Archive for the “Music Events” Category
On Thursday November 7, Betalevel, that famously obscure underground venue in Chinatown, hosted a concert of microtonal music entitled The Things That Overpower Us. The program featured the music of Kraig Grady, in Los Angeles for the week and who brought his personal greetings from the metaphorical Island of Anaphoria. A standing-room only crowd of about 50 jammed into the small space to hear performances by Tangerine Music Lab and a string quartet consisting of Melinda Rice, Mona Tian, Andrew McIntosh and Ashley Walters.
The concert began with an extended improvisation by Tangerine Music Labs that was loosely based on a series of selected individual words: Fire, Ginger, Lanterns, etc and short phrases such as The Hawk Cries and Return. The piece began with a series of slow, steady chords by Ryan Tanaka on keyboard and this was soon joined by warm sounds from the viola, played by Deanna Lynn. The smooth, languid feel from the flute-like registration of the keyboard was complimented at times by counterpoint in the viola but there were never any sharp edges. The words selected were sung by vocalist Emily Loynachan in simple, declaratory passages of just a few notes, playing off the other two instruments with a fine sense of timing. The blend and balance here were excellent and the piece flowed agreeably to a quiet conclusion.
This was followed by a string quartet composed by Melinda Rice based on familiar American folk songs surrounded by sounds produced by extended string techniques. The piece began with soft, small, airy sounds that were soon in the company of a traditional folk tune played strongly in the violin. The effect was something like coming out from a long walk in the woods into a sudden clearing and seeing a house, with smoke curling from its chimney. The piece proceeded in this fashion – the folk tunes, and then mouse or perhaps bird-like sounds from the extended techniques. Sometimes the folk tune would be carried by a single instrument, other times in full four-part harmony, but these were separated by sounds that evoked nature. This was a very effective structure – the traditional tunes provided an anchor of familiarity while between these were the more imaginative sounds. Given the Scots-Irish flavor of the folk tunes, it conjured a convincing portrait of an early America that was thinly settled and predominantly wilderness.
Kraig Grady’s solo violin piece was next, a tribute to Lou Harrison. This proceeded in a series of strong, marcato passages, often syncopated. A photo of an antique telegrapher’s key was projected on the wall behind the performer and the work included a series of Morse code passages that were embedded in the rhythms. A long time ago I was able to read Morse code but I confess I couldn’t detect anything of the familiar patterns here – but the effect was certainly present.
Mica followed, a string quartet written by Terumi Narushima, who teaches at the University of Wollongong and is also married to Kraig Grady. Ms. Narushima explained that Mica was inspired by the sheen of the granite buildings in a big city, the mineral mica being the constituent of granite that gives off the brightest reflections. The piece begins with a series of slow, gentle chords that build in volume and then subside, reminiscent of an ocean swell on a lazy summer day. The microtonal technique here was nicely done and a feeling of a soft warmth was effectively realized. A Google Earth view of Anaphoria was projected on the wall and its state of seeming serenity was entirely appropriate. As the piece proceeded, a sharpness and intensity emerged that put one more in mind of the hard glint of sunlight reflecting off a granite skyscraper. The effective use of dynamics and skillful selections from the palette of pitches made hearing this piece a delightful experience.
The final piece in the program was Poole’s Lament by Kraig Grady, “a tribute to Grady’s colleague Rod Poole who was working on an arrangement of a set of Irish tunes before his tragic death.” This was performed by the string quartet. Poole’s Lament is based on a setting of an Irish reel and the piece begins with the tune resolutely played in standard tuning. Trills creep in to cover the main theme and the piece gradually unpacks into a series of long tones and quiet chords. Microtonal passages further enhance the sense of an unwinding process. In his comments prior to the playing of this work, Kraig Grady described the piece as following the arc of the natural processes that occur in the repose of death. This was not portrayed as morbid or unseemly in the music, but rather as a gentle disassembly into eternity. Soft tones and quiet pizzicato notes concluded this sweetly elegant commemoration.
