fact, I made eail thrice thi numer of tam-tree and, uing a tap and de et,
threadedtheirendothatthecouldecrewedintoandoutoftheoundoard,eailreplacedatwhim.
[13.However,overtimeIdicoveredthatpinewatooofttomaintainagoodconnectionforthetam-treeafterthehadeen
repeatedl removed and replaced.] Another tranformation wa in the dipoition of the threaded rod. On the
mouetrapthethreadedrodextendedtraightupfromtheoundoard,arrangedliketuularell.Thimade
trill to neighoring rod, gliandi, the vertical troking of individual rod, and plucking ea. However, unlike
tuularell,thethreadedrodarevernarrow(1/4inchwide)andplaedtpicallwithJapaneechoptick,
nothammer.Auch,trikinganindividualrodrequirerotatingthewrit90degreeandapproachingtherod
almotfromtheide.Therefore,themini-mouefourthreadedrodareentatrightangle,extendingoffthe
rightideoftheintrument,eachuequentrodelevatedaovetheprioronelikeaetoftair.

Figure6.Tam-tree,ronzeraiingrod
heatedwithalowtorchandentinto
erraticallcurledtree.
(http://econtact.ca/12_3/image/appleaum_
tamtree.jpg)

omeojectonthemini-mouewereentirelnew,uchaachwinnicclelogothatouncenoiil(orcan
edialed)alongapringakindofmpatheticnoiemakerakintothejanglingottlecaplooelaffixed
to African mira. imilarl, a nail alance looel acro the koto tring and ounce on it a the tring
virate.Thekototringitelfterminateinatandardguitartuningmechanimecauetheturnuckleitoo
awkward for quick tuning change. The mini-moue alo contain a part from a Volvo gearox that erve
principall a a mount for ome of the tam-tree. On the other hand, ome deirale oject had to e
aandoned: there wa no pace for the hoehorn, ratchet, or corrugated copper tuing. Other oject were
eaiertodimi:theleadandPVCpipe,whichlookedgreatonthemouetrap,neverinpiredaproportionate
muicalrepone.

Themouetraptexturizedprapaintwaforakenonthemini-moueinfavorofanatractpaintjowirl
ofrightlcolored,patelacrlicontopofwhichIoverlaidtick-onnumeratrandomangle,areckleit
ofpotmodernpatichethatreonatewiththephicalaemlageofaortedpart.

FurtherDevelopment
The uequent ound-culpture were the duplex mauphon, the midi-moue, the ix micro mice, and the
moueketier. The duplex mauphon heralded m firt attempt at a multi-tiered deign coniting of multiple
oundoardplacedatvarioulevel.Thitrategwouldecentraltothedeignofthemoueketierwithit
threeoundoard.Theduplexmauphoncomprietworectangularpineoundoard.Theloweroundoard
meaure approximatel 9 inche wide 17.5 inche deep; upended 6.5 inche aove it, the upper
oundoardmeaureapproximatel13inchewide9inchedeepothatitprotrudeofftotherightide
aovetheloweroundoard.achoundoardcarrieitownpiezocontactpickup.InperformanceItendto
pantheoundoardothatthetereofieldcorrepondtotheverticalaxi.
Figure7.Duplexmauphondoulekoto(on
loweroundoard).
(http://econtact.ca/12_3/image/appleaum_
duplexmauphon.jpg)

Theduplexmauphonhatwoignificantfeature.Firt,theteelcaterwheelfoundonthemouetrap were
repeated except thi time an egregioul queak cater wheel wa ought out, one that howled with the
lightetmotion.econd,whilethetopoundoardhaakoto(afoundonmpriorintrument),theottom
oundoardhawhatmightecalledadoulekoto:twotring,oneaoveanother,travereadoulepulle.
While the phical arrangement make owing the tring more cumerome, it allow ea doule top (a
pinching/pluckingmotionwithonehand)andquadrupletop(whenarticulating the tring on oth ide of
thepulle).

Maffinititotunethetwotringmicrotonallothatdouletopproduceadionantcrunchthatcane,
withfingerpreureononetring,roughtintoandoutofunioninarapidadjutmentorinanagonizingllow
gliando. Or the tring can egin in union and diverge violentl with tremendou finger preure (like the
enormoudeformationthataitaritwrenchewiththefingeringhand).ecauetheduplexmauphonkoto
tringterminateintandardguitartuningmechanimlikethatofthemini-moue,changetotheaictuning
caneeailaccomplihedduringperformance.
[14.Thecompletelitoftheduplexmauphonloweroundoardattachmentincludeeventhreadedrodentatrightangleand
extending off to the left; galvanized teel cater wheel; two hort and one long pring; two row of nail (11 and 9); doule koto;
mediumplaticcom;anddoortop.Theupperoundoardattachmentincludeonetallverticalthreadedrod,fivethreadedrod
ent at right angle and extending off to the right, and one tall unthreaded rod (that can e owed) ent at a right angle and
extendingofftotheleft;onekototring;tworowofnail(10and9);mallplaticcom;andtam-tree.]

Themidi-mouetakeitnamefromthe5-pinDINjackthatappearonitoundoard.Thejackinotwiredto
anthingaarcaticjaatMIDIandatthenaiveoptimimofelectronicmuicingeneral.
[15.IrealizethatomeearlaterIperpetratedaimilardigintheThatrainwaveChickproject.Onatagelitteredwithcomputer
and high tech muic gear we ran an thernet cale from me to m colleague o that I could communicate with her during
performance.Infact,thecalewatiedaroundherwrit;whenIwantedherattentionIimplpulledonthecale.]Mound-
culpture are low-tech and lowrow: the intrument are principall made out of junk, hardware, and found-
ojectandtheircontactpickupcotlethanonedollar.Thepretigeandcachetthatmighteaociated
withrarefiedmaterialandarcanecraftmanhipeludetheeintrument.Inteadtheirlegitimaccomefrom
therichandmuicallefficaciouworldthatthetimulatedepitetheirmodetontolog.Withinthecontextof
anendlelecalatingracetowardmallerchipandhigheritdepth,theeound-culpturereminduthat
technologaloincludethefamiliarandtheproaic.Whatithetateoftheart?Anartitendowedwiththe
motmodern,expenive,and(purportedl)ophiticatedtoolinotguaranteedartiticucce.ad art will
alwaeanequalopportunitendeavor.

