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Jon Rose (19 February 1951) is an Australian violinist, composer, and improviser. He was born in England and began playing violin at age 7 after winning a music scholarship to King's School in Rochester.[1] He gave up formal tuition at the age of 15.[2] Since the 1970s, he has been at the sharp end of new, improvised, and experimental music and media.[3] |
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He has created large environmental multimedia works, engaged with interactive electronic systems, built experimental music instruments, performed with numerous colleagues from the fields of new music and improvisation, created radiophonic works, and written cultural criticism, as well as improvised violin concertos with orchestra.[4] Central to his practice has been “The Relative Violin” project, a unique Gesamtkunstwerk (or total art form) manifesting in all-embracing, diverse outcomes on, with, and about the violin and string music more generally.[5] He has been described as ‘undoubtedly the most exploratory, imaginative and iconoclastic violin player who has lived in Australia.”[6] “Rose doesn't fit into any easily described categories - he does not swing, stomp or generate an ambient haze,” writes The Guardian critic John L. Walters, “but all his albums create a violin-shaped world that is all his own, shot through with wild humour.”[7] |
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{{larger|'''Lede section'''}}<br> |
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Early career[edit] |
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Jon Rose (19 February 1951) is an Australian violinist, composer, and improviser. He was born in England and began playing violin at age 7 after winning a music scholarship to King's School in Rochester.<ref>{{cite web|title=Jon Rose Biography & History AllMusic|url=http://www.allmusic.com/artist/jon-rose-mn0000261871/biography|website=AllMusic}}</ref>[1] He gave up formal tuition at the age of 15.<ref name=rose>{{cite book|last1=Rose|first1=Jon|editor1-last=Zorn|editor1-first=John|title=Arcana VI: musicians on music|date=2012|isbn=9780978833756|page=197|url=http://www.worldcat.org/oclc/913216325|language=English|chapter=Lines in Red Sand}}</ref> Since the 1970s, he has been at the sharp end of new, improvised, and experimental music and media.<ref>{{cite journal|last1=Mitchell|first1=Tony|title=Cosmopolitan swagman violinist|journal=Music Forum|date=May 2013|volume=19|issue=3|url=http://musicincommunities.org.au/members/members_only_articles/678_jon_rose_cosmopolitan_swagman_violinist/index.html}}</ref> He has created large environmental multimedia works, engaged with interactive electronic systems, built experimental music instruments, performed with numerous colleagues from the fields of new music and improvisation, created radiophonic works, and written cultural criticism, as well as improvised violin concertos with orchestra.<ref name=bennett>{{cite book|last1=Bennett|first1=David|title=Sounding postmodernism: sampling Australian composers, sound artists and music critics|date=2009|publisher=Australian Music Centre|isbn=9780909168643|url=http://www.worldcat.org/oclc/299024984|language=English}}</ref> Central to his practice has been “The Relative Violin” project, a unique Gesamtkunstwerk (or total art form) manifesting in all-embracing, diverse outcomes on, with, and about the violin and string music more generally.<ref name=rose/> He has been described as ‘undoubtedly the most exploratory, imaginative and iconoclastic violin player who has lived in Australia.”<ref>{{cite book|last1=Whiteoak|first1=John|last2=Scott-Maxwell|first2=Aline|title=Currency companion to music & dance in Australia|date=2003|publisher=Currency House Inc. in association with Currency Press, Sydney ; [Gazelle] [distributor|isbn=0868192600|pages=635-637|url=http://www.worldcat.org/oclc/56468159|language=English}}</ref> “Rose doesn't fit into any easily described categories - he does not swing, stomp or generate an ambient haze,” writes The Guardian critic John L. Walters, “but all his albums create a violin-shaped world that is all his own, shot through with wild humour.”<ref>{{cite news|last1=Walters|first1=J.L.|title=Fiddle Tricks|work=The Guardian|date=10 November 2000}}</ref> |
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Throughout the 1970s, first in England and then in Australia, Rose studied, played, composed in a variety of genres: from sitar playing to country & western, from new music composition to commercial studio session work, from bebop to Italian club bands, and from big band serial composition to sound installations.[8] This intimate contact with the popular repertoire of multiple genres allowed him to absorb licks and clichés that would later feed his magpie compositional technique.[9] |
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Rose became a central figure in the development of free improvisation in Australia, performing either solo, with fellow improvisers such as Jim Denley, Louis Burdett, Dave Ellis, Simone de Haan, and Rik Rue, or with an international pool of improvising performers called The Relative Band.[10] In 1977, he established Australia's first musician-run collective for the promotion and recording of improvised music, Fringe Benefits.[11] The band Slaughterhouse (with John Gillies and Michael Sheridan) was a cross genre manifestation from this time.[12] The collaborative LP Tango (Hot Records) Rose recorded in 1983 with Martin Wesley-Smith was a world first in violin and sampling (Fairlight CMI) improvisation.[13] |
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Rose’s work encompassed innovation in the fields of new instrument design (deconstructed violin instruments (including the Double-Piston Triple-Neck Wheeling Violin); in environmental performance; in new instrumental techniques (sometimes tested in uninterrupted marathon concerts of up to twelve hours); and in both analog (built into the violins themselves) and interactive electronics.[14] |
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In 1986, Rose moved to Berlin to more fully exploit the violin in "The Relative Violin" project.[15] The output of this project includes books, the development of extended string techniques, multimedia performances, and the founding of a violin museum (The Rosenberg Museum).[16] |
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His alternative, personal, and revised history for the violin also embraced the mediums of radio, live-performance film, video, and television.[17] With Super 8 integrated into his live performances, Rose’s “improvisations referred not only to the eerie desert images of a movie shot largely in the Australian outback but also to the rapid jump-cut editing and sped-up footage,” which New York Times critic Stephen Holden goes on to describe as “the most audacious music of the evening.”[18] |
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Rose’s international music festival appearances include Strasbourg New Music Festival, New Music America, Moers New Jazz Festival, European Media Festival, The Vienna Festival, Ars Electronica, Northsea Jazz Festival, Dokumenta, Roma-Europa Festival, Festival D'Automne, Festival Musique Actuelle, Maerzmusik, Taktlos, Mona Foma, Tectonics, Angelica, Melbourne International Festival of the Arts, Sydney Festival, and Berlin Jazz Festival.[19] He also curated his own festival, String 'Em Up, which focused on innovative uses of stringed instruments and travelled to Berlin, Rotterdam, New York City, and Paris.[20] |
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Recent activity (2000+) |
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Rose is often singled out as the most controversial musical figure in Australia.[21] The political nature of many of his projects has seen him apprehended by security guards for playing music in front of The Sydney Opera House and by the Israeli Defence Forces while playing the Separation Fence near Ramallah in the Occupied Territories.[22][23] He is known for creating moments of intense theatre (McFadyen, 2005).[24] |
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{{larger|'''Early career'''}}<br> |
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He works with various new music ensembles and organizations including Ensemble Offspring, Tura New Music, Decibel, Speak Percussion, Soundstream, and the The NOWnow, as well as The Adelaide Symphony Orchestra. He values the homegrown. ‘Instead of importing the latest theoretical cultural package from the US or the UK,” he writes, “the way forward is to explore the many elements in our indigenous and colonial history that contain empirical guidance for the future of music practice. But first, we are going to have to believe that it is worth trying.”[25] |
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Throughout the 1970s, first in England and then in Australia, Rose studied, played, composed in a variety of genres: from sitar playing to country & western, from new music composition to commercial studio session work, from bebop to Italian club bands, and from big band serial composition to sound installations.<ref>{{cite web|title=Jon Rose : Represented Artist Profile : Australian Music Centre|url=http://www.australianmusiccentre.com.au/artist/rose-jon|website=www.australianmusiccentre.com.au}}</ref> This intimate contact with the popular repertoire of multiple genres allowed him to absorb licks and clichés that would later feed his magpie compositional technique.<ref>{{cite web|title=Jon Rose Biography & History AllMusic|url=http://www.allmusic.com/artist/jon-rose-mn0000261871/biography|website=AllMusic}}</ref> |
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In 2006, he held the David Tudor Residency at Mills College and completed a lecture and concert tour of all major UC campuses.[26]. Rose gave the 2007 Peggy Glanville-Hicks Memorial Address, “Listening to history: some proposals for reclaiming the practice of music.”[27] |
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Rose became a central figure in the development of free improvisation in Australia, performing either solo, with fellow improvisers such as Jim Denley, Louis Burdett, Dave Ellis, Simone de Haan, and Rik Rue, or with an international pool of improvising performers called The Relative Band.<ref>{{cite news|last1=Maloon|first1=T|title=A Relatively planned tour of stand-up improvisers|work=The Sydney Morning Herald|date=n.d.}}</ref> In 1977, he established Australia's first musician-run collective for the promotion and recording of improvised music, Fringe Benefits.<ref>{{cite web|title=Jon Rose Fringe Benefits 1977 – 1985 Entropy Stereo Recordings|url=https://m-etropolis.com/blog/jon-rose-fringe-benefits-1977-1985-entropy-stereo-recordings/,|website=Metropolis|date=10 April 2014}}</ref> The band Slaughterhouse (with John Gillies and Michael Sheridan) was a cross genre manifestation from this time.<ref>{{cite web|title=Jon Rose Fringe Benefits 1977 – 1985 Entropy Stereo Recording MP|url=https://m-etropolis.com/theshop/products/jon-rose-fringe-benefits-1977-1985/,|website=M.etropolis|date=1 December 1998}}</ref> The collaborative LP Tango (Hot Records) Rose recorded in 1983 with Martin Wesley-Smith was a world first in violin and sampling (Fairlight CMI) improvisation. |
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The Music Board of the Australia Council for the Arts honored Rose with its most prestigious award for lifetime achievement and contribution to Australian music, the 2012 Don Banks Prize.[28] Rose was awarded a one-year residency at the Peggy Glanville-Hicks House by the Australia Council for the Arts in 2017.[29] |
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Masquerading as the historical archives of an Australian dynasty of virtuosic violinists, The Rosenberg Museum is a pop-up institution that exhibits Rose’s quirky and provocative collection of 800+ violins and violin iconography.[30] Among its holdings are bizarre instruments and images, violin stamp books, toy violins, violin pornography, and violin-shaped clocks and liquor bottles.[31] A recent addition is The Data Violin, a robotic musical instrument that converts live statistics from the Wall Street stock exchange into sound ranging from sustained tones to frantic activity.[32] The Rosenberg Museum has been featured in Berlin, Rotterdam, Paris, Brno, Budapest, Nove Zamky, Prague, Krakow, Violin (in Slovakia), and Sydney.[33] |
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Rose’s work encompassed innovation in the fields of new instrument design (deconstructed violin instruments (including the Double-Piston Triple-Neck Wheeling Violin); in environmental performance; in new instrumental techniques (sometimes tested in uninterrupted marathon concerts of up to twelve hours); and in both analog (built into the violins themselves) and interactive electronics.<ref name=maloon>{{cite news|last1=Maloon|first1=T|title=Feel free to laugh, he said—and the house broke up|work=The Sydney Morning Herald|date=n.d.}}</ref> |
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In 1986, Rose moved to Berlin to more fully exploit the violin in "The Relative Violin" project.<ref name=colli>{{cite web|last1=Colli|first1=I|url=http://www.ilariocolli.com.au/writing/35/jon-rose|title=The musical iconoclast|publisher=Limelight Magazine|pages=44-52|date=2012}}</ref> The output of this project includes books, the development of extended string techniques, multimedia performances, and the founding of a violin museum (The Rosenberg Museum).<ref>{{cite book|last1=Strange|first1=Patricia|last2=Strange|first2=Allen|title=The Contemporary Violin: Extended Performance Techniques.|pages=175-177|date=2003|publisher=Scarecrow Press|isbn=9781461664109|url=http://www.worldcat.org/oclc/855502435|language=English}}</ref> |
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His alternative, personal, and revised history for the violin also embraced the mediums of radio, live-performance film, video, and television.<ref name=ulman>{{cite journal|last1=Ulman|first1=J|title=Changing the Record—Rose Radiophone|journal=Performance Space|date=2016|volume=27 October - 6 November|pages=39-43}}</ref> With Super 8 integrated into his live performances, Rose’s “improvisations referred not only to the eerie desert images of a movie shot largely in the Australian outback but also to the rapid jump-cut editing and sped-up footage,” which New York Times critic Stephen Holden goes on to describe as “the most audacious music of the evening.”<ref>{{cite news|last1=Holden|first1=Stephen|title=Music: Jon Rose Improvises with Fiddles|url=https://www.nytimes.com/1986/03/30/arts/music-jon-rose-improvises-with-fiddles.html|work=The New York Times|date=1986|language=en}}</ref> |