By way of encore, the string quartet was asked to improvise – as a group – on a series of placards held up by Kraig Grady. The words on these signs triggered all manner of interesting responses from the musicians, and proved to be very entertaining. This speaks to the high level of musicianship provided by Melinda Rice, Mona Tian, Andrew McIntosh and Ashley Walters. The excellent playing, enthusiastic audience and the company of the composers made The Things That Overpower Us a memorable evening of new music.
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Thursday night kicked off the Resonant Bodies Festival, a new 3-day parade of contemporary vocal music at ShapeShifter Lab in Brooklyn.
Each night features three young singers performing programs of their favorite music. This curatorial freedom gave last night’s show a happy zealousness, where the singers’ enthusiasm for their repertoire was contagious.
Festival curator Lucy Dhegrae marked out a broad territory in her set. Beginning with Jason Eckardt’s mantic Dithyramb, she swiftly established her virtuosity in an elastic, preverbal but hyper-articulate world. In Old Virginny, by Shawn Jaeger, juxtaposed a forthright Appalachian lament with a snarling, snaky bassline, played athletically by Doug Balliett, to surprisingly tender effect. Balliett then took the mic for the premiere of his newest Ovid rap cantata, #11, Clytie and the Sun. While not the most arresting of his cycle (see Echo and Narcissus), it delivered a highly entertaining mix of humor and pathos, and Dhegrae’s theatrical arias, as the smitten Sun, were the perfect foil to his informal Narrator. Read the rest of this entry »
Le Train Bleu, conducted by Ransom Wilson, will present Toy Stories, a concert on Wednesday, February 6 – 7:00 PM at DROM, 85 Avenue A (between 5th and 6th) in New York, N.Y.
The evening will feature the World Premiere of Lawrence Dillon’s Seven Stories for soprano and eight instruments. The piece was composed to an original text. The composer writes, “A stuffed animal falls from an apartment window. As it falls, it peers into each passing window, trying to create stories from what it sees.” Read his recent blog post about it at http://www.sequenza21.com/dillon/?p=1962. The new work will be sung by soprano Mary Mackenzie. Visit Lawrence Dillon at http://www.lawrencedillon.com/.
Toy Stories explores mankind’s endless variety of play and playthings. The concert will also include Thomas Ades’ Living Toys, a journey through the fantasies of a child, for 14 instruments, accompanied by a new video by Adam Kendall, Matt Marks’ Sex Objects, a set of three songs about unique characters and their intimate relationships with inanimate objects, with vocal performances by Mary Mackenzie, Matt Marks, and Jeff Gavett, and the World Premiere of Eric Nathan’s Toying, a virtuoso exploration of the full range of possible sounds and techniques produced by the trumpet, played by Le Train Bleu’s Hugo Moreno.
Visit Thomas Ades at http://thomasades.com/. Matt Marks is at http://mattmarksmusic.com/ and Eric Nathan at http://www.ericnathanmusic.com/Home.html.
Tickets for the February 6 event are $20, and are available at http://www.ticketfly.com/event/205653. For more information, call 212-777-1157 or visit http://www.dromnyc.com/.
Le Train Bleu is a musical collective formed by conductor and flutist Ransom Wilson. The musicians are among the most exciting young players in New York, and are chosen for their brilliance as well as their expressive qualities. Recently named a resident ensemble of the Galapagos Art Space, the ensemble continues plans to present performances of new and interesting music. The New York Times said of their debut performance: “Under Mr. Wilson’s baton, the Train Bleu ensemble was both incisive and joyous in execution.” In the 2011-12 season, the ensemble presented a 4-concert series at the Galapagos Art Space, as well as collaborating with the Lar Lubovitch Dance Company in a 2-week season at the Baryshnikov Arts Center. They also participated in a 15-month creative residency at the Park Avenue Armory, along with soprano Lauren Flanigan. Visit them at http://letrainbleu.org/.
