The spectral music of James Tenney

Issues of ubiquitous music archaeology: Shared knowledge, simulation, terseness, and ambiguity in early computer music

“…As suggested by Gaver and other referents of interaction design (Gaver et al, 2003), although not fitting comfortably within the context of utilitarian-design goals, ambiguity is an increasingly important aspect of human-computer interaction. This quality was consciously pursued by Tenney, pioneering complementary aesthetic and empirical insights on the subtle relationships between time and timbre within artistic practice (Wannamaker, 2021), cognitive science and interaction design (Löwgren, 2009).…”

“…On the same vein and through the archeological ubimus prism, a subtle and long lasting impact of both practitioners can be inferred. In particular, Tenney's contributions have been overlooked by the mainstream computer-music discourse [cf Polansky (1983); Wannamaker (2021; for notable exceptions].…”

The End(s) of Genre

“…Connected with this was the spectralists' "exploration, within an instrumental context, of techniques derived from the analogue electronic studio" (Anderson 2001, 167), an exploration later expanded to incorporate digital and computer technologies as well. Perhaps "the most characteristic" of these techniques was instrumental synthesis, which "mimics the electronic music technique of additive synthesis, but replaces 21 On Romanian spectralism, see Surianu 2000 andTeodorescu-Ciocanea 2003; on North American spectralism, see Wannamaker 2008. pure sine tones with the complex sounds of real instruments" (Hasegawa 2009, 349-50). But this does not exhaust the full range of technological processes emulated in spectral music.…”

Robert Wannamaker, The Music of James Tenney, Volume 1: Contexts and Paradigms, Volume 2: A Handbook to the Pieces. University of Illinois Press, £64.85.

“…For this reason, do not skip the end notes, which contain some precious details, like the discovery of a previously unknown work by John Cage from 1978, titled All Sides of the Small Stone for Erik Satie (and Secretly Given to Jim Tenney as a Koan). 7 The author's mathematics background is useful as well; the graphics in The Music of James Tenney are standout. The spectrogramswhich recall musical x-rays especially for Tenney's computer music, despite Tenney himself never making use of themare enlightening and, to Wannamaker's credit, almost never superfluous.…”

“…A final note for potential readersthere is no CD, but I had no trouble finding the works on YouTube, which Wannamaker noted. 12 And because Tenney's music is so epigrammatic, merging an acute sense for geometry and inevitability, sometimes a description of the compositional idea and perhaps a graphic or two already get at the beauty of the music as that is an integral part of it: the design, the organisation, the research. Wannamaker has done a tremendous job putting all the elements together for us to get inside the sound and process as time pulls us forward in Tenney's life.…”