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Rose’s international music festival appearances include Strasbourg New Music Festival, New Music America, Moers New Jazz Festival, European Media Festival, The Vienna Festival, Ars Electronica, Northsea Jazz Festival, Dokumenta, Roma-Europa Festival, Festival D'Automne, Festival Musique Actuelle, Maerzmusik, Taktlos, Mona Foma, Tectonics, Angelica, Melbourne International Festival of the Arts, Sydney Festival, and Berlin Jazz Festival.<s>[19]</s> He also curated his own festival, String 'Em Up, which focused on innovative uses of stringed instruments and travelled to Berlin, Rotterdam, New York City, and Paris.<ref>{{cite web|title=String 'em Up|url=http://v2.nl/events/string-em-up|website=V2_Institute for the Unstable Media|language=en-us}}</ref> |
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{{larger|'''Recent activity'''}}<br> |
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Rose is often singled out as the most controversial musical figure in Australia.<ref name=maloon/> The political nature of many of his projects has seen him apprehended by security guards for playing music in front of The Sydney Opera House and by the Israeli Defence Forces while playing the Separation Fence near Ramallah in the Occupied Territories.<ref name=colli/><ref>{{cite web|title=Meet the Guy Who Uses Fences as Instruments|url=https://noisey.vice.com/blog/jon-rose-and-the-musical-fence|website=Noisey|language=en-us|date=6 December 2013}}</ref> He is known for creating moments of intense theatre (McFadyen, 2005).<ref>{{cite web|title=Feel the noise - Music - Entertainment - theage.com.au|url=http://www.theage.com.au/news/music/feel-the-noise/2005/09/15/1126750075660.html|website=www.theage.com.au|language=en}}</ref> |
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He works with various new music ensembles and organizations including Ensemble Offspring, Tura New Music, Decibel, Speak Percussion, Soundstream, and the The NOWnow, as well as The Adelaide Symphony Orchestra. He values the homegrown. ‘Instead of importing the latest theoretical cultural package from the US or the UK,” he writes, “the way forward is to explore the many elements in our indigenous and colonial history that contain empirical guidance for the future of music practice. But first, we are going to have to believe that it is worth trying.”<ref name="Jon Rose">{{cite book|last1=Rose|first1=J.|title=he Music of Place: Reclaiming a Practice|date=2013|publisher=Currency House|location=Strawberry Hills|pages=61}}</ref> |
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In 2006, he held the David Tudor Residency at Mills College and completed a lecture and concert tour of all major UC campuses.<ref name=bennett/> Rose gave the 2007 Peggy Glanville-Hicks Memorial Address, “Listening to history: some proposals for reclaiming the practice of music.”<ref>{{cite journal|last1=Wesley-Smith|first1=M.|title=Larrikin par excellence|journal=Resonate Magazine,|date=21 March 2012|url=https://www.australianmusiccentre.com.au/article/larrikin-par-excellence|accessdate=13 February 2018}}</ref> |
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The Music Board of the Australia Council for the Arts honored Rose with its most prestigious award for lifetime achievement and contribution to Australian music, the 2012 Don Banks Prize.<ref>{{cite journal|last1=Hindson|first1=M.|title=Don Banks Award 2012 Jon Rose|journal=Resonate Magazine|date=21 March 2012|url=http://www.australianmusiccentre.com.au/article/don-banks-award-to-jon-rose|accessdate=5 August 2013}}</ref> Rose was awarded a one-year residency at the Peggy Glanville-Hicks House by the Australia Council for the Arts in 2017.<ref name=galvin>{{cite news|last1=Galvin|first1=N.|title=Jon Rose uncovers sounds of the city|url=http://www.smh.com.au/entertainment/music/jon-rose-uncovers-sounds-of-the-city-20161103-gshhjj.html|accessdate=12 February 2018|publisher=Sydney Morning Herald|date=3 November 2016}}</ref> |
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Masquerading as the historical archives of an Australian dynasty of virtuosic violinists, The Rosenberg Museum is a pop-up institution that exhibits Rose’s quirky and provocative collection of 800+ violins and violin iconography.<ref name=galvin/> Among its holdings are bizarre instruments and images, violin stamp books, toy violins, violin pornography, and violin-shaped clocks and liquor bottles.<ref>{{cite journal|last1=McPherson|first1=A.|title=Music vs capitalism, ghosts in machines|journal=RealTime Arts|date=2016|volume=135|pages=135|accessdate=18 January 2018}}</ref> A recent addition is The Data Violin, a robotic musical instrument that converts live statistics from the Wall Street stock exchange into sound ranging from sustained tones to frantic activity.<ref>{{cite news|last1=McPherson|first1=A.|title=he museum goes live (Liveworks Festival)|url=http://www.limelightmagazine.com.au/live-reviews/review-museum-goes-live-liveworks-festival#sthash.d0lPrHOD.dpuf|accessdate=7 December 2017|date=29 October 2016}}</ref> The Rosenberg Museum has been featured in Berlin, Rotterdam, Paris, Brno, Budapest, Nove Zamky, Prague, Krakow, Violin (in Slovakia), and Sydney.<ref>{{cite journal|last1=Mitchell|first1=T.|title=Cosmopolitan swagman violinist|journal=Music Forum|date=May 2013|volume=19|issue=3}}</ref> |
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Improvising musician |
Improvising musician |
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As an improviser, Rose not only has access to the canon of virtuoso classical technique, but is also at home with jazz practice from Stuff Smith onwards, as well as any number of ethnic practices.” |
As an improviser, Rose not only has access to the canon of virtuoso classical technique, but is also at home with jazz practice from Stuff Smith onwards, as well as any number of ethnic practices.”<ref>{{cite web|last1=Toop|first1=R.|title=Jon Rose|website=Grove Music Online|publisher=Oxford University Press}}</ref> One of the first musicians to create an electroacoustic instrument that actually worked in improvisation<ref>{{cite web|last1=Scaruffi|first1=P.|title=Jon Rose|url=http://www.scaruffi.com/avant/rose.html|accessdate=7 December 2017}}</ref>, Rose revolutionised the approach to the violin via his technical developments and radical performance strategies.<ref>{{cite news|last1=Gill|first1=A.|title=Jon Rose, Rosin (ReR)|url=http://www.independent.co.uk/arts-entertainment/music/reviews/album-review-jon-rose-rosin-rer-8437081.html|accessdate=7 February 2018|publisher=The Independent|date=5 January 2013}}</ref> |
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There are a number of projects where Rose has put the art of improvisation to the test. A series of marathon solos in the 1980s demonstrated the limits of the form (12 hours continuous solo as part of Sound Barriers at the Alexander Mackie Gallery, Sydney 1982). |
There are a number of projects where Rose has put the art of improvisation to the test. A series of marathon solos in the 1980s demonstrated the limits of the form (12 hours continuous solo as part of Sound Barriers at the Alexander Mackie Gallery, Sydney 1982).<ref name=uitti>{{cite journal|last1=Uitti|first1=F.-M.|title=Jon Rose|journal=Contemporary Music Review|date=2006|volume=25|issue=5-6|page=635}}</ref> Other key factors evident in Rose’s language of Improvisation are his continuing exploration of phenomena such as scordatura, temperament (or tuning, with which he has worked with Veryan Weston for nearly two decades), the use of electronics (both analog and digital), and instrument building.<ref name=bennett/><ref>{{cite web|title=Jon Rose & Veryan Weston - Temperment|url=http://www.emanemdisc.com/E4207.html|accessdate=5 January 2018}}</ref> |
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In 2006, John Oswald invited Rose to improvise a solo part for the Tchaikovsky Violin Concerto with the BBC Scottish Symphony Orchestra. |
In 2006, John Oswald invited Rose to improvise a solo part for the Tchaikovsky Violin Concerto with the BBC Scottish Symphony Orchestra.<ref name=bennett/> Another violin concerto, Elastic Band (2014), was Rose’s collaboration with composer Elena Kats-Chernin, conductor Ilan Volkov, and The Adelaide Symphony Orchestra.<ref>{{cite web|url=http://www.adelaidefestival.com.au/2014/images/gallery/Tectonics_Adelaide_Festival_Elastic_Band_Elena_KATS-CHERNIN_Jon_ROSE.pdf|title=Elastic Band for solo improvised violin and orchestra Elena Kats‐Chernin / Jon Rose |accessdate=5 February 2018}}</ref> Rose’s solo part was completely improvised over a written structure that he co-composed with Kats-Chernin.<ref>{{cite journal|last1=Hogg|first1=B.|title=A violin, by any other name ….|journal=the museum goes live: Performance Space: Sydney, 27 October - 6 November|date=2016|page=35}}</ref> Elastic Band saw repeat performances with the Orchestra del Teatro Comunale di Bologna for the AngelicA Festival and with the Iceland Symphony Orchestra for the 2015 Tectonics Festival.<ref>{{cite web|url=https://www.aaa-angelica.com/aaa/festival/edizione-festival-2015/orchestra/|title=/Edizione-Festival|accessdate=13 February 2018}}</ref><ref>{{cite web||title=From Israel to Iceland|url=https://www.jewishnews.net.au/from-israel-to-iceland/42043|accessdate=13 February 2018}}</ref><ref>{{cite web|title=The 4th annual Tectoncics Reykjavik Music Festival|url=https://en.sinfonia.is/news/nr/2800|accessdate=13 February 2018}}</ref> |
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New York Times music critic Stephen Holden has observed how Rose’s improvisations range from “accelerated, tonally centered solos with late Romantic associations to free-form sonic explorations.” |
New York Times music critic Stephen Holden has observed how Rose’s improvisations range from “accelerated, tonally centered solos with late Romantic associations to free-form sonic explorations.”<ref>{{cite news|last1=Holden|first1=S.|title=Music: Jon Rose improvises with fiddles|publisher=The New York Times|date=30 March 1986}}</ref> “It strikes me that our hooked-up, online world of fast-moving, illusive moments is becoming exactly like improvisation – like improvisation has always been,” Rose writes. “We are all living and acting like improvisers, whether we have signed up for the deal or not.”<ref>{{cite web|last1=Rose|first1=J.|title=The Improvising Algorithm|url=http://www.pointofdeparture.org/PoD46/PoD46Algorithm.html|accessdate=17 January 2018|date=2014}}</ref> In 2015, Rose undertook a residency at The Stone in New York City, playing with a new combination each set. This included locals such as Marc Ribot, Chuck Bettis, Eyal Maoz, Lukas Ligeti, Ikue Mori, Peter Evans, John Medeski, Okkyung Lee, Ches Smith, Andrew Drury, Denman Maroney, Annie Gosfield, and David Watson. |
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Composer |
Composer |
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With a reputation as a “musical provocateur,” Rose has established a diverse repertoire of music written for the violin or strings, but also orchestral settings. |
With a reputation as a “musical provocateur,” Rose has established a diverse repertoire of music written for the violin or strings, but also orchestral settings.<ref>{{cite journal|last1=Strahle|first1=G.|title=Does classical music need more Aussie larrikins?|journal=Music Australia|date=16 January 2017}}</ref> Rose considers very few of his compositions as complete: “It all could be reworked with another set of outcomes,” he says.<ref name=uitti/> His use of written notation is usually reserved to articulate a recognizable genre that he then sets up to collide with other sonic environments or situations.<ref name=ulman/> |
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Violin Music in the Age of Shopping (1994-1996) involved the recomposition of a myriad of genres for choir, string orchestra, band, soloists, and sampling (usually by Otomo Yoshihide). |
Violin Music in the Age of Shopping (1994-1996) involved the recomposition of a myriad of genres for choir, string orchestra, band, soloists, and sampling (usually by Otomo Yoshihide).<ref name=bennett/> |
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In Violin Factory (1999), an orchestra plays generic string music in the context of mechanical production and reproduction. |
In Violin Factory (1999), an orchestra plays generic string music in the context of mechanical production and reproduction.<ref name=ulman/><ref>{{cite web|title=Jon Rose: Violin Factory|url=http://www.squidco.com/rer/onesheets/hdcd.html|accessdate=10 February 2018}}</ref> |
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Charlie's Whiskers (2004) for string orchestra, piano, saw, and live sampling pays tribute to Charles Ives, champion of the individual independent musical line. |
Charlie's Whiskers (2004) for string orchestra, piano, saw, and live sampling pays tribute to Charles Ives, champion of the individual independent musical line.<ref>{{cite news|last1=Gill|first1=A.|title=Jon Rose, Rosin (ReR)|url=http://www.independent.co.uk/arts-entertainment/music/reviews/album-review-jon-rose-rosin-rer-8437081.html|accessdate=7 February 2018|publisher=The Independent|date=5 January 2013}}</ref> |
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Internal Combustion (2008), concerto for amplified orchestra, solo violin and video, was performed at The Berlin Philharmonic by ensemble unitedberlin with a commission from Maerzmusik. |
Internal Combustion (2008), concerto for amplified orchestra, solo violin and video, was performed at The Berlin Philharmonic by ensemble unitedberlin with a commission from Maerzmusik.<ref>{{cite web|title=ensemble unitedberlin|url=http://archiv2.berlinerfestspiele.de/en/archiv/festivals2008/02_maerzmusik08/mm_08_programm/mm_08_programm_gesamt/mm_08_ProgrammlisteDetailSeite_9105.php|accessdate=9 February 2018}}</ref> |
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The Auctioneer Says (2012) for cello, viola, alto saxophone, electric bass, percussion, and video was commissioned by Decibel. |
The Auctioneer Says (2012) for cello, viola, alto saxophone, electric bass, percussion, and video was commissioned by Decibel.<ref>{{cite web|title=Australian Music Centre: The Auctioneer Says (multimedia work)|url=https://www.australianmusiccentre.com.au/work/rose-jon-auctioneer-says|accessdate=9 February 2018}}</ref><ref>{{cite journal|last1=Knowles|first1=J.|title=Jon Rose’s The Music of Place: Reclaiming a Practice|journal=RealTime Arts|date=10 July 2013|volume=115|url=http://www.realtimearts.net/article/115/1121|accessdate=10 January 2018}}</ref> |
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Ghan Tracks (2014), commissioned by Ensemble Offspring, combines multimedia performance, installation, live radio, and documentary. |
Ghan Tracks (2014), commissioned by Ensemble Offspring, combines multimedia performance, installation, live radio, and documentary.<ref>{{cite web|title=Ghan Tracks Jon Rose with Ensemble Offspring and Speak Percussion presented by Performance Space|url=http://performancespace.com.au/events/ghantracks/|accessdate=10 January 2018}}</ref> |
