The English language was carefully, carefully cobbled together by three blind dudes and a German dictionary.
I have come to realise I have neither the time nor inclination to maintain and active and valuable blog, to that effect I will repurpose this blog into quasi twitter-weblog where blog posts resemble something in-between the microblog stature of Twitter and the article nature of a full blown Blog. I have created Articles where I’ll post any articles or extended blog posts sporadically.
I’m going to use the actual blog for when Twitter is just too short.
More coming… soon.
(Hopefully).
The following is my thesis from my Honours degree of 2009. Here is a PDF of the thesis properly formatted and with all diagrams and pictures etc..
Copyright offers tight control over intellectual property while Creative Commons deliberately relaxes this control; this relaxed control provides an artist with an alternative marketing strategy as well as a secure electronic distribution method. Copyright has been a useful tool for controlling intellectual property since its inception in 1710, but new developments in distribution of copyrighted materials has provided new challenges for copyright law. Creative Commons offers an alternative approach to copyright that embraces, rather than confronts these challenges.
Creative Commons is an alternative to copyright that is capable of representing all forms of art; sculpture, painting, literature, music printing and performances. This paper will discuss the difference between copyright and creative commons, and how they relate to music composition and performance.
Whilst Copyright continues to offer steadfast protection to creators, Creative Commons’ unique marketing potential and relaxed approach to intellectual property control provides customisable licensing formats for creators. Though it does have limitations, Creative Commons enables the artist to safely control their work as well as adequately promote it, making the most of new electronic marketing and distribution strategies. (more…)
Effectively, this project is an experiment. An experiment on a few levels(in no particular order): Firstly, it is a composition experiment; Secondly, it is a performance experiment; Thirdly, social and Fourthly, Creative Commons.
I ask you to spread is as for and wide as possible on any social platform. If you know pianists (or other musicians who may be interested) please let them know; drop them my email, send them to bagatelles.yagankiely.com (or yagankiely.com) or even email me (contact@yagankiely.com) and I’ll get in contact with them. I really want this project/experiment to work and I can’t do that without help from you to ‘spread the word’.
Timelines for work on my end will be:
First, correcting all notation errors on the Volume 1 v.1
Second, add three to four new Bagatelles
Third, create Volume 1 v.2
Fourth, set up hard copy sales at LuLu.com
Fifth, set up a PayPal account for arrangements and orchestrations (etc.)
This is a call for pianists and other musicians of any discipline (Classical, Jazz etc.) to perform and record a selection of small pieces originally for solo piano.
The Set of Bagatelles are small piano pieces grouped into volumes of forty (when applicable); updated when new bagatelles are created. I encourage as many performers as possible to perform this piece as often as possible. Each performer may select any bagatelle from any volume and these selections can be in any order the performers wishes. I ask that the selections be, in total, no longer than thirty minutes in length, and no less than ten; a length between eighteen and twenty-four minutes is recommended. If the performer wishes to perform less than ten minutes of selected Bagatelles, I ask that it not be performed publicly. (more…)
I’ve been told by many contemporaries and fellow students and tutors that my method of composition (not necessarily the compositions themselves) is unconventional but interesting. Having long given up playing piano (though I’m not completely inadequate at it) I do not have a traditional musical instrument to compose through, I do not use pen and paper (beyond very brief notes), I do not use ‘piano short scores’ to write orchestral music, I don’t employ extramusical themes for inspiration or musical content – at all; and I do not write melodies or harmonies first, as I believe they are one and the same.
I can’t explain inspiration (nor – at this point at least – do I have any impulse to try to) but my compositions and their themes generally do not come from fiddling around with the piano or similar but come with harmonic ideas and themes. Whilst composing the harmonies I, mostly, hear and compose a relative melody cognitively (not through experiments over the harmony). (more…)