Posted by Jonathan Lakeland in Classical Music, Concerts, Music Events, Orchestral, Orchestras, Philadelphia, Philadelphia Orchestra, tags: flemming, joseph kim, kimmel center, orchestra, philadelphia, renee, yannick nezet seguin
Last Thursday evening, just before the lights dimmed at the Kimmel Center’s Verizon Hall, the audience purred in anticipation of the evening’s forthcoming concert. Tonight was to be a momentous occasion – the official inaugural concert with Yannick Nézet-Séguin being installed as Music Director.
I expected a concert full of classical music royalty highlighting the event as one of the most important in the Philadelphia Orchestra’s history. What was delivered was an all-around humble performance delivered by, as Mayor Michael Nutter of Philadelphia introduced them, the “greatest orchestra in the world” – the Philadelphia Orchestra.
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Acclaimed and award-winning ‘new music specialist’ Sarah Plum (right) is giving a recital of new works for violin this Friday (Sept. 28th) at 8 PM at the Firehouse Space in Williamsburg, Brooklyn.
Sarah has dedicated her career to performing the works of living composers and establishing meaningful, collaborative relationships with them – a fact highlighted by her recital’s program which includes pieces by Christopher Adler, Christopher Burns, Matthew Burtner, Laurie Schwartz, Mari Takano and Sarah’s longtime collaborator, Sydney Corbett.
I talked to Sarah about Friday’s concert, her career, working in Europe and other topics related to contemporary music on my web-based music show/podcast, We Are Not Beethoven on Washington Public Radio. You can stream/download our conversation here.
Once again, violinist Sarah Plum is giving a recital at the Firehouse Space in Brooklyn this coming Friday at 8 PM. Tickets are $10, and the Firehouse Space is located at 246 Frost Street in Williamsburg, Brooklyn. More information about the event can be found here.
Cellist Mariel Roberts is a rising star in the NYC new music scene. Tomorrow, Sept. 25th, her debut solo album, Nonextraneous Sounds, will be released on the Innova label. The disc features works by five young, super-talented composers, (in program order): Andy Akiho, Sean Friar, Daniel Wohl, Alex Mincek and Tristan Perich. Each of their pieces are very distinct and show off both the cello’s versatility and Mariel’s virtuosity.
I talked to Mariel a couple weeks ago and have just published our conversation as the latest episode of my audio web-series/podcast, “We Are Not Beethoven” on Washington Public Radio. As you’ll hear, Mariel is as charming and articulate an advocate for contemporary music and composers and there is, and there are several fascinating conceptual topics related to the creation and design of Nonextraneous Sounds that are definitely worth your time to explore.
You can stream and/or download my conversation with Mariel Roberts here…
…also, there is a CD release event for Nonextraneous Sounds on Wednesday, September 26th at the Issue Project Room in Brooklyn, follow this link to find more details and ticket information.
- Daniil Trifonov, Noam Zur
“You can’t always convince,” young Israeli conductor Noam Zur said at his North American debut, “but every performance has to make a statement.”
Known as an important educational and recreational center for the performing arts, as well as a place of spirituality, Chautauqua originated as a Sunday school, and Chautauqua Symphony Orchestra (CSO) became a professional performance ensemble in 1929. Chautauqua draws its mostly long-time members out for nine weeks, employing them for an intense schedule of 21 concerts. Part of Chautauqua’s charm in music making is that these shows craft an intimate communal experience.
- Chautauqua Amphitheatre photo:Eric Shea
Chautauqua’s unique and exemplary educational role supports an endless variety of learning experiences in a congenial atmosphere. At times, Chautauqua’s performances are also brought to a wider public through PBS and NPR broadcasts, bringing together the new, the noteworthy, and the extraordinary, and projecting it to all who care to listen.