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Picnic at Broken Hill (2015) was commissioned by Soundstream. It is a musical transcription of the 1915 suicide texts left by two former cameleers who fired upon a train of picnickers as a protest against Australia’s invasion of the Ottoman Empire. Using a pitch to MIDI program, each hand performs one of the suicide texts. |
Picnic at Broken Hill (2015) was commissioned by Soundstream. It is a musical transcription of the 1915 suicide texts left by two former cameleers who fired upon a train of picnickers as a protest against Australia’s invasion of the Ottoman Empire. Using a pitch to MIDI program, each hand performs one of the suicide texts.<ref>{{cite journal|last1=Smart|first1=G.|title=Of broken trees and elephant ivories: a musical journey inspired by the legacy of pianos in colonial Australia|journal=Resonate Magazine|date=17 May 2017|url=https://www.australianmusiccentre.com.au/article/of-broken-trees-and-elephant-ivories|accessdate=5 January 2018}}</ref> |
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Instrument inventor and builder |
Instrument inventor and builder |
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As the most iconic of all instruments in the classical repertoire, the violin has been a source of inspiration for artists as well as musicians. |
As the most iconic of all instruments in the classical repertoire, the violin has been a source of inspiration for artists as well as musicians.<ref>{{cite journal|last1=Bond|first1=A.|title=The Rosenberg Museum|journal=he museum goes live: Performance Space: Sydney, 27 October - 6 November|date=2016|page=27}}</ref> A central theme of Rose’s work is recontextualizing everyday non-musical items and redefining them as music-making objects of art.<ref name=baker>{{cite web|last1=Baker|first1=B.|title=Jon Rose Rosin (ReR)|url=http://www.cyclicdefrost.com/2013/04/jon-rose-rosin-rer/,|website=Fish|accessdate=5 January 2018|date=23 April 2013}}</ref> While fully functional, his modified instruments are often viewed as contemporary sculptures.<ref>{{cite book|last1=Strange|first1=A.|last2=Strange|first2=P.|title=The Contemporary Violin|date=2001|publisher=The University of California Press|location=Berkeley|page=175}}</ref> |
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Rose’s enduring practice of building new string instruments and modifying conventional ones is a recurrent theme in his work. |
Rose’s enduring practice of building new string instruments and modifying conventional ones is a recurrent theme in his work.<ref>{{cite journal|last1=Veltheim|first1=E.|title=The transformation of the world into violin: The Rosenberg Museum as a site for radical musical praxis|journal=the museum goes live: Performance Space: Sydney, 27 October - 6 November|date=2016|pages=45-49}}</ref> His early instrument building in the 1970s and 1980s incorporated wind, water, and wheels to excite and/or modulate the behavior of an array of string types, from violin gut strings to fence wire.<ref>{{cite journal|last1=Rose|first1=J.|title=The Rosenberg Museum|journal=he museum goes live: Performance Space: Sydney, 27 October - 6 November|date=2016|pages=3-25}}</ref> This period of instrument building produced over 20 instruments known as The Relative Violins.<ref>{{cite news|last1=Walters|first1=J. L.|title=Fiddle Tricks|publisher=The Guardian|date=10 November 2000}}</ref> For instance, the Whipolin (1997) was a seven-string disembowelled cello fitted with an extensive collection of hurdy-gurdy type wheels.<ref name=ulman/> The Tromba-mariner (1979) was attached to the side of a boat, with six sympathetic strings.<ref>{{cite journal|last1=Rose|first1=J.|title=The Rosenberg Museum|journal=the museum goes live: Performance Space: Sydney, 27 October - 6 November|date=2016|pages=5-6}}</ref> The Nineteen-String Cello (1981) accommodated seven strings on the regular (enlarged) fingerboard, plus five strings to the right of the neck and three to the left, including one string that could be extended below the instrument by a rod.<ref>{{cite journal|last1=Rose|first1=J.|title=The Rosenberg Museum|journal=the museum goes live: Performance Space: Sydney, 27 October - 6 November|date=2016|pages=5-6}}</ref> |
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From 1985, Rose worked in conjunction with engineers at the Studio for Electro-Instrumental Music (STEIM) in Amsterdam to develop a series of interactive MIDI bows (and amplified bows) under the rubric Hyperstring Project. |
From 1985, Rose worked in conjunction with engineers at the Studio for Electro-Instrumental Music (STEIM) in Amsterdam to develop a series of interactive MIDI bows (and amplified bows) under the rubric Hyperstring Project.<ref>{{cite book|last1=Strange|first1=A.|last2=Strange|first2=P.|title=The Contemporary Violin|date=2001|publisher=The University of California Press|location=Berkeley|page=208}}</ref> In his MIDI bows, “there are 3 primary controllers”, explains Rose, “a sensor mounted on the violin bow which measures the bow pressure; an accelerometer mounted on the bowing arm, measuring bowing arm movement (and more importantly) speed of movement; and foot pedals which are played independently by both feet."<ref>{{cite book|last1=Rose|first1=J.|title=Liner notes|date=2012|publisher=ReR|location=London|pages=8-11}}</ref> Rose was able to explore elements of counterpoint and polyrhythmic figures by means of the different controllers that measured the physicality of high speed improvisation.<ref>{{cite journal|last1=Reinsel|first1=J.|title=Jon Rose: The Hyperstring Project. The new dynamic of rogue counterpoint|journal=Computer Music Journal|date=2001|volume=25|issue=4|pages=99-100}}</ref> |
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Rose’s activity in the digital realm stemmed from a longstanding interest in amplification and analog electronics, including building DIY circuitry inside violins, the instrument housing anything from ring modulator to FM radio transmission. He also credits his history as a performer with influencing his instrument building: |
Rose’s activity in the digital realm stemmed from a longstanding interest in amplification and analog electronics, including building DIY circuitry inside violins, the instrument housing anything from ring modulator to FM radio transmission. He also credits his history as a performer with influencing his instrument building: |
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“What maybe makes me have a different view from other improvisers is that I apply an improvisational method to my whole musical output. I include quite a number of experimental string instruments in this total improvisational vie. I might have started out with a sketch, an abstract notion, but very soon I have found that the making of the instrument itself reveals qualities about the physical materials involved and that leads me off into another direction—maybe another instrument, maybe another kind of musical area. The mechanics of an instrument clearly determine many characteristics of the music made upon it.” |
“What maybe makes me have a different view from other improvisers is that I apply an improvisational method to my whole musical output. I include quite a number of experimental string instruments in this total improvisational vie. I might have started out with a sketch, an abstract notion, but very soon I have found that the making of the instrument itself reveals qualities about the physical materials involved and that leads me off into another direction—maybe another instrument, maybe another kind of musical area. The mechanics of an instrument clearly determine many characteristics of the music made upon it.”<ref name=uitti/> |
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Multimedia artist. As a pioneer of the interactive violin bow, Rose was in 1998 the first in the world to use a bow to modulate the parameters of video (including speed, color, and revolutions) and of sound (pitch including pitch bend, volume, timbre, duration, panning, silence).<ref>{{cite journal|last1=Rose|first1=J.|title=Bow wow: The interactive violin bow and improvised music, a personal perspective|journal=Leonardo Music Journal|date=2010|volume=20|pages=57-66}}</ref> His piece, Palimpolin (2009), featured the interactive K-Bow, which used the parameters of bow action—bow length, bow tilt, and distance between the bow and bridge—to drive surround sound and visual imagery.<ref>{{cite news|last1=Silsbury|first1=E.|title=Innovators take a bow|url=https://www.youtube.com/watch?v=0bddNDOQuyU|accessdate=3 January 2018|publisher=Adelaide Advertiser|date=18 October 2012}}</ref> It manipulated a variety of sounds, from bowing and plucking, to a range of electronic sounds, to preprogrammed samples that play when the bow and violin have certain interactions.<ref>{{cite news|last1=Gale|first1=K.|title=The violin speaks|publisher=Adelaide Advertiser|date=15 October 2012}}</ref><ref>{{cite web|url=https://www.australianmusiccentre.com.au/event/jon-rose-palimpolin|accessdate=3 January 2018}}</ref> |
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Multimedia artist |
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As a pioneer of the interactive violin bow, Rose was in 1998 the first in the world to use a bow to modulate the parameters of video (including speed, color, and revolutions) and of sound (pitch including pitch bend, volume, timbre, duration, panning, silence).[72] His piece, Palimpolin (2009), featured the interactive K-Bow, which used the parameters of bow action—bow length, bow tilt, and distance between the bow and bridge—to drive surround sound and visual imagery.[73] It manipulated a variety of sounds, from bowing and plucking, to a range of electronic sounds, to preprogrammed samples that play when the bow and violin have certain interactions.[74][75]. |
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Many of Rose’s projects are directed towards musical outsiders or the disadvantaged. |
Many of Rose’s projects are directed towards musical outsiders or the disadvantaged.<ref>{{cite book|last1=Toop|first1=R.|title=Jon Rose|date=2011|publisher=Grove Music Online, Oxford University Press|location=Oxford}}</ref> Australia Ad Lib (2002-2003) was a website that Rose created for the Australian Broadcasting Corporation (ABC), “an interactive guide to the wild, the weird, and the vernacular in Australian music,” which has since been deactivated.<ref name=bennett/><ref name="Experimental Music">{{cite book|last1=Hope|first1=C.|editor1-last=Priest|editor1-first=G.|title=Cultural terrorism and anti-music: Noise music and its impact on experimental music in Australia|date=2008|publisher=University of New South Wales Press|location=Sydney|page=72}}</ref> Underpinned by a series of multimedia pieces by Rose, the live show Pannikin (2005) featured a selection of soloists from Australia Ad Lib.<ref>{{cite web|url=http://www.theage.com.au/news/arts-reviews/pannikin-jon-rose/2005/10/10/1128796461245.html|accessdate=5 February 2018}}</ref> Pannikin showcased a singing dingo, virtuosic whip techniques, a simultaneous hum and whistler, an auctioneer, a chainsaw orchestra, and a bowed saw orchestra.<ref name=baker/> |
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Pursuit (2004-2013) was a surround-sound, mobile bicycle-powered orchestra of regular and homemade instruments. With 100+ bicycle-powered instruments, Pursuit outcomes took place in Sydney, Hobart, and its most recent manifestation at the Canberra Centenary celebrations. |
Pursuit (2004-2013) was a surround-sound, mobile bicycle-powered orchestra of regular and homemade instruments. With 100+ bicycle-powered instruments, Pursuit outcomes took place in Sydney, Hobart, and its most recent manifestation at the Canberra Centenary celebrations.<ref>{{cite web|last1=Maher|first1=L.|title=The Canberra Pursuit - Recycled bikes make new music|url=http://www.abc.net.au/local/photos/2013/10/17/3871479.htm|accessdate=19 October 2013}}</ref> Tennis racquets, ping pong balls, buckets, wine bottles, and even a kitchen sink were used in a community project to transform old bicycles into unique music machines.<ref>{{cite journal|last1=Wesley-Smith|first1=M.|title=Larrikin par excellence|journal=Resonate Magazine|date=21 March 2012|url=https://www.australianmusiccentre.com.au/article/larrikin-par-excellence|accessdate=13 February 2018}}</ref> "Sound, when it moves through space, tends to have these kinds of interesting things happen,” Rose explains. “The good thing about bikes is that they don't make much noise themselves, so they're good to transport stuff and also they're cyclic. So if a sound is repeated the ear can follow how it's transformed when it goes through space."<ref>{{cite web|last1=Maher|first1=L.|title=The Canberra Pursuit - Recycled bikes make new music|url=http://www.abc.net.au/local/photos/2013/10/17/3871479.htm|accessdate=19 October 2013|date=2013}}</ref> |
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Rose’s giant interactive Sonic Ball project was invited to the 2015 opening celebrations of National Sawdust, New York. |
Rose’s giant interactive Sonic Ball project was invited to the 2015 opening celebrations of National Sawdust, New York.<ref>{{cite web|url=https://nationalsawdust.org/partnerships/jon-rose/|accessdate=5 February 2018}}</ref> For this project, a huge white ball is pushed, thrown, and rolled around in a large crowd.<ref>{{cite web|url=https://www.mra.wa.gov.au/see-and-do/perth-cultural-centre/events/jon-rose-the-big-ball|accessdate=6 February 2018}}</ref><ref name=baker/> Rose uses the ten-foot interactive electronic ball as a game of chance, in the tradition of Mozart in his Musikalisches Würfelspiel, John Cage throughout his entire career, and John Zorn in his “game pieces.”<ref>{{cite news|last1=Gill|first1=A.|title=Jon Rose, Rosin (ReR)|url=http://www.independent.co.uk/arts-entertainment/music/reviews/album-review-jon-rose-rosin-rer-8437081.html|accessdate=7 February 2018|publisher=The Independent|date=5 January 2013}}</ref> |
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Environmental works |
Environmental works |
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Rose has produced a plethora of large-scale multimedia performances that often place the violin outside of the concert hall. In the "Great Fences of Australia" project (1983-ongoing), Rose bowed and recorded fences throughout the continent. |
