Daniel Goode

Composer & Performer

Tag: pauline oliveros

Offer to the Vatican: Critical Mass

I would like to offer to the Vatican at no charge, the lyrics to my 2007 musical composition, Critical Mass. Here they are:

CRITICAL MASS, parts I & II                 text by Daniel Goode

I.
A spector is haunting America, a spirit is haunting America, a spirit of secular joy, of peace and community, enough for all, a spirit for us to enjoy.
Non credo in deo, non credo.
Oo-hoo-hoo a-ha-ha oo-hoo-hoo a-ha hoo-hoo-hoo ha-ha-ha hoo-hoo-hoo ha-ha.
Non credo in deo, non credo, non credo.
Oo-hoo-hoo a-ha-ha oo-hoo-hoo a-ha hoo-hoo-hoo ha-ha-ha hoo-hoo-hoo ha-ha.
Non credo, non credo, non credo, non credo.
Hoo ha ha Hoo ha Hoo ha Hoo ha Hoo ha Hoo ha Hoo ha Hoo ha Hoo ha Hoo ha Hoo ha Hoo ha. Non credo in deo, no, no, no!
“Credo in us.” Thank you, John Cage! Credo in us!
A spector is haunting America. “[A]merica.” Thank-a-you, Lenny Bernstein. A spirit is haunting America, a spirit of secular joy. Joy, joy, joy, joy, joy, joy, joy, joy, joy, joy, joy, joy, joy, joy, j, j, j, j, j, j, j, j, j, j, j, j, oooo! a spirit of sexual joy, sec, sec, sec, sec, sec, se-cuh-la, se-cuh-la, se-cuh-la, se-cuh-la, oooo!
Non credo in deo, non credo. No, no, no!
A mass for us, a mass for all, for us, for peace and community, planet, our home. Non credo, non credo in deo, non credo, non credo in deo. O, O. Let’s meditate. Open the gate! For all, for us. Thank you, Pauline.* Sing any note, open your throat! Ah… Ah… Ah… Say any thing, then make it sing! Open your throat! Sing any note. Ah……

II.
We believe in We believe in We believe in We—oo-ahh-ee-oo-ahh. Non non non credo-do-do-do-do-do, non credo in deo—ahh-oo-ee-ahh-oo.
We believe in We believe in We believe in We.
The suffering’s real, but death you don’t feel, shed your fears, then your tears, we are here, so are you, dear.
They say they speak in tongues, then why do they support the guns? We’ll show them where we put our tongues: aye-ee, ee-oh, you-ee, oh-aye, oh-wah, oh wah, ya-you, wah-ee.
It’s guns that kill people, not people, not people, it’s guns that kill people plus people plus people, oo-ah-oo-ah-oo-ah-oo-ah-oo. People plus people plus guns that kill people, it’s people plus people plus bombs that kill people. It’s guns, put them down!—oo-ah-oo-ah-oo-ah-oo-ah-oo. Thank you, Meredith Monk, oo-ah-oo-ah-oo-ah-oo-ah-oo.
Now it’s your turn to thank some one, come on! come on! come on! come on! Thank some one! Thank some one!—oo-ah-oo-ah-oo-ah-oo-ah-oo. Thank some one on any note…
The suffering’s real, but death you don’t feel, shed your fears, then your tears, we are here, so are you, dear.
Endlessness forever is all we can divine. If that’s divine, that’s fine.
We are alone with each other, there is no other. If that’s divine, that’s fine.
Love, then experience, then: make the world a better place to live. That’s where we live and thrive.
There is no proof that any one has ever gone to heaven or hell.
Faith, they say, is proof, but to them we say: oh poof, oh poof! Oh poof, oh poof, poof poof poof poof poof poof poof poof poof poof poof.
Air is divine. In and out, breath! Air is divine, is fine, is fine.
Let in the thought of what is sought. Hm, hm, hm, hm.
Bring on the dance, let in the trance-ce-ce-ce-ce. Bring on the dance, let in the trance-ce-ce-ce-ce. Let in the trance, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce. ce, ce, ce, ce, ce, ce, ce ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce, ce.

* “Pauline” is composer, Pauline Oliveros who composed Sonic Meditations
c 2005 by Daniel Goode

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Leaf Concert

Leaf Concert – October 30, 1993
The DownTown Ensemble performing at the Amble
Dance – Movement Arts Center in upstate NY

Daniel Goode performing Leaverage

Bill Hellermann performing Leaverage

R.I.P Hayman performing his Rake the Wind

Hayman preparing leaves…

…for the next piece

Bill Hellermann performing his The Rake’s Progress

Daniel Goode playing clarinet at the concert

After the Leaf Concert with composer/performer Pauline Oliveros

Score Transparency

Score Transparency  

When you do no more than glance at a traditionally notated musical score, you can derive mountains of information if you are a score reader. That makes it a transparent instrument or tool. But the musical score is something of an elite item; many, most people cannot read or derive information from it. That means music derived from scores can be managed only by those who can. Composers who seek to reach the sources of music management must learn to use scores, must go to institutions or teachers who can teach them score literacy. These institutions and by extension, many, most who have passed through such are constrained by their training and its ideology to regard music making and notating in the ways that are represented by a musical score. And why not? A score is a wonderful invention, a tool, and a code of marvelous complexity and subtlety, such that developing a computer notation system that is only reasonably flexible to its demands has taken decades. Why would I not want endorse the use of the musical score and simply work for a more universal literacy?

Because of verbal scores and conceptual music.

But verbal scores are not as transparent as notated scores. One must read and understand each sentence, each phrase, and every invented or adapted symbol the writer uses. One does not learn as much by scanning and flipping through verbal scores as notated scores. And there are the ambiguities of language at every turn. My favorite is the last sentence in Pauline Oliveros’s ground-breaking conceptual/verbal piece, Teach Yourself to Fly: “continue…until all others are quiet.” Wonderful, but impossible if each participant follows the instruction. I am waiting for you to become quiet, you are waiting for me to do the same. Yet we will figure this one out, of course. Many such gnomic sayings in verbal scores are not so easy.