Figure8.Themidi-moue.
(http://econtact.ca/12_3/image/appleaum_
midimau_tamtree.jpg)

tructurall,themidi-moueiroughlarepetitionofthemini-moue.Thenumeroftam-treeincreaedonce
again,andathickerronzeraiingrodwaaddedalongidetheoneofthinnerdimenion.Fromtheduplex
mauphon, the indipenale queak wheel wa incorporated. Chronologicall, the ix micro mice followed
next;theearedicuedlaterintheexplicationofthepiececipioWakeUp(andmelltheCoffee)forwhich
thewerecontructed.

Moueketier
Thiringutothelatandmotimportantound-culpture:themoueketier.Themoueketiertakeitname
fromitthreemulti-leveloundoard,twomallandonelargeequilateraltrianglemadeof1/2incholidmaple.
Thetwomalleroundoard(approximatel10incheperide)areperchedatopcorrugatedcoppergatue
and radiate up from the central oundoard (approximatel 20 inche per ide) to the left and right. A it
happen, the tuing erve three purpoe: the architectural function of upporting the maller oundoard;
the familiar guiro function a een in the mouetrap; and a a wiring conduit that connect the maller
oundoardpickuptoacentraletofoutputjacklocatedontheottomofthemainoundoard.Thega
tuingterminateinthreadedtwitconnectoronothend,anditwiringeailconnecttoimpleRCAjack;
thimakediaemlofthemoueketierparticularlfacile.

Infact,thepeedatwhichthemoueketiercaneetupandtakendownwaadeigncriterionrivaledonl
thedemandforcompactne.Rememeringthedifficultaociatedwithtranportingthegiganticmouetrap,
themoueketiercaewaengineeredfirtaedonthemaximumcheckedaggagedimenionlimitimpoed
airline,andtheound-culpturewaactualldeignedafterward.
[16. I am tempted to one da undertake an analogou pragmatic approach to compoing orchetral muic: page turn will e
decidedfirt,thenmalletchange,thenramuteutitution,thenmomentforwindplaertotakereath,etc.analdetail
likepitcheandrhthmwilledeterminedlat.]Thetiertemofthemoueketier,firtuggetedmwifeJoan,
makeitcompactnepoile.
Figure9.Themoueketier.

The moueketier it on top of a commercial aluminum camera tripod. The look of the tripod i omewhat
regrettale, ut it compactne, height adjutailit (to accommodate oth itting and tanding a well a
permittingazimuthmodification),andparticularlitlowweightanotherimperativeforairlinetravelmade
itanidealchoice.Theottomofthemainoundoardreceivethetripodinatandardthreadedcameramount
located at it central alance point. Next to the camera mount i an 8-channel audio output a mall lue
platic electronic project ox with color-coded RCA jack fed eight piezo contact pickup. The eight
pickup are divided into two group: three pickup, one on each oundoard, erve a the main ound
tranducer; the remaining five pickup, which ma e thought of a utton, are clutered together on the
upper right portion of the main oundoard and can e ued a a gate to trigger variou external electronic
proceeforexample,toturnrevererationonoroff,totartortopaloopampler,ortoendaangtoa
Max/MPpatch.

The five trigger pickup are painted ellow, lue, pink, purple and green, and port correponding tick-on
numer.Themainoundoardonwhichtheitipink;theupperleftoundoardiellow;theupperright
oundoard i lue. Although the paint ha a flat finih, the oundoard are lightl hin on account of an
additional pra coating of ilver glitter paint that produce a parkl heen and alo provide a uperficial
micro-textureomewhatlikeandpaper.
Figure10.Cloe-upofthemoueketier.
(http://econtact.ca/12_3/image/appleaum_
moueketier_cloeup.jpg)

The plaer confront a high denit of oject on the moueketier ut their ergonomic arrangement
demontrate the conequence of the trial and error proce undertaken in previou ound-culpture. From
nearettofarthetfromtheplaerperpective,themainoundoardconitoffourplatichaircom,two
large(lueandpurple)andtwomall(pinkandgreen),eachwithfineandthickteeth(thecomaretacked,
pinkoverlueandgreenoverpurple,othateachpairconitoffourizeofteeth,averitaleATcom
choirwithinafewinche);akototringwiththreeegmentofvaringlength,terminatinginaguitartuner,alo
paing through a turnuckle, and incorporating a ouncing nail a pioneered on the mini-moue; a mall
triangleofAtroturf;amouetrap,paintedlue;twometaldome-hapedell(alvagedfromalarmellwith
clapperandmotorremoved),paintedpurpleandellowandtackedoneaovetheotheraverhortell
tree;arowof11verticalnail,conitingoffourdifferentize,placedoneinchapart,andpoundedfirtintoa
tripofornamentalmolding(paintedgreen)andthenintotheoundoardelow(whichcreateamoreecure
adheion)
[17.Amall,removalemetalcoil,whichmaepun,reideononeofthelargernail.];apieceofwhite,texturizednon-kid
adheive;amallluewoodenwheelthatpinlooelonacentralaxle;apringtretchedto12inche;large
andmallgalvanizedqueakteelcaterwheel
[18. The queak wheel that I omehow found o aundant in an Diego proved nearl impoile to find in the Palo Alto area
wherethemoueketierwacontructed.Ihadtoviitomeeighthardwaretoretofinduitalewheel(thatpreumallipped
throughthemanufacturerqualitcontrol).TothidaIoccaionallhavearecurringnightmareaoutado-goodertagehandwith
a ottle of WD-40 luricant.]; the aforementioned trigger pickup; and a ingle 23 inch vertical threaded rod,
quicklremovaleawingnut.