Rose has produced a plethora of large-scale multimedia performances that often place the violin outside of the concert hall. In the "Great Fences of Australia" project (1983-ongoing), Rose bowed and recorded fences throughout the continent.<ref>{{cite journal|last1=Colli|first1=I.|title=The musical iconoclast|journal=Limelight Magazine|date=September 2012|pages=44-52|url=http://www.ilariocolli.com.au/writing/35/jon-rose|accessdate=5 February 2018}}</ref><ref>{{cite journal|last1=Taylor|first1=H.|title=Bowing Australia’s outback fences: A sonic cartography|journal=Contemporary Music Review|date=2015|volume=34|pages=350-363}}</ref> He describes how he came to understand the fence as a sonic resource: “In the 1970s, I became interested in the hacking and sonic transformation my instrument, the violin, through a variety of experiments. One of these projects involved seeing what happens as strings get longer and longer and longer. By 1983, I was filling up art galleries with long fence wires. Then in 1985, on a trip out back in Australia, the penny dropped. Why was I building fence like string instruments, when the entire continent was covered with string instruments? Instead of seeing millions and millions of miles of fences, I heard millions and millions of miles of string instrument – all I had to do was get out there and play them.”<ref>{{cite web|last1=Sayej|first1=N.|title=Meet the guy who uses fences as instruments|url=https://noisey.vice.com/blog/jon-rose-and-the-musical-fence|accessdate=23 December 2017|date=7 December 2013}}</ref> He has described how bowing fences “places the musician in an area where terrain, map, score, and instrument are physically connected and signified, if not interchangeable.”<ref name="Arcana VI: Musicians on Music">{{cite book|last1=Rose|first1=J.|editor1-last=Zorn|editor1-first=J.|title=Lines in Red Sand|date=2012|publisher=Hips Road|location=New York|page=206}}</ref> |
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Rose also builds fence instruments for indoor concerts. These performances take advantage of the extended harmonic series of long stretches of wire. |
Rose also builds fence instruments for indoor concerts. These performances take advantage of the extended harmonic series of long stretches of wire.<ref>{{cite book|last1=Kouvaras|first1=L.|title=Loading the Silence: Australian Sound Art in the Post-Digital Age|date=2013|publisher=Ashgate|location=Farnham|page=130}}</ref> “Usually, a string is a trigger for a resonating chamber such as a violin,” says Rose. “In a fence the string can be so long that it becomes the resonator as well as the trigger.”<ref name=baker/> Rose was able to create almost electronic textures via his extended technique.<ref name=baker/> The first manifestation of Great Fences was hosted by the 2002 Melbourne International Festival of the Arts under the title Bowing Fences.<ref>{{cite journal|last1=Gauger|first1=E.|title=The music of barbed wire|journal=Wired|date=2 November 2007|url=https://www.wired.com/2007/02/the-music-of-ba/|accessdate=6 February 2018}}</ref> It has also been performed in Paris, Porto, Barcelona, Madrid, Berlin, Sydney, Darwin, Naiuyu (at the Merrepen Arts Festival), and at The Brussels Museum of Musical Instruments.<ref name="Arcana VI: Musicians on Music">{{cite book|last1=Rose|first1=J.|editor1-last=Zorn|editor1-first=J.|title=Lines in Red Sand|date=2012|publisher=Hips Road|location=New York|pages=196-214}}</ref> |
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In 2009, Rose was commissioned by Kronos Quartet and The Sydney Opera House to build a set of four fence instruments, to be played in concert. |
In 2009, Rose was commissioned by Kronos Quartet and The Sydney Opera House to build a set of four fence instruments, to be played in concert.<ref>{{cite web|url=http://kronosquartet.org/projects/detail/music_from_4_fences|accessdate=16 January 2018}}</ref> Rose then composed Music from 4 Fences for this quartet of fence wire stretched on metal frames.<ref>{{cite news|last1=Bruce|first1=K.|title=Kronos Quartet, Glasgow Royal Concert Hall reaching around the world|publisher=Herald Scotland|date=16 May 2011}}</ref> |
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Rose’s videos of outback fences—those he has bowed and others he has only filmed—have found their way into concerts where Rose performed on the violin, adding violin commentary for color and layers of contrast and complexity. |
Rose’s videos of outback fences—those he has bowed and others he has only filmed—have found their way into concerts where Rose performed on the violin, adding violin commentary for color and layers of contrast and complexity.<ref>{{cite news|last1=Shane|first1=J.|title=Fences no barrier to perfect harmonics|url=http://www.smh.com.au/entertainment/music/jon-rose-review-fences-no-barrier-to-perfect-harmonics-20151207-glgypl.html|accessdate=5 February 2018|publisher=Sydney Morning Herald|date=7 December 2015}}</ref><ref>{{cite news|last1=Strahle|first1=G.|title=Soundstream takes a turn at new music’s community crossroads|publisher=The Australian|date=17 October 2012}}</ref> Featured in the film 2010 The Reach of Resonance, Rose’s project of playing fences as instruments prompted considerations about the broader environment.<ref>{{cite journal|last1=Fitzpatrick|first1=Y.|title=Review|journal=Science Magazine|date=27 April 2012|volume=336}}</ref> The Great Fences of Australia expanded into a worldwide investigation of fences and borders, including in Bosnia, Belfast, the Golan Heights, Mexico-USA, and Finland.<ref>{{cite web|last1=Rose|first1=J.|title=Jon Rose: the Thomas Edison of the vibrating string|url=http://www.abc.net.au/radionational/programs/latenightlive/jon-rose/5671100|website=Late Night Live|publisher=ABC Radio National|accessdate=15 January 2018|date=14 August 2014}}</ref> |
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Other environmental projects by Rose that explore culturally significant objects include: |
Other environmental projects by Rose that explore culturally significant objects include: |
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• Kayak (2008), a paddle powered harpsichord performance at the docks in San Francisco with Bob Ostertag in his kayak sending accelerometer signals to composer and computer operator Jon Rose. |
• Kayak (2008), a paddle powered harpsichord performance at the docks in San Francisco with Bob Ostertag in his kayak sending accelerometer signals to composer and computer operator Jon Rose.<ref>{{cite web|url=https://ausland-berlin.de/bob-ostertag-jon-rose|accessdate=13 January 2018}}</ref> |
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• Kite Music (2008), in which transmitting kites are fitted with radio video cameras and accelerometers. |
• Kite Music (2008), in which transmitting kites are fitted with radio video cameras and accelerometers.<ref>{{cite journal|last1=Wesley-Smith|first1=M.|title=Larrikin par excellence|journal=Resonate Magazine|date=21 March 2012|url=https://www.australianmusiccentre.com.au/article/larrikin-par-excellence|accessdate=13 February 2018}}</ref> |
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• Digger Music (2008), which is a duet for violin and mechanical excavator. |
• Digger Music (2008), which is a duet for violin and mechanical excavator.<ref>{{cite news|last1=Gill|first1=A.|title=Jon Rose, Rosin (ReR)|url=http://www.independent.co.uk/arts-entertainment/music/reviews/album-review-jon-rose-rosin-rer-8437081.html|accessdate=7 February 2018|publisher=The Independent|date=5 January 2013}}</ref> |
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• Wreck (2013-2017), which converts rusting car wrecks into functional musical instruments.<ref>{{cite web|url=http://carriageworks.com.au/events/wreck/|accessdate=5 June 2017}}</ref><ref>{{cite news|last1=de Kruijff|first1=P.|title=Wreck project set to resonate|url=https://thewest.com.au/news/the-kimberley-echo/wreck-project-set-to-resonate-ng-b88354955z|accessdate=5 February 2018|publisher=The Kimberley Echo|date=25 January 2017}}</ref><ref>{{cite web|url=https://www.luisbittencourt.com/events/2016/5/24/wreck|accessdate=5 June 2017}}</ref> |
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• Wreck (2013-2017), which converts rusting car wrecks into functional musical instruments.[106][107][108] |
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• Hills Hoist (2014), which converts a classic Australian clothesline into a propeller-powered wind installation. |
• Hills Hoist (2014), which converts a classic Australian clothesline into a propeller-powered wind installation.<ref>{{cite journal|last1=Bond|first1=A.|title=The Rosenberg Museum|journal=the museum goes live: Performance Space: Sydney, 27 October - 6 November|date=2016|pages=28-29}}</ref> |
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• Canto cracticus (2016+), which is a collaboration with ornithologist Hollis Taylor celebrating the vocalizations of the pied butcherbird. |
• Canto cracticus (2016+), which is a collaboration with ornithologist Hollis Taylor celebrating the vocalizations of the pied butcherbird.<ref>{{cite journal|last1=Taylor|first1=H.|title=Birdsong has inspired humans for centuries: is it music?|journal=The Conversation|date=26 July 2017}}</ref> Performances include Singing Up Tyalgum at the 2016 Tyalgum Music Festival and Absolute Bird with recorder virtuoso Genevieve Lacey and the Adelaide Symphony Orchestra.<ref>{{cite news|last1=Hildreth|first1=D.|title=Tyalgum music festival nominated for top award |url=https://www.thechronicle.com.au/news/tyalgum-music-fest-nominated-for-top-award/3065146/|accessdate=5 June 2017|publisher=The Chronicle,|date=21 July 2016}}</ref><ref>{{cite web|url=https://www.aso.com.au/products/popular/taking-flight-gigs-at-grainger-2|accessdate=13 February 2018}}</ref> |
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Rose’s environmental works break both traditional musical barriers and social ones. constructing pieces of music offering equal parts humour, absurdity, and insight that ask us to reconsider our own relationship to sound. |
Rose’s environmental works break both traditional musical barriers and social ones. constructing pieces of music offering equal parts humour, absurdity, and insight that ask us to reconsider our own relationship to sound.<ref name=baker/> He often creates sound environments for others to participate in, including non-musicians.<ref>{{cite journal|last1=Colli|first1=I.|title=Tura New Music turns 25: interview with Tos Mahoney|journal=Limelight Magazine|date=21 November 2012|url=https://www.limelightmagazine.com.au/features/tura-new-music-turns-25/|accessdate=2 February 2018}}</ref> |
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Rose’s projects where sports activity meets the environment, or where the rules and physical activity of sport were used for interactive sonic composition, include Squash (1983), Cricket (1985), Badminton (Perks 1995-1998), Netball (Team Music 2008, 2010, 2014), and Skateboard Music (2010). |
Rose’s projects where sports activity meets the environment, or where the rules and physical activity of sport were used for interactive sonic composition, include Squash (1983), Cricket (1985), Badminton (Perks 1995-1998), Netball (Team Music 2008, 2010, 2014), and Skateboard Music (2010).<ref name=bennett/> These sport activities incorporated specially-designed hardware/software with live music performance by invited instrumentalists. “The notion of integrating a viable musical experience into traditionally non-musical situations, complete with some level of haptic feedback and the physicality integral of the experience of playing a traditional musical instrument, remains a long-term goal for me,” explains Rose.<ref name=bennett/> |
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Radiophonic composer/writer |
Radiophonic composer/writer |
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For over four decades, Rose has used the medium of radio to provide a counter-cultural twist to the accepted narratives of music history, often in live broadcasts. He counts over 40 major international productions for radio stations like ABC, BBC, WDR, SR, BR, Radio France, RAI, ORF, and SFB. |
For over four decades, Rose has used the medium of radio to provide a counter-cultural twist to the accepted narratives of music history, often in live broadcasts. He counts over 40 major international productions for radio stations like ABC, BBC, WDR, SR, BR, Radio France, RAI, ORF, and SFB.<ref>{{cite web|last1=Ulman|first1=J.|title=Jon Rose—Out There|url=http://www.abc.net.au/radionational/programs/intothemusic/jon-rose-profile/3944244|website=Into the Music|publisher=Australian Broadcasting Commission|accessdate=18 January 2018|date=21 April 2012}}</ref> |
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Rose’s radiophonic works that demonstrate his interventions into the history of music include: |
Rose’s radiophonic works that demonstrate his interventions into the history of music include: |
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• Paganini's Last Testimony (1988 ABC), which tracked the famous violinist as a celebrity faith healer. |
• Paganini's Last Testimony (1988 ABC), which tracked the famous violinist as a celebrity faith healer.<ref name=ulman/> |
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• The Mozart Industry (SR 1993), which explores the posthumous industry of Mozart. |
• The Mozart Industry (SR 1993), which explores the posthumous industry of Mozart.<ref>{{cite web|url=https:/www.australianmusiccentre.com.au/product/2-real-violin-stories-the-mozart-industry-saint-johanna|accessdate=18 January 2018}}</ref> |
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• The Long Sufferings of Anna Magdalena Bach (1998 ABC/EBU), in which a chronological list of Bach's offspring is underpinned by increasingly drastic sounds of labour pains. |
• The Long Sufferings of Anna Magdalena Bach (1998 ABC/EBU), in which a chronological list of Bach's offspring is underpinned by increasingly drastic sounds of labour pains.<ref>{{cite journal|last1=Toop|first1=R.|title=Jon Rose’s joyous resistance|journal=Resonate Magazine|date=21 March 2012}}</ref> |
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• Skeleton in the Museum (2003 ABC), a complex portrait of pianist/composer Percy Grainger, which won Europe's oldest radio award, the 2004 Karl Sczuka Preis. |
• Skeleton in the Museum (2003 ABC), a complex portrait of pianist/composer Percy Grainger, which won Europe's oldest radio award, the 2004 Karl Sczuka Preis.<ref>{{cite web|url=http://www.kunstradio.at/sczuka.html|accessdate=17 January 2018}}</ref> |
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• Ivories in the Outback (2007 BBC), a survey of pioneer pianos, harmoniums, and organs that have arrived in outback Australia since white settlement. It includes a memorable encounter with a group of Aboriginal men who come across a ruined piano. |
• Ivories in the Outback (2007 BBC), a survey of pioneer pianos, harmoniums, and organs that have arrived in outback Australia since white settlement. It includes a memorable encounter with a group of Aboriginal men who come across a ruined piano.<ref name=ulman/><ref>{{cite web|url=http://www.bbc.co.uk/radio3/betweentheears/pip/x6bvf/ivories|accessdate=17 January 2018}}</ref> |