- Chautauqua- Zur- Trifonov Photo: Eric Shea
Noam Zur’s effervescent demeanor and his ability to connect with both the orchestra and the audience made for a fantastic season-closing concert at Chautauqua last week. Zur opened his show with high-energy, uptempo repertoire that included a traditional rendition of “The Star-Spangled Banner” and Johann Strauss Jr.’s Fledermaus Overture. The show was the last in a lengthy series, so the technical execution was less than perfect at points, but nonetheless the orchestra achieved nuanced ‘picture-perfect’ moments during Ravel’s orchestral arrangement of Mussorgsky’s ‘Pictures at an Exhibition,’ managing to expertly convey the miniature scenes’ suggested sound-worlds. Zur’s demands of both the orchestra and the audience were persuasively articulated at all times; his undeviating directorial approach completely exemplified a conductor’s ability to form connections between the visual and audial occurrences that make up the energy of a live concert.
Performing Chopin’s 2nd Piano Concerto under Zur’s baton for the second time, Russian pianist Daniil Trifonov had many towering expectations to fulfill as the anchor of this featured piece. Trifonov’s honors precede him, as he has recently won awards at three major international piano competitions, and his talents have been endorsed by superstar musicians, including Martha Argerich, who said she had “never heard a touch like his” (Financial Times 2011).
What brought both Zur and Trifonov together at Chautauqua speaks to the dynamics of international concert culture, and how friendships are born on the competition circuit.
Vice president and Director of programming Marty Merkley manages Chautauqua’s program office’s annual budget of $8 million. This generous endowment allows the ensemble to invite reputable and up-and-coming guest artists, including many young First Prize winners on the international competition circuit. Merkley, having been involved with several major projects in the music market like Michael Tilson Thomas’ New World Symphonyin Miami, is able to actively engage with competitions, and the artists that they endorse.
- Noam and Uri Zur
As the First Prize winner of the Arthur Rubinstein International Piano Master Competition in 2011, Daniil Trifonov was offered several performance opportunities by Uri Zur of ArtPro- Management (Noam Zur’s father), who has been handling Prize winners’ concert performances since 2003. Former First Prize winner Alexander (Sasha) Gavryluk‘s 2005 performance at Chautauqua is still remembered by its music-loving audiences. It was a feature concert like this taking place in Tel Aviv which brought Trifonov to the Kulturwald Festival in Germany’s Bavarian Forest last September to perform with Noam Zur for the first time. Noam Zur had become Principal Conductor of the Frankfurt Chamber Philharmonic, and had been chosen to direct a production of Die Zauberflöte at Kulturwald. It did not take long for the festival’s director and Uri Zur to realize that this dynamic could easily translate into a performance with Trifonov, Zur, and orchestra.
- Trifonov and Zur in rehearsal
Uri Zur, who has covered a lot of professional ground in the music industry including managing Naxos’ record distribution in Israel, and of course founding his artist management company ArtPro, is always in close contact with Marty Merkley at Chautauqua, but he had not intended to promote his own son for this concert season. Nevertheless, when Trifonov expressed interest in performing at Chautauqua at a time when CSO was without a conductor, there was no reason not to look to Noam for the position, given his substantial merit as a director.
The festival’s extremely chaotic schedule only allowed Zur and Trifonov one rehearsal before their live performance, so the team decided to reprise Chopin’s 2nd Piano Concerto, and attempt to recreate the captivating performance that Zur and Trifonov had presented in Germany. Asked about rehearsals, Noam Zur commented that “conductors never feel they have the right amount.” He says, “it’s either: ‘I don’t know what to do anymore, and we still have three days left,’ or ‘there is so much to do and we only have three days left!’ Especially in Opera, it happens a lot that you get no rehearsals.” He says that sometimes, performers need to get by on very little rehearsal, or even just ‘wing it’: “I know the piece, you know the piece, let’s meet in the evening.”
Noam Zur assisted Pierre Boulez at the Lucerne Festival’s academy orchestra from 2006 to 2008. Inspired by the great Maestro’s style, he embraced an ambitious, yet relaxed attitude. He still recalls conducting for Boulez in an open master class at Lucerne. As Zur shook in his shoes and dripped with sweat, Boulez stopped him saying: “this was very, very good…now do it again, and this time do it fantastic!” Zur recalls that, “in all the animated music discussions we had, he never tried to impose his opinions. Yet I learned to be discerning and critical enough not to let people get away with everything.”