Figure11.Themoueketier.
(http://econtact.ca/12_3/image/appleaum_
moueketier2.jpg)

Theleftoundoardincludeadoortopwithpurpleendcap;fivethin-diametertam-tree,interchangealeand
ecuredunderametalracethatiheldinplacetwocrewkno;amouetrap,paintedpink;amallteel
ratchet;amall-gaugepringtretchedto4.5inche
[19. Thi pring i the onl oject on the moueketier that i particularl difficult to acce owing to it flat profile and proximit
ehindthetallertam-tree.Iamnotcriticalofthiecauethepringireallanafterthought,anadditionmadeattheendofthe
deignproceinordertoemploanotherwieunueditofrealetate.];andfourgraduatedthreadedrod(rangingfrom
4 to 16 inche) that, like the mini-moue, are angled horizontall and extend to the right and over the main
oundoard.
Therightoundoardincludepuhandpulldoorign2inch8inchheet-metalthunderheetthat
extend off the front edge of the oundoard; three thicker-diameter tam-tree, interchangeale and ecured
underametalracethatiheldinplacetwocrewkno;amouetrap,paintedellow;adoortopwithpink
end cap; a pring tretched to 8 inche; four graduated threaded rod (ranging from 6 to 9.5 inche) angled
horizontall and extending to the left and over the main oundoard; and a copper toilet tank flotation ul
perchedatopa9inchratem.

In the tradition of Rauchenerg comine, Warhol uiquitou and commercial uject matter, and even
Duchamp urinal, the moueketier get ome of it cultural uzz from it ue of familiar oject platic
com, doortop, teel wheel, puh and pull door ign, toilet part introduced into a foreign muical
environment. The loud, delieratel groteque color are more reminicent of Fender and Gion than
tradivariuandteinwa.
[20.Thati,thegrandpianoatpicallaociatedwithartitotherthanLieraceandltonJohn.]Thematerialimportation
and tlitic whim tickle or ditur the viewer and force u to conider our aumption aout proper
method of cultural trangreion and to ak how illine and aurdit might coexit with erioune and
incerit.

Figure12.MarkAppleaumperformingonthemoueketier.

HarrPartch,ound-culptureculptor
TomNunnworktriggeredminitialproclivitaauilderofound-culptureandhaervedaaprincipal
lueprint in the deign of m intrument. Around the ame time that I dicovered Nunn ound-culpture I
foundmelfincreainglenchantedHarrPartchwork.Thereimuchtoadmire(andcriticize)inthemuic
ofPartch.utPartchlatingeffectonmehaeeninhiidentitaamartrofAmericanculture(aperon,
likeNancarrow,whotirelelpuruedauniqueandidioncraticartiticviionduringalifetimeofworkatthe
expeneofroadprofeionalaffirmationandcriticalucce),andaaprolificuilderofremarkaleound-
culpture. Depite Partch puiant inpiration there are everal noteworth contrat among our work:
Partch intrument are acoutic, mine are electroacoutic; Partch intrument are large, ometime
ehemoth,whereaminearecomparativelminiature;Partchintrumentare,withonlafewexception(e.g.
xmo-xl, poil of war), mono-timral (like mot orchetral intrument) and materiall monolithic, wherea
mine are poltimral, polmorphou hrid (the one-man-and approach) conequentl, much of Partch
muiciforenemlewhereathemajoritofmworkincorporatingound-culpturehaeen,untilrecentl,
olo;Partchintrumentfeaturemotlnaturalmaterial,whereaminehaveanindutrialancetrandthua
pre-definedculturallocu;inaeneweareothricoleurutwhilemintrumentaremadeupoffound-
oject, Partch enemle are populated found-plaer, amateur he trained to pla hi intrument;
Partch intrument have an ancient, timele eniilit, wherea mine have a modern and time-pecific
eniilit; m ound-culpture have a camp qualit aout them (oject eem to appear in quotation),
whereaPartchworkreitcampintheenethatititooimportant,toogood,andnotmarginalenough
[21. I invoke principal #6 from uan ontag definitive Note on Camp from Againt Interpretation.]; and latl, Partch
intrument-uildingwadrivenattheoutetandthroughouthilifethedemandofapecific,determinate
intonation, wherea a conception of pecific pitch i for m ound-culpture irrelevant, replaced the
matterofgeneralpitchcontour,harmonicpectrum(intheeneofcolor),andregiter.

PartchandIagreeonthevalueofeeingtheactofmuicalproduction.Aaperformermkinhipwithhimlie
in hi conception of the corporealit of plaing muic. The apect that mot compel me to uild new
intrument i the puruit of a new ergonomic/haptic/corporeal experience. I deign intrument that feel
muical. Or more accuratel: I make intrument that engender idioncratic phical (and thu onic)
repone.Motintrumentalimprovierepeciallpianitwhohavetodealwiththecourt-appointedpiano
at ever new venue will undertand me when I a that different intrument invite me to invent different
muicalidea.Theound-culptureianextenionofthiconcept.