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• Syd and George (2008 DR), about a lyrebird, with string accompaniment suggesting the kinds of sounds naturally made by the bird, highlighting the concepts of mimicry and sonic representation. |
• Syd and George (2008 DR), about a lyrebird, with string accompaniment suggesting the kinds of sounds naturally made by the bird, highlighting the concepts of mimicry and sonic representation.<ref>{{cite web|url=http://www.ubu.com/sound/rose.html|accessdate=25 April 2018}}</ref><ref>{{cite journal|last1=Reid|first1=C.|title=Jon Rose: Rosin|journal=RealTime Arts|date=June-July 2013|volume=115|url=http://realtimearts.net/feature/search/11083|accessdate=5 June 2017}}</ref><ref name=baker/> |
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• Salvado (2009 BBC), which dramatizes the story of the establishment of an Aboriginal string orchestra by a Spanish priest in 1846. |
• Salvado (2009 BBC), which dramatizes the story of the establishment of an Aboriginal string orchestra by a Spanish priest in 1846.<ref name=ulman/> |
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• Not Quite Cricket (2012 BBC), which re-examined the first Aboriginal cricket tour to England in 1868. |
• Not Quite Cricket (2012 BBC), which re-examined the first Aboriginal cricket tour to England in 1868.<ref>{{cite web|url=http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1037&context=rdr|accessdate=15 January 2018}}</ref> |
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• Ghan Stories (2014-15 ABC), which tells of the Old Ghan railway built from Port August to Alice Springs between 1878 and 1929. The radiophonic outcome stages as live radio the multimedia experience performed by Ensemble Offspring and Speak Percussion. |
• Ghan Stories (2014-15 ABC), which tells of the Old Ghan railway built from Port August to Alice Springs between 1878 and 1929. The radiophonic outcome stages as live radio the multimedia experience performed by Ensemble Offspring and Speak Percussion.<ref>{{cite web|url=http://www.abc.net.au/radionational/programs/soundproof/ghan-stories/6063338|accessdate=15 January 2018}}</ref> |
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Rose writes the texts for all his radiophonic works, which reveal his fondness for satire and wit and his appreciation of historical fraud. |
Rose writes the texts for all his radiophonic works, which reveal his fondness for satire and wit and his appreciation of historical fraud.<ref>{{cite web|last1=Couture|first1=F.|title=Jon Rose|url=http://www.allmusic.com/artist/jon-rose-mn0000261871/biography|accessdate=5 January 2018}}</ref> |
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Discography |
Discography |
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Rose has appeared on over 100 albums and worked with artists such as Kronos Quartet, Derek Bailey, Alvin Curran, Butch Morris, Barry Guy, Fred Frith, Veryan Weston, Joelle Leandre, Connie Bauer, Johannes Bauer, Chris Cutler, Otomo Yoshihide, KK Null, Alex Von Schlippenbach, Toshinori Kondo, Francis-Marie Uitti, Evan Parker, Paul Lovens, Phil Minton, Shelley Hirsch, Mark Dresser, Ben Patterson, Emmett Williams, John Cage, Joel Ryan, Peter Kowald, Borah Borgmann, Tristan Honsinger, Mari Kimura, Keith Rowe, The Soldier String Quartet, Borah Bergman, Sainko, Tristan Honsinger, Tony Oxley, Cor Fuhler, Steve Beresford, Eugene Chadbourne, Bob Ostertag, Malcolm Goldstein, Jim Denley, Tony Buck, Chris Abrahams, Thomas Lehn, Aleks Kolkowski, Clayton Thomas, Robbie Avenaim, David Moss, Miya Masaoka, Barre Phillips, George Lewis, Gunter Christmann, Misha Mengelberg, Elliott Sharpe, Elena Kats Chernin, Christian Marclay, Richard Barrett, Meinrad Kneer, Gerry Hemingway, Pierre Henry, Ilan Volkov, Hollis Taylor, and John Zorn. |
Rose has appeared on over 100 albums and worked with artists such as Kronos Quartet, Derek Bailey, Alvin Curran, Butch Morris, Barry Guy, Fred Frith, Veryan Weston, Joelle Leandre, Connie Bauer, Johannes Bauer, Chris Cutler, Otomo Yoshihide, KK Null, Alex Von Schlippenbach, Toshinori Kondo, Francis-Marie Uitti, Evan Parker, Paul Lovens, Phil Minton, Shelley Hirsch, Mark Dresser, Ben Patterson, Emmett Williams, John Cage, Joel Ryan, Peter Kowald, Borah Borgmann, Tristan Honsinger, Mari Kimura, Keith Rowe, The Soldier String Quartet, Borah Bergman, Sainko, Tristan Honsinger, Tony Oxley, Cor Fuhler, Steve Beresford, Eugene Chadbourne, Bob Ostertag, Malcolm Goldstein, Jim Denley, Tony Buck, Chris Abrahams, Thomas Lehn, Aleks Kolkowski, Clayton Thomas, Robbie Avenaim, David Moss, Miya Masaoka, Barre Phillips, George Lewis, Gunter Christmann, Misha Mengelberg, Elliott Sharpe, Elena Kats Chernin, Christian Marclay, Richard Barrett, Meinrad Kneer, Gerry Hemingway, Pierre Henry, Ilan Volkov, Hollis Taylor, and John Zorn.<ref>{{cite web|last1=Scaruffi|first1=P.|title=Jon Rose|url=http://www.scaruffi.com/avant/rose.html|accessdate=7 December 2017|date=1999}}</ref> |
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Selected releases<ref>{{cite web|last1=Scaruffi|first1=P.|title=Jon Rose|url=http://www.scaruffi.com/avant/rose.html|accessdate=7 December 2017|date=1999}}</ref> |
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Selected releases[130] |
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1. Decomposition (Fringe Benefit Records 1979) |
1. Decomposition (Fringe Benefit Records 1979) |
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2. Tango (HOT Records 1984) |
2. Tango (HOT Records 1984) |
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Author |
Author |
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Rose is author of four books: |
Rose is author of four books: |
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• Rose, Jon, and Rainer Linz. 1992. The Pink Violin (NMA: Melbourne). |
• Rose, Jon, and Rainer Linz. 1992. The Pink Violin (NMA: Melbourne).<ref>{{cite web|url=http://www.rainerlinz.net/NMA/violin.html|accessdate=15 January 2018}}</ref> |
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• Rose, Jon, and Rainer Linz. 1995. Violin Music in the Age of Shopping (NMA: Melbourne). |
• Rose, Jon, and Rainer Linz. 1995. Violin Music in the Age of Shopping (NMA: Melbourne).<ref>{{cite web|url=http://www.rainerlinz.net/NMA/violin.html|accessdate=15 January 2018}}</ref> |
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• Rose, Jon. 2013. The Music of Place: Reclaiming a Practice. Currency House: Strawberry Hills. Preface by John Zorn. |
• Rose, Jon. 2013. The Music of Place: Reclaiming a Practice. Currency House: Strawberry Hills. Preface by John Zorn.<ref>{{cite web|url=https://currencyhouse.org.au/node/80|accessdate=15 January 2018}}</ref><ref>{{cite web|last1=Raja|first1=K.|title=The Music of Place book launch with Jon Rose|url=http://www.kahneraja.com/music-of-place/|accessdate=11 February 2018|date=29 April 2013}}</ref> |
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• Rose, Jon. 2014. Rosenberg 3.0: Not Violin Music. The Rosenberg Museum: Sydney. |
• Rose, Jon. 2014. Rosenberg 3.0: Not Violin Music. The Rosenberg Museum: Sydney.<ref>{{cite news|last1=Shand|first1=J.|title=Half-cries of despair against mediocrity from music maverick Jon Rose|url=http://www.smh.com.au/entertainment/books/halfcries-of-despair-against-mediocrity-from-music-maverick-jon-rose-20150105-12i6vt.html|accessdate=15 January 2018|publisher=Sydney Morning Herald|date=10 January 2015}}</ref> |
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His books can be viewed as allegorical criticism on a wide range of music(s) from popular culture to new and experimental music practice. Rose favors stand-alone chapters penned in various styles by fictional authors, with the violin as the chief protagonist. |
His books can be viewed as allegorical criticism on a wide range of music(s) from popular culture to new and experimental music practice. Rose favors stand-alone chapters penned in various styles by fictional authors, with the violin as the chief protagonist.<ref>{{cite news|last1=Shand|first1=J.|title=Half-cries of despair against mediocrity from music maverick Jon Rose|url=http://www.smh.com.au/entertainment/books/halfcries-of-despair-against-mediocrity-from-music-maverick-jon-rose-20150105-12i6vt.html|accessdate=15 January 2018|publisher=Sydney Morning Herald|date=10 January 2015}}</ref> “The violin remains central to my entire output,” Rose notes. “It’s the measuring stick, the reality check.” [FMU p. 634] His alternative was of thinking about music has been described as “a return to first principles—where music reconnects with concepts of place, landscape, everyday life and the Australian vernacular.”<ref>{{cite journal|last1=Knowles|first1=J.|title=Jon Rose’s The Music of Place: Reclaiming a Practice|journal=RealTime Arts|date=10 July 2013|volume=115|url=http://www.realtimearts.net/article/115/1121|accessdate=10 January 2018}}</ref> |
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{{reflist-talk}} |
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References |
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1. http://www.allmusic.com/artist/jon-rose-mn0000261871/biography, accessed 5 January 2018. |
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References<br> |
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2. Rose, J. 2012. “Lines in Red Sand” (pp. 196-214). In John Zorn (ed.), Arcana VI: Musicians on Music (pp. 196-214). Hips Road: New York, p. 197. |
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3. Bennett, D. 2008. Sounding Postmodernism: Sampling Australian Composers, Sound Artists and Music Critics. Australian Music Centre: Sydney, pp. 449-465. |
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2. Rose, J. 2012. “Lines in Red Sand” (pp. 196-214). In John Zorn (ed.), Arcana VI: Musicians on Music (pp. 196-214). Hips Road: New York, p. 197.<br> |
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4. Mitchell, T. 2013. “Cosmopolitan swagman violinist.” Music Forum, 19 (3) (May). |
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6. Whiteoak, J., and A. Scott-Maxwell (eds.). 2003. Currency Companion to Music & Dance in Australia. Currency House: Sydney, p. 635. |
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7. Walters, J. L. 2000. “Fiddle Tricks.” The Guardian, 10 November. |
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<br>16. Strange, A., and P. Strange. The Contemporary Violin. Berkeley: The University of California Press, 2001, pp. 175-177. |
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<br>17. Ulman, J. 2016. “Changing the Record—Rose Radiophone.” In the museum goes live (catalogue). Performance Space: Sydney, 27 October - 6 November, pp. 39-43. |
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<br>18. Holden, Stephen. 1986. “Music: Jon Rose improvises with fiddles.” The New York Times, 30 March. |
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<br>22. Colli, 2012, p. 48. |
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<br>23. Sayej, N. 2013. “Meet the guy who uses fences as instruments.” Nadja Sayej, 7 December 2013. https://noisey.vice.com/blog/jon-rose-and-the-musical-fence, accessed 6 February 2018. |
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<br>25. Rose, J. 2013. The Music of Place: Reclaiming a Practice. Currency House: Strawberry Hills, p. 61. |
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<br>26. Bennett, 2008, p. 449. |
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<br>27. Wesley-Smith, M. 2012. “Larrikin par excellence.” Resonate Magazine, 21 March. https://www.australianmusiccentre.com.au/article/larrikin-par-excellence, accessed 13 February 2018. |
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<br>28. Hindson, M. 2012. “Don Banks Award 2012 Jon Rose.” Resonate Magazine, 21 March. http://www.australianmusiccentre.com.au/article/don-banks-award-to-jon-rose, accessed 5 August 2013. |
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<br>31. McPherson, A. 2016. “Music vs capitalism, ghosts in machines.” RealTime Arts 135. http://www.realtimearts.net/article/issue135/12448, accessed 18 January 2018. |
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<br>37. Uitti, F.-M. 2006. “Jon Rose.” Contemporary Music Review 25 (5-6), pp.633-642, p. 635. |
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<br>40. Bennett, 2008, pp. 463-464. |
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<br>69. Rose, J. 2012. Rosin ReR, JR 8-11. Liner notes. |
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<br>71. Uitti, 2006, pp. 633-634. |
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<br>72. Rose, J. 2010. “Bow wow: The interactive violin bow and improvised music, a personal perspective.” Leonardo Music Journal, 20, pp. 57-66. |
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90. Sayej, N. 2013. “Meet the guy who uses fences as instruments.” 7 December. https://noisey.vice.com/blog/jon-rose-and-the-musical-fence, accessed 23 December 2017. |
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95. Gauger, E. 2007. “The music of barbed wire.” Wired, 2 November. https://www.wired.com/2007/02/the-music-of-ba/, accessed 6 February 2018. |
<br>95. Gauger, E. 2007. “The music of barbed wire.” Wired, 2 November. https://www.wired.com/2007/02/the-music-of-ba/, accessed 6 February 2018. |
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97. http://kronosquartet.org/projects/detail/music_from_4_fences, accessed 16 January 2018. |
<br>97. http://kronosquartet.org/projects/detail/music_from_4_fences, accessed 16 January 2018. |
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98. Bruce, K. 2011. “Kronos Quartet, Glasgow Royal Concert Hall reaching around the world.” Herald Scotland, 16 May. |
<br>98. Bruce, K. 2011. “Kronos Quartet, Glasgow Royal Concert Hall reaching around the world.” Herald Scotland, 16 May. |
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99. Shane, J. 2015. “Fences no barrier to perfect harmonics.” Sydney Morning Herald, 7 December. http://www.smh.com.au/entertainment/music/jon-rose-review-fences-no-barrier-to-perfect-harmonics-20151207-glgypl.html, accessed 5 February 2018. |
<br>99. Shane, J. 2015. “Fences no barrier to perfect harmonics.” Sydney Morning Herald, 7 December. http://www.smh.com.au/entertainment/music/jon-rose-review-fences-no-barrier-to-perfect-harmonics-20151207-glgypl.html, accessed 5 February 2018. |
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100. Strahle, G. 2012. “Soundstream takes a turn at new music’s community crossroads.” The Australian, 17 October. |
<br>100. Strahle, G. 2012. “Soundstream takes a turn at new music’s community crossroads.” The Australian, 17 October. |
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101. Fitzpatrick, Y. 2012. Science Magazine, 336, 27 April. |
<br>101. Fitzpatrick, Y. 2012. Science Magazine, 336, 27 April. |
