| 01 | Central - Palace - Music | for solo amplified Renaissance oboe & sine waves |
| 02 | Netori / Hashigakari Chord | for sine waves, shō and oboe |
| 03 | Waves Of The Blue Sea | for sine waves and two Renaissance oboes |
| 04 | The Electric Harpsichord | for Yamaha 3-manual tuned keyboard & sine waves |
| 05 | Five Times Repeated Music | for two amplified Renaissance oboes & sine waves |
| 06 | Silicon Solitone Live-Time (00:49:49 … From 49:49:49…) Or Just Driftin' In The Year Of The Blues For La Monte Young |
Radio show broadcast on Dutch National Radio station De Concertzender. Introduced by Mark van der Voort. A survey of the composer's work. Hennix's recordings taken from an eight day festival organized in Spring 1976 at the Museum of Modern Art in Stockholm, and other sources, selections by Hennix.
Catherine Christer Hennix (C.C. Hennix) (born 1948) is a Swedish-American composer, philosopher, scientist and visual artist associated with drone minimal music. Hennix was affiliated with MIT's AI Lab in the late 1970s and was later employed as research professor of mathematics at SUNY New Paltz. She currently lives in Amsterdam.
Musical Background
C.C. Hennix began her musical studies in the 1960s by exploring the music of the art music composers Iannis Xenakis and Karlheinz Stockhausen. Hennix met La Monte Young and Hindustani raga master Pandit Pran Nath at the Nuits du Fondation Maeght festival in 1970 and pursued studies with both men during the 1970s. Hennix also drew inspiration from the Japanese Gagaku music and early vocal, thirteenth-century music of Perotinus and Leoninus. Hennix frequently worked together with the American anti-art philosopher, composer and violinist Henry Flynt.
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All major compositions by Catherine Christer Hennix (for example her "The Electric Harpsichord") are regarded as a small part of an ongoing, endless composition cycle.
In the late Seventies, Christer Hennix expounded a proposal for accession to elevated experience framed in terms of recent positions in foundations of mathematics and theoretical linguistics. Hennix's expositions extended seamlessly to poetry, painting, installation art, and music.
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In Hennix's installation at Moderna Museet in October 1976, notations for 'cloning' or 'amalgamating' abstract languages by means of semi-ultra-intuitionistic algorithms were presented. (Cf. Notes on Toposes & Adjoints.) The formal methods presented for intuitionistic topoi included, among others, all the infinite variations of Montague grammars for arbitrary fragments of English, permitting Hennix, by means of performing an inverse limit operation, to treat English semantics as abstract formalized concepts pulled along a given set (algebra) of functors while any material form of English grammar corresponds to a notation for these functors and their values. (Cf. Brouwer's Lattice and "17 Points on Intensional Logics," respectively.)
In the mid-Seventies, Hennix developed a dramatic concept referred to as Abstract Noh Drama and originally intended for radio broadcast or silent reading. Abstract Noh compositions differ from classical Noh in that they abstract from all visual elements. A ramification of the classical categories of drama (e.g. Noh-no-kami, Noh-no-kiri, Shura-mono) is allowed. ^-Noh or Empty Noh (1976) was the first new abstract category. It is an example of new logical types based on principles by the Buddhist logician, philosopher, and poet Dharmakirti.
This was a single three hour + MP3 obtained from
UbuWeb; I've cut it into tracks and inserted a cleaner copy of "The Electric Harpsichord," glory be
Catherine Christer Hennix - Concertzender 06/06/05 1/3 [Mirrors: 1, 2, 3, 4, 5, 6]Catherine Christer Hennix - Concertzender 06/06/05 2/3 [Mirrors: 1, 2, 3, 4, 5, 6]Catherine Christer Hennix - Concertzender 06/06/05 3/3 [Mirrors: 2, 3, 4, 5, 6]