Ficklelectronic,CapriciouComputer,IncompetentHuman
IfthepowergoeoutIcantillplamound-culpture,aleitforanintimateaudienceonl.Itianacoutic
intrumentfirt.utinpracticetheound-culptureipartofahper-intrumentthatincludeaatteroflive
electronicignalproceorandcontrollerthatwarptheacouticoundincountlewa.Inconcertthe
moueketieritinfrontofme.Tomleftialargerackwithanumerofanaloganddigitalignalproceor.
[22.Atpreent,theeareaPeaveKomoPro,lectrixRepeater,RolandRV-3030,DigitechDP256XL,DODD12,IanezDM
1000,KorgDD-2000,Line6choPro,YamahaPX50D,LexiconMPX1,ehringerVirtualizerPro,lectrixFilterFactor,amon
-phone, Juice Gooe PD-2 line conditioner, and a multiple outlet trip. Thee are motl multi-effect unit with a few notale
exception:theKomoiaafrequencenhancer;theRepeaterialoopaedrecorder;theFilterFactoriananalogfilter;
and the -phone i a 4-channel headphone mixer that i ued plit an auxiliar ignal o that proceor can receive identical
ignal (a oppoed to an audio dai-chain) there allowing man more loop to e returned eparatel to the main mixer. At
timemrackaloincludethereceiverforawirelemicrophoneattachedtotheChurchofound,ailverchurchcollectionplate
with red velvet lining and a lael that read The Church of ound thank ou for our contriution. When paed among the
audience,memercanjangleke,tapontheplate,ingintothemicrophone,etc.Inthimannertheaudiencecanpladuetwith
me,makingoundthatpathroughmelectronicproceor.]Nexttotherackandomewhatunderthemoueketieri
a24-channelanalogmixer.Onmrightialowtalecontructedoutofthemoueketiercae.Atopthetale
itaMueReceptorVTplug-inplaerwhichhadozenofcutompatche,eachofwhichcontaindozenof
electronic computer procee that mangle and contort the moueketier ound; m laptop it aove the
Receptor and, connected a croover cale, dipla it GUI ut doe no proceing itelf it impl
happentoemmotportalemonitor.OnthefloorretaDigitechRP-6multi-effectpedalandomeeven
pedalthatcontrolvarioufunctionofindividualproceor.TherearethreeMIDIcontrollerwithaignale
fader, kno, and utton that populate the rack cae and tale: Peave 1600x, ehringer CR2000, and
DoepferPocketFader.Finall,Ihouldmentionthatremainingpaceiutilizedforholdingchoptick,ahort
violin ow, thimle, plectra, knitting needle, mallet, corrugated Lego rail, ruhe, wind-up to, and other
aorteddoodadthatareuedtoplathemoueketier.Audio,MIDI,thernet,AC,andpedalcalerunamok;
evenoIcanuildthemoueketierfromcratchandgeteverthingwiredtogetherinaout45minute.

Depite their idealitic apiration thee electronic are le than perfect. The freeze up, the ditort, the
feedack.ometimetheghotinthemachineurleandcoounpredictaleoundthatthehouldnote
capale of rendering. The uper-aundance of gear mean that there are additional chance for trange
incompatiilitieandtheunexpectedmagnificationofaprolemdowntheline.
[23. Although one could alo view the uperfluit of electronic anguinel: a redundant ackup tem.] The moueketier
itelf,withitattachmentthatcomelooeandpickupthathortout,caneawildcard.Andaoveallele,I
am an imperfect uer and urel the unwitting caue of a lot of mahem. ut thee factor, taken together,
contriute to a kind of glitch thetic wherein complicated tem ometime generate muic of urpriing
complexitoutofimpleand/ormiundertoodinput.Thichangeinanever-evolvinghierarch(inwhichome
electronic can e counted on without fail while other teeter on the rink of randomne) uperimpoed
againtmever-evolvingtheticagenda(thoephenomenawhichIeektorealizeregularlinperformance
veruintentionwhichcomeandgo,lowlorwiftl,gentlorwithcataclmicforce
[24.ToorrowaturnofphraefromarchitectLouiullivan.]).

InventingaMannerittatefromAentPre-ClaicandClaic
Antecedent
Itrtomaagethemanelectroniccontroladeftlandtranparentlapoilelettheditractfromthe
moueketier. One might argue that the human interface with the electronic i an equall focal part of the
performance.Iammoreinclinedtoconideritancillar,atleatincompariontotheound-culpture.
[25.IamonllightlhperolicwhenIcomparetheinvaivetweakingoftheelectronictotheadditionorremovalofatuamute
that,aanonewhohaevereenthicoloalfeatinperformanceknow,iditractingtothepointofcancelingtheearinput.]
ut together with the ound-culpture, the electronic form a kind of hper-intrument. And ecaue the
electronic change from performance to performance (due to artiticall anal ut conequential airline
aggagelimitation)Ifindmelfoligedtomatereveralhper-intrument.Theituationmightelikenedto
apianitfindingapianowiththecutomar88keatoneconcerthall,apianowithnoutainpedalatthe
nextvenue,andapianowithnolacknoteatanotherite.Complicationinmet-upmagnifandmultipl
thechallengeofachievingintrumentalmater.

Letunotforgetthattheound-culpturealonerequirekilltopla.Iamamatermoueketierplaer.Among
thedangerofinventingauniqueound-culptureithefactthattheinventorecometheworldetplaer
intantaneoul.utthatditinctioniautomaticallpairedwitheingtheworldwortplaer.Howdoeone
develop an intermediate and advanced moueketier technique? A culture of one afford ample latitude for
electinganartiticdirection,uttherearenoguidelineforprogreingandnocompariontodependupon.
Onedoenothavetheenefitoftraditionalintrumentaoundinglegacofhitoricperformancepraxi.
And herein reide the prolem: with a new intrument, how doe one mature eond trivial novelt? The
temptation to how off a ound-culpture gee-whiz factor i profound. One aiding elf-criticim i that m
olo improviation tend to ue all or almot all of the ound-culpture attachment, particularl in
performancethaterveaanintroductiontotheintrumentforaparticularaudience.Intheamewathata
compoergivenonloneopportunittocompoeanorchetralworkwilletemptedtoueallfourectionof
theorchetra,Ifindmelfhowingofftherangeoftheound-culpture.WhereawhenIamperformingforan
audiencethatalreadknowmintrumenteitherfromapriorconcertorfromaprecedingimproviationon
theameprogrammimproviationtendtoemoretimrallfocued.