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102. 2014. “Jon Rose: the Thomas Edison of the vibrating string.” Late Night Live, ABC, 14 August. |
<br>102. 2014. “Jon Rose: the Thomas Edison of the vibrating string.” Late Night Live, ABC, 14 August. http://www.abc.net.au/radionational/programs/latenightlive/jon-rose/5671100, accessed 15 January 2018. |
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<br>103. https://ausland-berlin.de/bob-ostertag-jon-rose, accessed 13 January 2018. |
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<br>104. Wesley-Smith, 2012. |
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103. https://ausland-berlin.de/bob-ostertag-jon-rose, accessed 13 January 2018. |
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<br>105. Gill, 2013. |
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104. Wesley-Smith, 2012. |
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<br>106. http://carriageworks.com.au/events/wreck/, accessed 5 June 2017. |
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<br>107. de Kruijff, P. 2017. “Wreck project set to resonate.” The Kimberley Echo, 25 January 2017. https://thewest.com.au/news/the-kimberley-echo/wreck-project-set-to-resonate-ng-b88354955z, accessed 5 February 2018. |
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106. http://carriageworks.com.au/events/wreck/, accessed 5 June 2017. |
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<br>108. https://www.luisbittencourt.com/events/2016/5/24/wreck, accessed 5 June 2017. |
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107. de Kruijff, P. 2017. “Wreck project set to resonate.” The Kimberley Echo, 25 January 2017. https://thewest.com.au/news/the-kimberley-echo/wreck-project-set-to-resonate-ng-b88354955z, accessed 5 February 2018. |
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<br>109. Bond, 2016, pp. 28-29. |
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108. https://www.luisbittencourt.com/events/2016/5/24/wreck, accessed 5 June 2017. |
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<br>110. Taylor, H.. 2017. “Birdsong has inspired humans for centuries: is it music?” The Conversation, 26 July. |
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109. Bond, 2016, pp. 28-29. |
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<br>111. Hildreth, D. 2016. “Tyalgum music fest nominated for top award.” The Chronicle, 21 July. https://www.thechronicle.com.au/news/tyalgum-music-fest-nominated-for-top-award/3065146/, accessed 5 June 2017. |
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110. Taylor, H.. 2017. “Birdsong has inspired humans for centuries: is it music?” The Conversation, 26 July. |
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<br>112. https://www.aso.com.au/products/popular/taking-flight-gigs-at-grainger-2, accessed 13 February 2018. |
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111. Hildreth, D. 2016. “Tyalgum music fest nominated for top award.” The Chronicle, 21 July. https://www.thechronicle.com.au/news/tyalgum-music-fest-nominated-for-top-award/3065146/, accessed 5 June 2017. |
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<br>113. Baker, 2013. |
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112. https://www.aso.com.au/products/popular/taking-flight-gigs-at-grainger-2, accessed 13 February 2018. |
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<br>114. Colli, I. 2012. “Tura New Music turns 25: interview with Tos Mahoney.” Limelight Magazine, 21 November 21. https://www.limelightmagazine.com.au/features/tura-new-music-turns-25/, accessed 2 February 2018. |
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113. Baker, 2013. |
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<br>115. Bennett, 2008, p. 458. |
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114. Colli, I. 2012. “Tura New Music turns 25: interview with Tos Mahoney.” Limelight Magazine, 21 November 21. https://www.limelightmagazine.com.au/features/tura-new-music-turns-25/, accessed 2 February 2018. |
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<br>116. Ulman, J. 2012. “Jon Rose—Out There.” Into the Music, Australian Broadcasting Commission, 21 April. http://www.abc.net.au/radionational/programs/intothemusic/jon-rose-profile/3944244, accessed 18 January 2018. |
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115. Bennett, 2008, p. 458. |
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<br>117. Ulman, 2016, p. 40. |
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116. Ulman, J. 2012. “Jon Rose—Out There.” Into the Music, Australian Broadcasting Commission, 21 April. http://www.abc.net.au/radionational/programs/intothemusic/jon-rose-profile/3944244, accessed 18 January 2018. |
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<br>118. https:/www.australianmusiccentre.com.au/product/2-real-violin-stories-the-mozart-industry-saint-johanna, accessed 18 January 2018. |
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117. Ulman, 2016, p. 40. |
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<br>119. Toop, R. 2012. “Jon Rose’s joyous resistance.” Resonate Magazine, 21 March. |
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118. https:/www.australianmusiccentre.com.au/product/2-real-violin-stories-the-mozart-industry-saint-johanna, accessed 18 January 2018. |
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<br>120. http://www.kunstradio.at/sczuka.html, accessed 17 January 2018. |
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119. Toop, R. 2012. “Jon Rose’s joyous resistance.” Resonate Magazine, 21 March. |
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<br>121. Ulman, 2016, p. 42. |
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120. http://www.kunstradio.at/sczuka.html, accessed 17 January 2018. |
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<br>122. http://www.bbc.co.uk/radio3/betweentheears/pip/x6bvf/ivories, accessed 17 January 2018. |
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121. Ulman, 2016, p. 42. |
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<br>123. http://www.ubu.com/sound/rose.html] [Chris Reid http://realtimearts.net/feature/search/11083, accessed 17 January 2018. |
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<br>124. Reid, C. 2013. “Jon Rose: Rosin.” RealTime Arts, 115, June-July. http://realtimearts.net/feature/search/11083, accessed 5 June 2017. |
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<br>125. Baker, 2013. |
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124. Reid, C. 2013. “Jon Rose: Rosin.” RealTime Arts, 115, June-July. http://realtimearts.net/feature/search/11083, accessed 5 June 2017. |
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<br>126. Ulman, 2016, p. 42. |
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<br>127. http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1037&context=rdr, accessed 15 January 2018. |
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<br>129. Couture. |
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<br>130. Scaruffi, 1999. |
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129. Couture. |
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<br>131. http://www.rainerlinz.net/NMA/violin.html, accessed 15 January 2018. |
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130. Scaruffi, 1999. |
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<br>132. http://www.rainerlinz.net/NMA/violin.html, accessed 15 January 2018. |
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<br>133. https://currencyhouse.org.au/node/80, accessed 15 January 2018. |
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<br>134. Raja, K. 2013. “The Music of Place book launch with Jon Rose.” 29 April. http://www.kahneraja.com/music-of-place/, accessed 11 February 2018. |
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133. https://currencyhouse.org.au/node/80, accessed 15 January 2018. |
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<br>135. Shand, J. 2015. “Half-cries of despair against mediocrity from music maverick Jon Rose.” Sydney Morning Herald, 10 January. http://www.smh.com.au/entertainment/books/halfcries-of-despair-against-mediocrity-from-music-maverick-jon-rose-20150105-12i6vt.html, accessed 15 January 2018. |
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<br>136. Knowles, 2013. |
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135. Shand, J. 2015. “Half-cries of despair against mediocrity from music maverick Jon Rose.” Sydney Morning Herald, 10 January. http://www.smh.com.au/entertainment/books/halfcries-of-despair-against-mediocrity-from-music-maverick-jon-rose-20150105-12i6vt.html, accessed 15 January 2018. |
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136. Knowles, 2013. |
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Hollist[[User:Hollist|Hollist]] ([[User talk:Hollist|talk]]) 01:10, 5 March 2018 (UTC) |
Hollist[[User:Hollist|Hollist]] ([[User talk:Hollist|talk]]) 01:10, 5 March 2018 (UTC) |
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====Jon Rose draft==== |
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I looked over the text you paraphrased and everything looks ok. All we need to do now is to have you modify the draft text so that it includes the references using Wiki markup. I went ahead and did this for you in the first paragraph, which is labeled "the lede". This can be found under "extended content". If you're able to finish the rest of the draft's paragraphs, making sure to include the references just how they're included in the first paragraph, then we can work on moving it into the article. If you have any questions don't hesitate to ask here or on my talk page. Thank you! <small>'''<span style="font-variant:small-caps">[[User:Spintendo|<span style="background:#fdd;color:white"><span style="background:#f88"><span style="background:#f00"><span style="background:#700"><span style="background:#008">Spintendo </span> </span> </span> </span> </span>]]</span>'''</small> 11:32, 26 March 2018 (UTC) |
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=====Reply===== |
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Question, please, Spintendo. Thank you so much for your assistance, so appreciated. It should be simple to change the numbers I have into footnote numbers, but I cannot figure out how. I see that yours are in blue and raised, but I assume you are doing it in some special way. I have looked at Help/Footnotes - Wikipedia, and I just don't get it. I am working on a Mac. Sorry to bother you. hollis[[User:Hollist|Hollist]] ([[User talk:Hollist|talk]]) 22:44, 27 March 2018 (UTC) |
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:At the top of the [[Talk:Jon Rose]] page you will see a link that says "'''Edit this page'''". Clicking that link should open up the text editor. When you have the text editor open, scroll down to where it says in grey font all caps "DRAFT TEXT BELOW". This is the beginning of the text you will want to start editing. You should see on the far right the word '''Cite''' and a triangle next to it. Click on '''Cite''' until the triangle points downward and you will see a drop down box appear on the left side that says '''Templates'''. Next, making sure that your cursor is in the exact spot where you want a reference note number to be placed in the text, click the '''Template drop down box''' and choose one of four choices, book, web, journal or news. A new box will open with blank fields where you can enter the citation information. If you have a URL, you can place the URL in the box and then click the '''magnifying glass'''. The box will attempt to populate the different fields. Any boxes it leaves blank are ok to be left blank. Having every box filled out is not necessary. Then click '''insert''', and the reference will be placed wherever you previously had the cursor. For looking up books, you can visit WorldCat and search for each book there. When the book is located, click '''Permalink''' found under each individual book's page at the top right-hand corner of the screen. Copy the '''permalink URL''', and when you're in the '''citation box''' on Wikipedia populating the empty fields, paste the URL into the '''URL field''' and click the '''magnifying glass'''. The software will then populate many of the needed fields for you. Then click '''insert'''. If you have any more questions don't hesitate to ask. {{resize|0.82em|2=<span style="background:#008;border:solid 0px;border-radius:12px;box-shadow:darkgray 0px 0px 0px"> [[User:Spintendo|<span style="background:#fdd"><span style="background:#f88"><span style="background:#f00"><span style="background:#700"><span style="font-variant:small-caps;background:#008;color:white;">'''Spintendo''' </span> </span> </span> </span> </span>]]</span>}} 13:10, 8 April 2018 (UTC) |
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Thanks for your assistance, Spintendo. Very clear and helpful. hollist[[User:Hollist|Hollist]] ([[User talk:Hollist|talk]]) 06:25, 25 April 2018 (UTC) |
Revision as of 09:50, 13 May 2018
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Edit request 25-FEB-2018
{{request edit}} has been deprecated. Please change this template call to one of the following:
- For edit requests relating to a conflict of interest, please use {{edit COI}}.
- If you are partially-blocked from editing the page, please use {{edit partially-blocked}}.
- If the page is protected, use one of the following:
If you simply need to ask for help in making an edit, please change the template to {{help me}}. I am following up on this email: Dear Hollis Taylor, Thank you for your e-mail. We are not able to approve proposed article content by e-mail, as content is ultimately determined by consensus amongst volunteer editors. The best approach is for you to propose the text on the article's talk page, by following the instructions here: <https://en.wikipedia.org/wiki/Wikipedia:Simple_COI_request>. You should then monitor the talk page for responses. Yours sincerely, Lawrence Devereaux
14/02/2018 00:04 - Hollis Taylor wrote: https://en.wikipedia.org/wiki/Jon_Rose <https://en.wikipedia.org/wiki/Jon_Rose> We have concerns over the above page, which indicates that it is written from a fan’s point of view. This has been like this for maybe several years. Jon Rose is embarrassed by it. No one has come along to fix it/improve it.
I have now spent a month preparing a neutral, scholarly, well-researched replacement. I am a musicologist. I know Jon Rose, the subject of this page. I am not trying to hide this. I have studied many pages of his friends and colleagues like John Zorn and Frances-Marie Uitti and Derek Bailey. And I have consulted with a number of people who have Wikipedia pages or have worked on them.
Before I do this, I wanted to get your guidance/approval. If there is anything you think is not neutral or that you object to in some other way, I will change it.