As a former trombonist, Zur says he looks at the score from the point of view of an orchestral musician. “It’s not choreography,” he says. “In this measure I stand still… it’s important how it looks, it should look beautiful still, but only because you want a certain sound. The movement is the impetus that gives the performing musicians the meaning and phrasing – the philosophyof what it should sound like.”
- Noam Zur Photo: Ch. Gamble
Even though Trifonov had concerts lined up after taking gold at the 2011 Rubinstein, which is a notable marathon of pianism, and an extremely draining experience, he decided to see if he could continue his winning streak at the Tchaikovsky competition, as he was already enrolled. Uri Zur, noted that Trifonov “did not have the highest expectation, having just completed the Rubinstein, but he was going to give it a shot anyhow.”
Trifonov’s superior rendition of Tchaikovsky’s Piano Concerto No.1, in the last round of the competition with the Mariinsky Orchestra under Russian conductor Valery Gergiev won him yet another gold. Gergiev did not hesitate to support his young compatriot, whom he had awarded the competition’s Grand Prix prize. Gergiev brought Trifonov on board for several concert events, at times he even trafficked Trifonov across the hemisphere from performance to performance in his own private jet. “Once he dropped me at a performance rehearsal, then went on to conduct his own concert and made it back to my performance. [They were] in different countries.” Trifonov smiles at this memory, thankful for the generous attention that the artist he calls “one of the most towering [and] busiest musicians worldwide” extended towards him. This past season alone, Trifonov performed with Maestro Gergiev in multiple concerts, tackling repertoire including Prokofiev’s 1st Piano Concerto, Gusonow’s 2nd and Liszt’s 1st.
- Daniil Trifonov
For the 2013 season, Trifonov is preparing a great deal of new repertoire for even more performances under Gergiev, including Rachmaninov’s 3rd Piano Concerto, and Prokofiev’s 2nd, which he will perform at the White Nights Festival in St.Petersburg. “I am also going to learn some Schedrin. It’s modern, for a change. I am very interested to explore more of the modern repertoire, which I did not have had much of a chance to do yet,” says the 21 year-old virtuoso pianist. “The Russian School of Piano concentrates on the Classical works, some Bach and the Romantics,” he says.
Two days prior to his own performance in Tel-Aviv, Trifonov had a chance to attend a performance of Chopin’s 1stConcerto with the iconic Russian pianist Evgeny Kissin under the baton of Zubin Mehta, the Israeli Philharmonic’s Music Director for Life. Trifonov was always a big admirer of Kissin’s artistic individuality. Both musicians attended Moscow’s famous Gnessin School for Gifted Children, which Trifonov describes as lacking the wonderfully equipped practice rooms he now uses at the Cleveland Institute of Music, where he is about to enter his fourth year. “At Gnessin-School I played on an upright, old, banged up Bechstein,” Trifonov recalls. Having access to modern, well-maintained Steinway Concert Grands makes a tangible difference in practice and performance according to Trifonov, especially when conquering ‘large’ repertoire like Rachmaninov, which he only started to explore this year. At the Cleveland Institute, Trifonov studies under Armenian pianist and conductor Sergei Babayan. Trifonov’s repertoire was always heavy with Chopin, but his recent studies with Babayan have opened him up to a whole new understanding of the idiosyncratic microcosm that constitutes Rachmaninov’s body of work. “He showed me a very different approach than the one I learned in Russia. Even though ultimately everyone goes back to Neuhaus, there are very different approaches within. Babayan opened my mind without taking away what I had. With him it’s all about the touch! He added an enormous dimension to my playing,” Trifonov says. When asked about how he learned his otherworldly pianissimo touch, Trifonov describes how students hold their breath during Babayan’s studio performance classes in an effort to hear his impossibly quiet tones. It seems that it is a combination of the Russian School’s principles and Babayan’s ethereal, yet calibrating modes of touch that brings these pianists’ pianissimo to the next dimension. I personally have heard Babayan perform and it is true- one hears the echo of the master’s touch in a personally processed nature.