A performance hould not e a demontration of an intrument; the intrument hould work in ervice of
explicatingadeepermuicalidea.utwhatif,aMarhallMcLuhanmightupect,theintrumentitheidea?

Icontinuallreflectontheeiue.
[26. Idea aout uilding original intrument and inventing a correponding muical culture are dicued further in m ea
Culture culpture, in Communit Matter, a reader for writer, 2nd edition, edited Marjorie Ford and lizaeth chave ill
(Addion Wele Longman Pre, 2004).] The inquir define a miion to ecome accomplihed in m eoteric
artitichaitat,todevelopamannerittateoftheartfromaentpre-claicandclaicantecedent.utm
cultural pace i not diconnected from the external world. There i indeed a communit of ound-culpture
artittowhomIlookfordirection.Performancepracticeaociatedwithotherintrumentareconulted.And
themotgeneralutefficaciouinightaregleanedthrougharoadconiderationoftheticmodelfrom
culpture, painting, textile, architecture, and dance, a well a from far-reaching muical tradition, oth oral
andwritten.

Work
FormalWorkforound-culptureI:TwoarlCompoition
Although intended primaril a tool for improviation, I have een inclined on everal occaion to compoe
notatedworkformound-culpture.Thefirtwork,Zero-One(1990),iaeven-minuteoloformouetrap,
amplifiedutotherwiewithoutonictranformation.Ifirtchoetonotatetheworkinaratherconventional
manner:horizontallinecorrepondedtovariouoject(e.g.multi-linetaveforthe14threadedrod,aone-
linetaffforthethreepring,etc.);variounoteheaddeignatedparticulararticulationtpe,wavlinefor
continuouound,etc;eaterwereprecriedforeacharticulation;dnamicwerenotatedtraditionall;etc.
Aonemightexpect,thehorizontalaxidecriedthepaingoftime.Theverticalaxididnotdecriepitch,
ut correlated intead to the phical ditance of the oject from the plaer. None of thee deciion were
particularlradical.

However, after hearing the piece I ecame aware that, a a compoition, it wa too fixed. The notated core
eemedtoeonloneofmanpoilerealizationofakeletalu-tructure.Ifoundthattheintegritofthi
particular artitic endeavor reided in the performer interface with the u-tructure from which he or he
couldrealizeamanifetationofthework.analogIimaginedtockhauenorCagecompoingdeterminate
workand,onlafterward,decidingtowithdrawtheminfavorofPlu-MinuandVariationautitutetext.
o I created a econd core, a o-called performer trap for mouetrap that trap the performer in the
compoitional realm. The performer confront a erie of 22 cartouche, each of which decrie a muical
paageconitingofagivennumerofphrae.Phrae,inturn,aredefinedtheirnumerofarticulation
(contact). The pitch, duration, and dnamic relationhip among thee articulation are governed three
correponding contour et. For example, a three-articulation phrae with contour et <012>, <201>, <102>
mighterealized:

Or

Furthermore,thereultingtimre(themouetrapojectemploed,whethertoarticulateagivennotewitha
fingertip, a mallet, or a ow, etc.) are left to the performer dicretion within a limited numer of mouetrap
oject depicted in the cartouche (from a kind of ird ee view of the oundoard) and defined a either
occurringontheleftorrightideoftheintrument.Intheperformertrapverionofthecoreeachcartouche
i numered (correponding to paage within the piece) at the ottom left of the oundoard illutration.
The duration of the cartouche i provided at the ottom right. etween them i a map of the piece gloal
dnamic,acontinuumalongwhichacurortraveloatoituatethegivencartouchewithinthefullduration.

Figure13.coreofMarkAppleaumZero-
One,cartouche3.
(http://econtact.ca/12_3/image/appleaum_
zeroone_3.gif)
othverionofthecoreareprovidedtotheperformerwhomachooetoplathefirtdeterminateverion,
theecondindeterminateperformertrap,orahridofthetwo.

cipio Wake Up (and mell the Coffee) wa compoed in 1995 for the Paul Dreher nemle: two
keoardit triggering ampler, two percuionit (one electronic marima and one electronic drumet)
triggering ampler, amplified violin, and amplified aoon. To thi intrumentation I added ix amplified ut
otherwieunproceedound-culpture,themicromice,contructedpecificallfortheenemle.

Figure14.coreofMarkAppleaumcipio
WakeUp(andmelltheCoffee),excerpt
from0:501:01.
(http://econtact.ca/12_3/image/appleaum_
cipio.gif)

Therearetwoapectofthiprojectworthmentioninginthicontext.Firt,themicromiceareuniqueamong
mintrumentinthattheeachconitofaoundoardwithonloneoject.Theixmicromiceare:

athree-inch,queak,galvanizedteelcaterwheel;
arowofnailoffourthicknee;
four1/4inchthreadedrod;
akototring,.016inchgauge;
atriooftam-tree;
andapring.