I attach a file of what I would suggest doing with the page to improve the page and address the issues raised.
I also attach a jpeg that I would like to use to replace the one that is there.
Thank you for your assistance.
Kind regards,
Here it is since I cannot attach it:
Extended content
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Lede section
Early career Rose’s work encompassed innovation in the fields of new instrument design (deconstructed violin instruments (including the Double-Piston Triple-Neck Wheeling Violin); in environmental performance; in new instrumental techniques (sometimes tested in uninterrupted marathon concerts of up to twelve hours); and in both analog (built into the violins themselves) and interactive electronics.[12]
In 1986, Rose moved to Berlin to more fully exploit the violin in "The Relative Violin" project.[13] The output of this project includes books, the development of extended string techniques, multimedia performances, and the founding of a violin museum (The Rosenberg Museum).[14]
His alternative, personal, and revised history for the violin also embraced the mediums of radio, live-performance film, video, and television.[15] With Super 8 integrated into his live performances, Rose’s “improvisations referred not only to the eerie desert images of a movie shot largely in the Australian outback but also to the rapid jump-cut editing and sped-up footage,” which New York Times critic Stephen Holden goes on to describe as “the most audacious music of the evening.”[16]
Rose’s international music festival appearances include Strasbourg New Music Festival, New Music America, Moers New Jazz Festival, European Media Festival, The Vienna Festival, Ars Electronica, Northsea Jazz Festival, Dokumenta, Roma-Europa Festival, Festival D'Automne, Festival Musique Actuelle, Maerzmusik, Taktlos, Mona Foma, Tectonics, Angelica, Melbourne International Festival of the Arts, Sydney Festival, and Berlin Jazz Festival. Recent activity . He works with various new music ensembles and organizations including Ensemble Offspring, Tura New Music, Decibel, Speak Percussion, Soundstream, and the The NOWnow, as well as The Adelaide Symphony Orchestra. He values the homegrown. ‘Instead of importing the latest theoretical cultural package from the US or the UK,” he writes, “the way forward is to explore the many elements in our indigenous and colonial history that contain empirical guidance for the future of music practice. But first, we are going to have to believe that it is worth trying.”[20] In 2006, he held the David Tudor Residency at Mills College and completed a lecture and concert tour of all major UC campuses.[4] Rose gave the 2007 Peggy Glanville-Hicks Memorial Address, “Listening to history: some proposals for reclaiming the practice of music.”[21] The Music Board of the Australia Council for the Arts honored Rose with its most prestigious award for lifetime achievement and contribution to Australian music, the 2012 Don Banks Prize.[22] Rose was awarded a one-year residency at the Peggy Glanville-Hicks House by the Australia Council for the Arts in 2017.[23] Masquerading as the historical archives of an Australian dynasty of virtuosic violinists, The Rosenberg Museum is a pop-up institution that exhibits Rose’s quirky and provocative collection of 800+ violins and violin iconography.[23] Among its holdings are bizarre instruments and images, violin stamp books, toy violins, violin pornography, and violin-shaped clocks and liquor bottles.[24] A recent addition is The Data Violin, a robotic musical instrument that converts live statistics from the Wall Street stock exchange into sound ranging from sustained tones to frantic activity.[25] The Rosenberg Museum has been featured in Berlin, Rotterdam, Paris, Brno, Budapest, Nove Zamky, Prague, Krakow, Violin (in Slovakia), and Sydney.[26] Improvising musician As an improviser, Rose not only has access to the canon of virtuoso classical technique, but is also at home with jazz practice from Stuff Smith onwards, as well as any number of ethnic practices.”[27] One of the first musicians to create an electroacoustic instrument that actually worked in improvisation[28], Rose revolutionised the approach to the violin via his technical developments and radical performance strategies.[29] There are a number of projects where Rose has put the art of improvisation to the test. A series of marathon solos in the 1980s demonstrated the limits of the form (12 hours continuous solo as part of Sound Barriers at the Alexander Mackie Gallery, Sydney 1982).[30] Other key factors evident in Rose’s language of Improvisation are his continuing exploration of phenomena such as scordatura, temperament (or tuning, with which he has worked with Veryan Weston for nearly two decades), the use of electronics (both analog and digital), and instrument building.[4][31] In 2006, John Oswald invited Rose to improvise a solo part for the Tchaikovsky Violin Concerto with the BBC Scottish Symphony Orchestra.[4] Another violin concerto, Elastic Band (2014), was Rose’s collaboration with composer Elena Kats-Chernin, conductor Ilan Volkov, and The Adelaide Symphony Orchestra.[32] Rose’s solo part was completely improvised over a written structure that he co-composed with Kats-Chernin.[33] Elastic Band saw repeat performances with the Orchestra del Teatro Comunale di Bologna for the AngelicA Festival and with the Iceland Symphony Orchestra for the 2015 Tectonics Festival.[34][35][36] New York Times music critic Stephen Holden has observed how Rose’s improvisations range from “accelerated, tonally centered solos with late Romantic associations to free-form sonic explorations.”[37] “It strikes me that our hooked-up, online world of fast-moving, illusive moments is becoming exactly like improvisation – like improvisation has always been,” Rose writes. “We are all living and acting like improvisers, whether we have signed up for the deal or not.”[38] In 2015, Rose undertook a residency at The Stone in New York City, playing with a new combination each set. This included locals such as Marc Ribot, Chuck Bettis, Eyal Maoz, Lukas Ligeti, Ikue Mori, Peter Evans, John Medeski, Okkyung Lee, Ches Smith, Andrew Drury, Denman Maroney, Annie Gosfield, and David Watson. Composer With a reputation as a “musical provocateur,” Rose has established a diverse repertoire of music written for the violin or strings, but also orchestral settings.[39] Rose considers very few of his compositions as complete: “It all could be reworked with another set of outcomes,” he says.[30] His use of written notation is usually reserved to articulate a recognizable genre that he then sets up to collide with other sonic environments or situations.[15] Violin Music in the Age of Shopping (1994-1996) involved the recomposition of a myriad of genres for choir, string orchestra, band, soloists, and sampling (usually by Otomo Yoshihide).[4] In Violin Factory (1999), an orchestra plays generic string music in the context of mechanical production and reproduction.[15][40] Charlie's Whiskers (2004) for string orchestra, piano, saw, and live sampling pays tribute to Charles Ives, champion of the individual independent musical line.[41] Internal Combustion (2008), concerto for amplified orchestra, solo violin and video, was performed at The Berlin Philharmonic by ensemble unitedberlin with a commission from Maerzmusik.[42] The Auctioneer Says (2012) for cello, viola, alto saxophone, electric bass, percussion, and video was commissioned by Decibel.[43][44] Ghan Tracks (2014), commissioned by Ensemble Offspring, combines multimedia performance, installation, live radio, and documentary.[45] Picnic at Broken Hill (2015) was commissioned by Soundstream. It is a musical transcription of the 1915 suicide texts left by two former cameleers who fired upon a train of picnickers as a protest against Australia’s invasion of the Ottoman Empire. Using a pitch to MIDI program, each hand performs one of the suicide texts.[46] Instrument inventor and builder As the most iconic of all instruments in the classical repertoire, the violin has been a source of inspiration for artists as well as musicians.[47] A central theme of Rose’s work is recontextualizing everyday non-musical items and redefining them as music-making objects of art.[48] While fully functional, his modified instruments are often viewed as contemporary sculptures.[49] Rose’s enduring practice of building new string instruments and modifying conventional ones is a recurrent theme in his work.[50] His early instrument building in the 1970s and 1980s incorporated wind, water, and wheels to excite and/or modulate the behavior of an array of string types, from violin gut strings to fence wire.[51] This period of instrument building produced over 20 instruments known as The Relative Violins.[52] For instance, the Whipolin (1997) was a seven-string disembowelled cello fitted with an extensive collection of hurdy-gurdy type wheels.[15] The Tromba-mariner (1979) was attached to the side of a boat, with six sympathetic strings.[53] The Nineteen-String Cello (1981) accommodated seven strings on the regular (enlarged) fingerboard, plus five strings to the right of the neck and three to the left, including one string that could be extended below the instrument by a rod.[54] From 1985, Rose worked in conjunction with engineers at the Studio for Electro-Instrumental Music (STEIM) in Amsterdam to develop a series of interactive MIDI bows (and amplified bows) under the rubric Hyperstring Project.[55] In his MIDI bows, “there are 3 primary controllers”, explains Rose, “a sensor mounted on the violin bow which measures the bow pressure; an accelerometer mounted on the bowing arm, measuring bowing arm movement (and more importantly) speed of movement; and foot pedals which are played independently by both feet."[56] Rose was able to explore elements of counterpoint and polyrhythmic figures by means of the different controllers that measured the physicality of high speed improvisation.[57] Rose’s activity in the digital realm stemmed from a longstanding interest in amplification and analog electronics, including building DIY circuitry inside violins, the instrument housing anything from ring modulator to FM radio transmission. He also credits his history as a performer with influencing his instrument building: “What maybe makes me have a different view from other improvisers is that I apply an improvisational method to my whole musical output. I include quite a number of experimental string instruments in this total improvisational vie. I might have started out with a sketch, an abstract notion, but very soon I have found that the making of the instrument itself reveals qualities about the physical materials involved and that leads me off into another direction—maybe another instrument, maybe another kind of musical area. The mechanics of an instrument clearly determine many characteristics of the music made upon it.”[30] Multimedia artist. As a pioneer of the interactive violin bow, Rose was in 1998 the first in the world to use a bow to modulate the parameters of video (including speed, color, and revolutions) and of sound (pitch including pitch bend, volume, timbre, duration, panning, silence).[58] His piece, Palimpolin (2009), featured the interactive K-Bow, which used the parameters of bow action—bow length, bow tilt, and distance between the bow and bridge—to drive surround sound and visual imagery.[59] It manipulated a variety of sounds, from bowing and plucking, to a range of electronic sounds, to preprogrammed samples that play when the bow and violin have certain interactions.[60][61] Many of Rose’s projects are directed towards musical outsiders or the disadvantaged.[62] Australia Ad Lib (2002-2003) was a website that Rose created for the Australian Broadcasting Corporation (ABC), “an interactive guide to the wild, the weird, and the vernacular in Australian music,” which has since been deactivated.[4][63] Underpinned by a series of multimedia pieces by Rose, the live show Pannikin (2005) featured a selection of soloists from Australia Ad Lib.[64] Pannikin showcased a singing dingo, virtuosic whip techniques, a simultaneous hum and whistler, an auctioneer, a chainsaw orchestra, and a bowed saw orchestra.[48] Pursuit (2004-2013) was a surround-sound, mobile bicycle-powered orchestra of regular and homemade instruments. With 100+ bicycle-powered instruments, Pursuit outcomes took place in Sydney, Hobart, and its most recent manifestation at the Canberra Centenary celebrations.[65] Tennis racquets, ping pong balls, buckets, wine bottles, and even a kitchen sink were used in a community project to transform old bicycles into unique music machines.[66] "Sound, when it moves through space, tends to have these kinds of interesting things happen,” Rose explains. “The good thing about bikes is that they don't make much noise themselves, so they're good to transport stuff and also they're cyclic. So if a sound is repeated the ear can follow how it's transformed when it goes through space."[67] Rose’s giant interactive Sonic Ball project was invited to the 2015 opening celebrations of National Sawdust, New York.[68] For this project, a huge white ball is pushed, thrown, and rolled around in a large crowd.[69][48] Rose uses the ten-foot interactive electronic ball as a game of chance, in the tradition of Mozart in his Musikalisches Würfelspiel, John Cage throughout his entire career, and John Zorn in his “game pieces.”[70] Environmental works Rose has produced a plethora of large-scale multimedia performances that often place the violin outside of the concert hall. In the "Great Fences of Australia" project (1983-ongoing), Rose bowed and recorded fences throughout the continent.[71][72] He describes how he came to understand the fence as a sonic resource: “In the 1970s, I became interested in the hacking and sonic transformation my instrument, the violin, through a variety of experiments. One of these projects involved seeing what happens as strings get longer and longer and longer. By 1983, I was filling up art galleries with long fence wires. Then in 1985, on a trip out back in Australia, the penny dropped. Why was I building fence like string instruments, when the entire continent was covered with string instruments? Instead of seeing millions and millions of miles of fences, I heard millions and millions of miles of string instrument – all I had to do was get out there and play them.”[73] He has described how bowing fences “places the musician in an area where terrain, map, score, and instrument are physically connected and signified, if not interchangeable.”[74] Rose also builds fence instruments for indoor concerts. These performances take advantage of the extended harmonic series of long stretches of wire.[75] “Usually, a string is a trigger for a resonating chamber such as a violin,” says Rose. “In a fence the string can be so long that it becomes the resonator as well as the trigger.”[48] Rose was able to create almost electronic textures via his extended technique.