- Daniil Trifonov and Ilona Oltuski
The young artist says that he aims to continue studying for an artist diploma with Babayan even though he only studies about 15 percent of the time, as he still feels like he has much to learn. Trifonov realizes that he must come to learn the music of each new composer in his own time. He sees himself tackling Beethoven at a later point in his career. “Even Schubert was a challenge for me,” Trifonov admits modestly, playing Schubert’s last Sonata in B flat-minor, “though the Mozart concerti have always been a special experience for me.”
The collaboration between Noam Zur and Trifinov was a resounding success. “It ended up a spellbinding and hair-raising experience. The audience did not dare to move in order not to miss any sound in this fantastic ‘Chopin at the barn’- like atmosphere,” Zur recalls. “We really connected not only musically. We definitely became friends. I am so happy to be together again this year with Daniil, and I really have to thank him for this one here.” To no one’s surprise, Trifonov delivered pure lyrical lucidity in his piano playing, and Zur expertly supported even the most delicate pianissimo that Trifonov extricated from the piano with his delicate, almost magical caress. Their synergy was never more evident than in the concerto’s strikingly poetic and extremely affecting Lhargettomovement. Zur and Trifonov indeed managed to yet again reconstruct some of the most magical moments of their first performance together.
- Chaim Zemach’s last rehearsal with CSO- CH.Gamble
Thanks to performance opportunities at festivals like Chautauqua, young talents like Trifonov and Noam Zur can begin to instill in audiences an ever-expanding sensibility for the beauty of music and life, and continue in a longstanding tradition of talent that permeates the international concert scene. While this concert was Noam Zur’s North-American Debut, it was also a touching curtain call for the eminent CSO lead cellist Chaim Zemach, who exited the stage at Chautauqua in a revelatory state of mind after 45 concert seasons. As Chautauqua moves forward, I am sure we can continue to expect excellence and innovation on its stage.
Posted by Jonathan Lakeland in Classical Music, Composers Now, Contemporary Classical, Contests, Media, Music Events, New York, Online, Opportunities, Radio, Resources, The Business, Twentieth Century Composer, Websites, Women composers, tags: classical, contemporary, living composers, new music, new york city, online, Q2, radio, streaming, WNYC, WQXR
Picture courtesy of Q2 Music
Sometimes, classical music gets a bad rap. To be perfectly honest, there is a chunk of the population that finds it to be synonymous with any number of derogatory terms: boring, annoying, or pompous. Some classical music lovers and advocates will counter this popular belief with arguments that only go to further the opinion of the other side: “Some people want to listen to mindless music”, “Some people simply don’t have patience”, etc. These ridiculous arguments only go to further the stereotype that classical music lovers are all pompous windbags who believe themselves to be uniquely educated and informed.
How, then, do we get people to forget their misconception, and believe that EVERYONE can enjoy or even love classical music, regardless of education, socioeconomic standing, or profession?
It all comes down to how classical music is presented; and now, for a limited time, you could join one organization that does it right.
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Jennifer Dautermann of WOMEX (the World Music Expo) and project manager of Classical:NEXT, has succeeded in building a new platform for classical music professionals at Munich’s well equipped, easy to maneuver, cultural center Gasteig.
The long overdue launch of classical music’s first dedicated forum took place over May 30 to June 2, hosting live and video showcases, conference sessions and presentations by leading professionals of the press as well as music institutions, the likes of Carnegie Hall and the Bavarian State Opera.
The forum also included easily accessible trade-fair booths showcasing the recording industry, dominated by the Omni-presence of the large Naxos team.
Part of the excitement was the presence of the eminent, Hong-Kong based Naxos founder and self-made man Klaus Heymann, who chose this forum to celebrate the 25th anniversary of Naxos’s position as the largest distributor of classical music. This in itself may have contributed in part to the eager participation of many of the labels distributed by Naxos at Classical:NEXT. Regardless, Naxos has proven time and again that it is equipped with an innovative entrepreneurial approach and a foresight that has succeeded with great projects like the Naxos library. They have managed to connect culture and commerce and impressively demonstrate their development from a low-budget start-up into a world-wide classical powerhouse.