Intead of making multi-timral intrument I created the equivalent of orchetral intrument, ingle-minded
tool,eachwithapecificrole.ThetimralfocuoftheeintrumentiuitaleecauecipioWakeUpia
determinateworkthatdoenotinviteimproviation;themicromicearenotdeignedtoenaleaplaertoreact
to unpredictale muical event (that neceitate an arenal of availale timre for ever contingenc).
Moreover,cipioaddafurthervariationapropothetreatmentofound-culptureperonnel:thepieceopen
withitixplaertandingdowntage,eachoneathiorheraignedmicromoueound-culpture.
[27.Themicromicemadeof3/4inchthickpineoard,threeofwhichmeaureapproximatel10x10inche"andthreeofwhich
meaureapproximatel18x8inchehavethreadedmicrophonetandmountontheottomoftheiroundoard.Thuthe
enemlemauelocalmicrophonetandthereoviatingtheneedtotravelwithdeignatedmicromicetand.]oontwo
plaerdepart,migratinguptagetotheirregularintrumentaltation(inthicaeonekeoardandaoon)
and contriute to a ackground drone; the remaining quartet now pla all ix micro mice in a carefull
choreographedmanner,movingaroundoneanother,reachingleftandrighttoplamultipleound-culpture.
Later,twomoreplaerdeparttocontriutetotheuptagedrone(ontheecondkeoardandviolin)leaving
onltwoplaertomanageallixmicromiceeforethefinalljointheenemle(onelectronicmarimaand
electronic drumet) for the econd half of the piece, a new muical dicoure that i performed from the
uptagetation.Unlikethetpicalratioofoundojecttoperformer16:1inthecaeofthemouetrap
plethoraofvariedric--racincipioiti1:1attheeginning,utthenimproveto3:2andagainto3:1.

Audio1(12:48).MarkAppleaumcipioWakeUp(andmelltheCoffee)(2005),forenemle.PerformedthePaulDreher
nemle.ReleaedonIntellectualPropert,InnovaRecord(http://www.innova.mu)[602],2003.Uedwiththekindpermiionofthe
puliher.(http://econtact.ca/12_3/audio/Appleaum_cipio_Wake.mp3)

Meanwhilethedroneoundthatemanatefromtheelectronickeoardinaccompanimenttotheremaining
micromiceplaerawellaalloftheoundheardthekeoarditandelectronicpercuionitinthe
uequentectionofthepiecearetranformedverionofmouetrapample.Thuthepieceeginwith
anelectroacoutic(andphical)preentationofound-culptureandthenprogreetoanelectronic(and
virtual)manifetationofthem.

FormalWorkforound-culptureII:MoueketierConcerti
OneoftheunexpectedinightfromtheZero-OneandcipioWakeUpprojectithatmound-culpture
arenoteatoplawell.Thetop-notch,profeionalmuicianwhotookontheepiecehadtopracticelonger
and more diligentl than I had anticipated, uggeting that I take for granted the familiarit, phical acumen,
andmuicalawarenethatIhaveacquiredovermnowixteenearaaound-culptureplaer.Attheame
time,Ihavereturnedtomconceptionoftheound-culptureaavehicleforimproviation.oIhavechoento
feature melf in a recent erie of work, concerti with improvied cadenza for moueketier with live
electronicandenemle.
[28. A a plaer I am inclined to think of thee piece a moueketier feature. However, the olo part are marked oloit, not
moueketieranindicationthatanidioncraticelectronicintrumentmighteutituted.]

Martian Anthropolog 123 (2004) i an orchetral work whoe three, incongruoul juxtapoed movement
collectivel attempt a urreal alchem. The firt movement i an expreionitic romp for full orchetra with
peculiaritieuchaaeptetofpercuionithammeringnailinaccompanimenttoalricalcellomelod.The
econdmovementifortringorchetraonl,aincerelamentationformrecentldeceaediter.Thefinal
movement tartlingl introduce the moueketier ound-culpture which improvie in the context of an
orchetral improviational game piece: orchetral plaer are aigned three material a drone(continuou
oundorrepeatedmaterial),amoile(aequenceofarticulationtoeplaedonce),andnchronouchord
(loud lat performed in union). The conductor initiate the variou material improviationall through a
temofditinguihinghandgeturethatappltoeachectionoftheorchetra.Materialmaecalledupon
once,morethanonce,ornotatall.Paageinthemovementaredeignatedfortheorchetraaloneandother
are deignated for moueketier olo. ut much of the piece involve oth imultaneoul, the dicoure
progreingathereultoftheconductorreponetomplaingandmreponetotheorchetra.

Audio2(05:06).ThirdmovementfromMarkAppleaumMartianAnthropolog123(2005),formoueketierandorchetra.Performed
MarkAppleaumandthetanfordUniveritmphonOrchetra.ReleaedonMartianAnthropolog,InnovaRecord
(http://www.innova.mu)[617],2004.Uedwiththekindpermiionofthepuliher.
(http://econtact.ca/12_3/audio/Appleaum_Martian_Ant.mp3)

Figure15aand15.Movement3fromMartian
Anthropolog123,page2021.Three
orchetralmaterialmoileequence,
continuoudroneandnchronizedchord
arrangedinthreecolumn.[Clickimageto
enlarge]
(http://econtact.ca/12_3/image/appleaum_
martian_p21.gif)
Agitprop (2005) i a concerto for moueketier with jazz orchetra. Given the opportunit to work with jazz
muicianIchoetoincreaethepoiilitieforindividualplaertoimprovie.Thataid,theworkimotlin
anexperimentalidiomandoundinfrequentllikejazztliticall.Plaerarejutaoftencalledupontotear
paper,clinkglaottlewithpencil,taprocktogether,anddropping-pongallontheflooratheareto
performontheiraxophone,trumpet,andtromone.TheixteenminuteofAgitprop are divided into four
continuoufour-minuteection,eachcoredonatimelinereferencingvariouu-piecethatarefadedin
andoutadirected,improviationall,theconductor.LikethethirdmovementofMartianAnthropolog123,
themoueketieroloitigivenfreelicenetoplainanmanner(ortoremainilent)duringmotofthepiece;
onlduringpecifiedtacetperiodmuttheoloitremainilent.