[48] The first manifestation of Great Fences was hosted by the 2002 Melbourne International Festival of the Arts under the title Bowing Fences.[76] It has also been performed in Paris, Porto, Barcelona, Madrid, Berlin, Sydney, Darwin, Naiuyu (at the Merrepen Arts Festival), and at The Brussels Museum of Musical Instruments.[74] In 2009, Rose was commissioned by Kronos Quartet and The Sydney Opera House to build a set of four fence instruments, to be played in concert.[77] Rose then composed Music from 4 Fences for this quartet of fence wire stretched on metal frames.[78] Rose’s videos of outback fences—those he has bowed and others he has only filmed—have found their way into concerts where Rose performed on the violin, adding violin commentary for color and layers of contrast and complexity.[79][80] Featured in the film 2010 The Reach of Resonance, Rose’s project of playing fences as instruments prompted considerations about the broader environment.[81] The Great Fences of Australia expanded into a worldwide investigation of fences and borders, including in Bosnia, Belfast, the Golan Heights, Mexico-USA, and Finland.[82] Other environmental projects by Rose that explore culturally significant objects include: • Kayak (2008), a paddle powered harpsichord performance at the docks in San Francisco with Bob Ostertag in his kayak sending accelerometer signals to composer and computer operator Jon Rose.[83] • Kite Music (2008), in which transmitting kites are fitted with radio video cameras and accelerometers.[84] • Digger Music (2008), which is a duet for violin and mechanical excavator.[85] • Wreck (2013-2017), which converts rusting car wrecks into functional musical instruments.[86][87][88] • Hills Hoist (2014), which converts a classic Australian clothesline into a propeller-powered wind installation.[89] • Canto cracticus (2016+), which is a collaboration with ornithologist Hollis Taylor celebrating the vocalizations of the pied butcherbird.[90] Performances include Singing Up Tyalgum at the 2016 Tyalgum Music Festival and Absolute Bird with recorder virtuoso Genevieve Lacey and the Adelaide Symphony Orchestra.[91][92] Rose’s environmental works break both traditional musical barriers and social ones. constructing pieces of music offering equal parts humour, absurdity, and insight that ask us to reconsider our own relationship to sound.[48] He often creates sound environments for others to participate in, including non-musicians.[93] Rose’s projects where sports activity meets the environment, or where the rules and physical activity of sport were used for interactive sonic composition, include Squash (1983), Cricket (1985), Badminton (Perks 1995-1998), Netball (Team Music 2008, 2010, 2014), and Skateboard Music (2010).[4] These sport activities incorporated specially-designed hardware/software with live music performance by invited instrumentalists. “The notion of integrating a viable musical experience into traditionally non-musical situations, complete with some level of haptic feedback and the physicality integral of the experience of playing a traditional musical instrument, remains a long-term goal for me,” explains Rose.[4] Radiophonic composer/writer For over four decades, Rose has used the medium of radio to provide a counter-cultural twist to the accepted narratives of music history, often in live broadcasts. He counts over 40 major international productions for radio stations like ABC, BBC, WDR, SR, BR, Radio France, RAI, ORF, and SFB.[94] Rose’s radiophonic works that demonstrate his interventions into the history of music include: • Paganini's Last Testimony (1988 ABC), which tracked the famous violinist as a celebrity faith healer.[15] • The Mozart Industry (SR 1993), which explores the posthumous industry of Mozart.[95] • The Long Sufferings of Anna Magdalena Bach (1998 ABC/EBU), in which a chronological list of Bach's offspring is underpinned by increasingly drastic sounds of labour pains.[96] • Skeleton in the Museum (2003 ABC), a complex portrait of pianist/composer Percy Grainger, which won Europe's oldest radio award, the 2004 Karl Sczuka Preis.[97] • Ivories in the Outback (2007 BBC), a survey of pioneer pianos, harmoniums, and organs that have arrived in outback Australia since white settlement. It includes a memorable encounter with a group of Aboriginal men who come across a ruined piano.[15][98] • Syd and George (2008 DR), about a lyrebird, with string accompaniment suggesting the kinds of sounds naturally made by the bird, highlighting the concepts of mimicry and sonic representation.[99][100][48] • Salvado (2009 BBC), which dramatizes the story of the establishment of an Aboriginal string orchestra by a Spanish priest in 1846.[15] • Not Quite Cricket (2012 BBC), which re-examined the first Aboriginal cricket tour to England in 1868.[101] • Ghan Stories (2014-15 ABC), which tells of the Old Ghan railway built from Port August to Alice Springs between 1878 and 1929. The radiophonic outcome stages as live radio the multimedia experience performed by Ensemble Offspring and Speak Percussion.[102] Rose writes the texts for all his radiophonic works, which reveal his fondness for satire and wit and his appreciation of historical fraud.[103] Discography Rose has appeared on over 100 albums and worked with artists such as Kronos Quartet, Derek Bailey, Alvin Curran, Butch Morris, Barry Guy, Fred Frith, Veryan Weston, Joelle Leandre, Connie Bauer, Johannes Bauer, Chris Cutler, Otomo Yoshihide, KK Null, Alex Von Schlippenbach, Toshinori Kondo, Francis-Marie Uitti, Evan Parker, Paul Lovens, Phil Minton, Shelley Hirsch, Mark Dresser, Ben Patterson, Emmett Williams, John Cage, Joel Ryan, Peter Kowald, Borah Borgmann, Tristan Honsinger, Mari Kimura, Keith Rowe, The Soldier String Quartet, Borah Bergman, Sainko, Tristan Honsinger, Tony Oxley, Cor Fuhler, Steve Beresford, Eugene Chadbourne, Bob Ostertag, Malcolm Goldstein, Jim Denley, Tony Buck, Chris Abrahams, Thomas Lehn, Aleks Kolkowski, Clayton Thomas, Robbie Avenaim, David Moss, Miya Masaoka, Barre Phillips, George Lewis, Gunter Christmann, Misha Mengelberg, Elliott Sharpe, Elena Kats Chernin, Christian Marclay, Richard Barrett, Meinrad Kneer, Gerry Hemingway, Pierre Henry, Ilan Volkov, Hollis Taylor, and John Zorn.[104] Selected releases[105] 1. Decomposition (Fringe Benefit Records 1979) 2. Tango (HOT Records 1984) 3. Forward of Short Leg (Dossier 1987) 4. Vivisection (Auf Ruhr 1988) 5. Paganini's Last Testimony (Konnex 1989) 6. Violin Music for Restaurants: (Feat. the Legendary Jo "Doc" Rosenberg) (ReR 1992) 7. Brain Weather: The Story of the Rosenbergs (ReR 1993) 8. Pulled Muscles (Immigrant 1993) 9. The Virtual Violin (Megaphone 1993) 10. Violin Music for Supermarkets (Megaphone 1994) 11. Eine Violine fur Valentin (No Wave 1995) 12. Perks (ReR 1995) 13. Violin Music in the Age of Shopping (Intakt 1995) 14. The Exiles (Megaphone 1996) 15. Shopping.Live@Victo (ReR 1997) 16. Techno Mit Störungen (Plag Dich Nicht 1998) 17. Sliding (Noise Asia 1998) 18. The Fence (ReR 1998) 19. China Copy (Creamgardens 1999) 20. Fringe Benefits 1977- 1985 (Entropy 1999) 21. The Hyperstring Project (ReR 2000) 22. The Violin Factory [live] (Hermes 2001) 23. Temperament (Emanem 2002) 24. Great Fences of Australia (Dynamo House 2002) 25. The People's Music (ReR 2003) 26. Artery (NOWnow 2004) 27. Double Indemnity (Hermes 2004) 28. Futch (Jazzwerkstatt 2006) 29. Rosin (ReR 2012) 30. Strike (Monotype 2012) 31. Colophony (Creative Sources Recordings 2013) 32. Tuning Out (Emanem 2015) 33. Double Course (Opalmine 2016) Author Rose is author of four books: • Rose, Jon, and Rainer Linz. 1992. The Pink Violin (NMA: Melbourne).[106] • Rose, Jon, and Rainer Linz. 1995. Violin Music in the Age of Shopping (NMA: Melbourne).[107] • Rose, Jon. 2013. The Music of Place: Reclaiming a Practice. Currency House: Strawberry Hills. Preface by John Zorn.[108][109] • Rose, Jon. 2014. Rosenberg 3.0: Not Violin Music. The Rosenberg Museum: Sydney.[110] His books can be viewed as allegorical criticism on a wide range of music(s) from popular culture to new and experimental music practice. Rose favors stand-alone chapters penned in various styles by fictional authors, with the violin as the chief protagonist.[111] “The violin remains central to my entire output,” Rose notes. “It’s the measuring stick, the reality check.” [FMU p. 634] His alternative was of thinking about music has been described as “a return to first principles—where music reconnects with concepts of place, landscape, everyday life and the Australian vernacular.”[112] References
References |
Hollis TaylorHollist (talk) 00:04, 26 February 2018 (UTC)
Reply 25-FEB-2018
Requested text proposed by Hollis Taylor |
Text as it appears in the Source Material |
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"Picnic at Broken Hill (2015) was commissioned by Soundstream. It is a musical transcription of the 1915 suicide texts left by two former cameleers who fired upon a train of picnickers as a protest against Australia’s invasion of the Ottoman Empire. Using a pitch to MIDI program, each hand performs one of the suicide texts." | "Picnic at Broken Hill is a musical transcription of the suicide texts left by two former cameleers who fired upon a train of miners and their families on New Year's Day 1915 in Broken Hill, as a protest against the invasion by Australia of the Ottoman Empire. The pianist speaks Urdu on colonial piano: using a pitch to MIDI program, each hand performs one of the suicide texts."[1] |
"Tennis racquets, ping pong balls, buckets, wine bottles, and even a kitchen sink were used in a community project to transform old bicycles into unique music machines." | "Buckets, tennis racquets, ping pong balls, pegs, wine bottles, drums and even a kitchen sink have been used to transform old bicycles into unique music machines in a community project that's part of the Canberra Centenary celebrations."[2] |
"Throughout the 1970s, first in England and then in Australia, Rose studied, played, composed in a variety of genres: from sitar playing to country & western, from new music composition to commercial studio session work, from bebop to Italian club bands, and from big band serial composition to sound installations." | "Throughout the 1970s, first in England and then in Australia, he played, composed and studied in a large variety of music genres -from sitar playing to country & western; from 'new music' composition to commercial studio session work; from bebop to Italian club bands; from big band serial composition to sound installations."[3] |
References
- ^ "Of Broken Trees and Elephant Ivories : Blog Article : Australian Music Centre". www.australianmusiccentre.com.au.
- ^ "The Canberra Pursuit - Recycled bikes make new music". www.abc.net.au. 17 October 2013.
- ^ "Jon Rose : Represented Artist Profile : Australian Music Centre". www.australianmusiccentre.com.au.
Declined Portions of text from your request were found to be insufficiently paraphrased from the source material. A small sampling of this text is shown above. Text which you desire to have added to the article must be placed in your own words. Kindly see WP:CLOSEPARAPHRASE for more information about this requirement. Please feel free at your earliest convenience to open a new edit request when these issues have been addressed. Regards, Spintendo 01:17, 26 February 2018 (UTC)
Redo: Picnic at Broken Hill (2015) was commissioned by Soundstream. It is based on the 1915 Battle of Broken Hill, when two former cameleers attacked a train of picnickers. Both attackers wrote a letter describing their motives, which Rose turned into a musical transcription via a pitch to MIDI program. Each hand of the pianist is assigned a one of the letters.
Redo: The community project modified used bicycles into musical instruments, with the help of recycled junk, including rakes, tennis racquets, buckets, saucepans, a kitchen sink, and much more.
Redo: Beginning in the 1970s in England, and later in Australia, Rose performed and composed in a wide range of musical genres. He put in time with country and western groups and Italian club bands. He had a stint playing sitar. He also honed his skills in bebop and big band serial composition, and was active in commercial studio session work.
HollistHollist (talk) 01:10, 5 March 2018 (UTC)
Jon Rose draft
I looked over the text you paraphrased and everything looks ok. All we need to do now is to have you modify the draft text so that it includes the references using Wiki markup. I went ahead and did this for you in the first paragraph, which is labeled "the lede". This can be found under "extended content". If you're able to finish the rest of the draft's paragraphs, making sure to include the references just how they're included in the first paragraph, then we can work on moving it into the article. If you have any questions don't hesitate to ask here or on my talk page. Thank you! Spintendo 11:32, 26 March 2018 (UTC)
Reply
Question, please, Spintendo. Thank you so much for your assistance, so appreciated. It should be simple to change the numbers I have into footnote numbers, but I cannot figure out how. I see that yours are in blue and raised, but I assume you are doing it in some special way. I have looked at Help/Footnotes - Wikipedia, and I just don't get it. I am working on a Mac. Sorry to bother you. hollisHollist (talk) 22:44, 27 March 2018 (UTC)
- At the top of the Talk:Jon Rose page you will see a link that says "Edit this page". Clicking that link should open up the text editor. When you have the text editor open, scroll down to where it says in grey font all caps "DRAFT TEXT BELOW". This is the beginning of the text you will want to start editing. You should see on the far right the word Cite and a triangle next to it. Click on Cite until the triangle points downward and you will see a drop down box appear on the left side that says Templates. Next, making sure that your cursor is in the exact spot where you want a reference note number to be placed in the text, click the Template drop down box and choose one of four choices, book, web, journal or news. A new box will open with blank fields where you can enter the citation information. If you have a URL, you can place the URL in the box and then click the magnifying glass. The box will attempt to populate the different fields. Any boxes it leaves blank are ok to be left blank. Having every box filled out is not necessary. Then click insert, and the reference will be placed wherever you previously had the cursor. For looking up books, you can visit WorldCat and search for each book there. When the book is located, click Permalink found under each individual book's page at the top right-hand corner of the screen. Copy the permalink URL, and when you're in the citation box on Wikipedia populating the empty fields, paste the URL into the URL field and click the magnifying glass. The software will then populate many of the needed fields for you. Then click insert. If you have any more questions don't hesitate to ask. Spintendo 13:10, 8 April 2018 (UTC)
Thanks for your assistance, Spintendo. Very clear and helpful. hollistHollist (talk) 06:25, 25 April 2018 (UTC)