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Report by Tyran Grillo (between sound and space)
Photos by Evan Cortens
Music: Cognition, Technology, Society set a formidable intellectual task before participants of the selfsame conference at semester’s end on the quieting campus of Cornell University. Under the attentive care of organizers Caroline Waight, Evan Cortens, Taylan Cihan, and Eric Nathan, what might have been an overwhelming conceptual storm proved smooth sailing through a series of back-to-back panels. The lack of overlap meant that everyone in attendance could take in the full thematic breadth and draw connections that might otherwise have been missed in the three-ring circus of a larger conference, thereby allowing interaction, a building of new relationships while strengthening the old, and dialogue conducive to the intellectual goals at hand.
I had the privilege and the honor of presenting first in the opening Friday morning panel, entitled Patterns, Schemata and Systems, for which I was joined by Bryn Hughes (Ithaca College) and Joshua Mailman (Columbia). I did my best to set a tone in my discussion of Modell 5, a museum installation piece by Vienna-based duo Granular Synthesis, whose eponymous approach to motion capture and digital manipulation of synchronous sound and image activated, I hope, our shared interest in the intersection of technology and sonic arts. Hughes was interested in more mainstream sonic outlets. In problematizing expectation in rock music through harmonic progression as both a function of context and of socialization, he asked: Does harmony behave in a universal way? Why do some chord progressions sound “wrong” and how do we gain knowledge of these rules?
Hughes plotted a matrix of influences on such choices, discovering through controlled testing that expectations are genre-specific (diatonic successions, for instance, are preferred by classical over blues listeners) and that the impact of voice leading, lyrical (a)synchronicity, and other variables must also be taken into account. Mailman took a more phenomenological approach to music as a site lacking in expectation, advocating a cybernetic model of listening and feedback practices. In positing retrospection as an active shaping force of musical experience, Mailman privileged context over convention in musical structure. By looking at otherwise undeterminable aspects of musical form and development—what Boulez might group under the term “listening angles”—as a means of analysis, Mailman made a provocative case for cybernetic phenomenology as a viable site for sonic inquiry.
Qualities emerge through change and exist by virtue of being measured as such. Hence the assertions of David Borgo (UC San Diego), who in the second session on Improvisation challenged the dominant paradigm of musical spontaneity as an individual act, seeking rather to enlarge the notion of agency to its extra-corporeal aspects. Because action of response happens more quickly than consciousness can grasp, our interpretations of the very same can only come a posteriori, subject to the same misinterpretations as any and all memory. Consciousness, argued Borgo, is autopoetic and under constant perturbation. Improvisers must therefore negotiate contingencies in all directions. To locate them at the center of webs as amorphous as their melodic constitutions is as difficult as it is to locate the true center of a universe that is forever expanding.
Neither are improvisational gestures simply plucked from the ether, as Jeremy Grall (University of Alabama at Birmingham) showed in his exploration of the hierarchies at work in seemingly indeterminate music-making. Grall’s interest was the divide (or lack thereof) between composition and improvisation and whether or not the two can be subject to the same analytical vocabularies. For him, improvisation is an already problematic term, one that may be absorbed into composition insofar as improvisation abides by underlying schemata. In order to negotiate the ambiguities of perception and the phases of concrescence therein, he looked to 16th-century improvisational models and their inherent blend of immediacy and indeterminacy.
A fascinating Demonstration Session kicked off the conference’s first evening. William Brent (American University) gave us a visual and aural tour through his Gesturally Extended Piano and Open Shaper, while Mailman returned with Columbia colleague Sofia Paraskeva for a demonstration of their “comprovisational” interface. Both of these technologies take advantage of the primacy of the body in communicating information at once inter- and intra-musical. Read the rest of this entry »