Figure16aand16.coreforAgitprop
(2005),concertoformoueketierandig
and.howing12:00-16:00.Ahorizontal
timelineappearacrothetopreferencing
variouu-pieceelow.[Clickimageto
enlarge]
(http://econtact.ca/12_3/image/appleaum_
agitprop_p9.gif)
Audio3(16:23).MarkAppleaumAgitprop(2005).PerformedMarkAppleaumandthetanfordJazzOrchetra.ReleaedonAlum,
InnovaRecord(http://www.innova.mu)[646],2005.Uedwiththekindpermiionofthepuliher.
(http://econtact.ca/12_3/audio/Appleaum_Agitprop.mp3)

ThelueCloak(2005)formoueketierandextetofflute,clarinet,cello,percuion,piano,anddedicatedpiano
interiorplaerwacommiionedChampdActionforthe2005TranitFetival.ThelueCloakwainpired
the Pieter ruegel painting Netherlandih Prover and conit of 100 meaure that parallel the 100
prover, maxim, popular adage, pun, and ilical aing depicted in ruegel wimmelild. The oloit i
fixed at the center of the tage ut the individual in the extet aume peripatetic comportment, changing
location at deignated moment. The extet 22-minute dicoure i, with few exception, predetermined. In
contrat,themoueketieroloitiinvitedtoimprovieduringtheentirepan.

Audio4(21:52).MarkAppleaumThelueCloak(2005),formoueketierolowithextet.PerformedelgianenemleChamp
dActionatthe2005TranitFetival.ReleaedonAlum,InnovaRecord(http://www.innova.mu)[666],2006.Uedwiththekind
permiionofthepuliher.(http://econtact.ca/12_3/audio/Appleaum_The_lue_Cloak.mp3)

UnlikeMartianAnthropolog123andAgitproptherearenoretrictionatowhentheoloitmaormanot
pla.Thecorei,nonethele,veroe.Theoloitiprovided109pageofgraphicpictogramthatmae
carefullinterpreted,vaguelconidered,orignoredentirel.Iincludedtheeviualprovocationinordertogive
future oloit a view of the mercurial, whimical, loquaciou, and rapidl inventive onic dicoure that
characterize m current approach, material ometime cro-fading into their conequent and other time
gettingaruptlinterruptedinkaleidocopicucceion.Likemancompoer,Icareaoutthewamcore
look.ThepictureinThelueCloaktakethiconceittoanewlevel.
[29. Under normal circumtance I would never have devoted the time to uch an elaorate project with uch limited functional
utilit.utthetimingoftheprojectcoincidedaupicioulwiththeirthofmdaughterandthedeiretopendthefirtmonthof
herlifefocuedonher,andetnotceaemprofeionalcreativeactivitiealtogether.Thiwatherationalethatallowedmeto
pendafewhoureachdadrawingcarefreewithouttheurdenofmoretpicalcompoitionaldeciionduringherfirtmonth.]

Figure17a17d.xamplefromtheolopart
toThelueCloak.
(http://econtact.ca/12_3/image/appleaum_
luecloak_all.gif)

The lue Cloak i firt a muical work. ut it core puhe toward the graphic art. I hould return to the
aforementionedtatementthatmcreativitreideinthentheiofdiparateimpule,theimportationof
ideaacrodicipline,media,andfieldofthought.Clearevidenceofthiieeninmanofmworkpriorto
ThelueCloak,piecethatimilarlprolematizetheoundarieofmuicandoutlingtimuli.tog(1991),for
example,iacoreaedliterallontheCopenhagenuwatem;theactualmapandtimetalehaveeen
replicatedutwithtationnamereplacedatractetmuicallprovocativeveralutitution.Plaer,
nchronized topwatche, follow the timetale in a group improviation that mimic the real-life
metropolitan extemporization tethered dail to the Copenhagen train chedule. Tln (1995) i a piece for
three conductor and no plaer that explore traditional muical parameter uch a dnamic, temporal
dionance,andpolrhthmintheocularratherthanauraldomain;itwainpiredwatchingtwoindividual
engage in a virulent argument in ign language (a loud experience producing almot no deciel) and
reflectiononthemannerinwhicharchitectandviualartitemplotermlikerhthm.Thepercuionduo
Go,Dog,Go!(1999),commiionedkin&one,oundtotheaudiencelikeaconventionalpieceofmuic,
aleit a virtuoic one in which oth plaer navigate relentle and unwield change in aolute union. The
alientimuluinthipiece,however,reideinitutext,ahidden,virtualtemplateofhort,iconicitfrom
dozenofwell-knownpopularmuicrecordingthatexitonlinthemindoftheplaerandallowthemto
makeotherwieimpoilemetric-modulationtounrelatedtempiuponevernewmeaure.Theparadoxical
meta-piece Pre-Compoition (2002), a work for 8-channel tape commiioned lectronic Muic Midwet,
ring together muic and muic criticim. It ound ource comprie onl m voice, a nod of eight u-
peronalitiearguingaouttheirplantocompoean8-channeltapepiece.Alum(2004)forolopercuion
and9uperego,iachamerworkcommiionedtheViennaModernFetivalthatillutratepchological
diorderinound;amongitinventorof22diorder,Alum conit of a chizophrenic trio, a narcoleptic
quintet, a deluional quintet (with eparate grandioe, omatic, erotomanic, jealou, and perecutor
manifetation), a ipolar octet (with individual manic and depreive epiode), a paranoid violinit, a
dependent violit, a narciitic contraait, an oeive-compulive flutit, and a Tourette nonet that
makeuddenandinappropriateouturt.Writwatch:Geolog(2004)iapieceforplaertappingtonein
canon. The plaer follow the econd hand a it pae over mol appearing on the face of cutom
writwatchethaterveamuicalcore.Naturall,thecompoitionaldetailofWritwatch:Geologhadtoe
worked out in eoman fahion mean of eentiall proaic kill. And likewie technical iue had to e
olveddiligentlforthefaricationofthewatche.uteforehandcamethegerminalcolliionoftimepieceand
muicalcorewhereinreideamoreignificantcreativit.

Given thi recurring penchant, thi compulion toward the amalgamation of far-flung impule, it i hardl
urpriingtooervetheincreainglviualcharacterofmmuicalcore.Andmoreover,iteemappropriate
thatnovelintrumentrootedintheirimultaneoudedicationtoeeandearhouldengenderthefiveformal
work for ound-culpture decried herein, piece that increaingl trangre the oundar etween non-
vernacular compoition and tran-idiomatic improviation and intrument uilding, unimpeded creative
endeavorcategoriethat,likeallthinginlife,ultimatelrevealporou,interpenetratedorder.

Potcript:Plav.Perform
MagneticNorth,afourthconcertoformoueketierandenemle,wacompoedin2006.Commiionedthe
MeridianArtnemle,theworkicoredforoloitpluraquintet,withoptionalimproviedpercuion
accompaniment.Likeearlierwork,MagneticNorthwafirtconceivedaavehicleforthemoueketierutit
maeperformedanufficientlintrepidoloit.WiththeMeridianArtnemleIhaveplaedMagnetic
North in numerou concert, from California to the Concertgeouw; ut Meridian ha given even more
performancewithotherplaer.

Like The lue Cloak, the oloit i preented with idioncratic pictograph that ma e rendered trictl,
conultedcauall,orignoredentirel.utincontrat,theoloitmuicaloutpouringaretightlequetered
intopecificmoment,elevencadenzarangingfromtwoecondtotwominuteinduration.

Theoloitcadenzaarecocoonedwithinamercurialenemledicourethattwitchepamodicallamong
highl diparate notational convention muical pecification of radicall different intention, deign, and
degreeofindeterminac.Compoundingtheprivatecircuthatiitnotation,thepiececallforunexplained
utverpulicDadaitgeture,aparalleltheaterofaurdit.TheenemlevirtuoitthatMagneticNorth
demand i not merel along traditional line (e.g. higher, fater, louder), ut alo the facilit to convulivel
utitutemuicalculturewithextremepreciion,alacrit,andfrequenc.

ToplaMagneticNorthitoundertakeanenterprieofextraordinarrigorandlevit,anamalgamationthat
motpeople(utnotI)findcontradictor.indulginglevitonemaeledtoplaainthephraeuttered
ankideforeheorheecomeaprofeionalmuician:Iplamuic.Inthedecidedladultrealmof
frightfulllaoredmuicalpreentation(Iperformmuic),plaeemtoeaforakenverindeperateneed
ofrehailitation.

Audio5(14:18).MarkAppleaumMagneticNorth(2005).PerformedMarkAppleaumandtheMeridianArtnemle.Releaedon
ockMonke,InnovaRecord(http://www.innova.mu)[706],2008.Uedwiththekindpermiionofthepuliher.
(http://econtact.ca/12_3/audio/Appleaum_Magnetic_North.mp3)

ound-culptureDicograph
Appleaum,Mark.Alum.InnovaRecord[CD666],2006.IncludeThelueCloakformoueketierandextetperformedChamp
dAction,awellanemleXX.JahrhundertperformanceofAlumattheViennaModernFetival2004.
_____.TheilewithoutGod.InnovaRecord[CD649],2005.AdouleCDoflivemoueketierimproviationincludinga2005
collaorationwiththeMerceCunninghamDanceCompanandaperformanceatthelMueuminAutria.
_____.Catfih.TzadikRecord[TZ7094],2003.IncludeLicenedtoFail,amoueketierduowithPaulDreherandhilong-tring
intrumentthequadrachord.
_____.561/2ft.InnovaRecordCD646,2005.IncludeAgitpropformoueketierandjazzorchetra,awella561/2ft.forchamer
orchetra.
_____.IntellectualPropert.InnovaRecord[CD602],2003.IncludeMoueketierPraxi(fourmoueketierimproviation)awella
cipioWakeUp(andmelltheCoffee)performedthePaulDrehernemle.
_____.MartianAnthropolog.InnovaRecord[CD617],2004.IncludeMartianAnthropolog123formoueketierandorchetra.
_____.MouetrapMuic.InnovaRecord[CD511],1996.Thefirtcommercialrecordingofmound-culpture(improviationfor
mouetrap,mini-moue,andduplexmauphon)withlimitedliveelectronic.
_____.ockMonke.InnovaRecord[CD706],2008.IncludeMagneticNorthformoueketierandraquintetperformedThe
MeridianArtnemle.

AdditionalDicograph
Appleaum,Mark.Dicipline.InnovaRecordCD628,2004.
_____.TheJanuReMixe:xercieinAuto-Plundering.InnovaRecordCD532,1999.
TheAppleaumJazzPianoDuo(withRoertAppleaum):TheAppleDoentFallFarfromtheTree.InnovaRecordCD565,2002.

iograph
Mark Appleaum (. 1967, Chicago) i Aociate Profeor of Compoition at
tanford Univerit. He received hi PhD in compoition from the Univerit of
California at an Diego where he tudied principall with rian Fernehough. Hi
olo, chamer, choral, orchetral, operatic and electroacoutic work ha een
performed throughout the United tate, urope, Africa and Aia with notale
premiere at the Darmtadt ummer eion. He ha received commiion from
ettFreeman,theMerceCunninghamDanceCompan,theFrommFoundation,the
Paul Dreher nemle, the Vienna Modern Fetival, Antwerp Champ dAction,
Fetival ADvantgarde in Munich, Zeitgeit, MANUFACTUR (Toko), the t.
Lawrence tring Quartet, the Jerome Foundation, and the American Compoer
Forum, among other. Appleaum i alo active a a jazz pianit and uild
electroacouticintrumentoutofjunk,hardwareandfoundojectforueaoth
compoitional and improviational tool. Hi muic can e heard on recording on the Innova, Tzadik, Captone, and AMU
lael.Priortohicurrentappointment,hetaughtatUCD,MiiippitateUniverit,andCarletonCollege.
http://markappleaum.com

eContact! 12.3 IntrumentInterface (June 2010). Montral: Communaut lectroacoutique canadienne / Canadian lectroacoutic
Communit.