DOCSLIB.ORG

TRISTAN PERICH B.1982, New York, NY Lives and Works in New York, NY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TRISTAN PERICH B.1982, New York, NY Lives and Works in New York, NY TRISTAN PERICH b.1982, New York, NY Lives and works in New York, NY Tristan Perich is a New York based artist and composer who is best known for his constructions exploring the physicality of sound and the polyphonic potential of 1-bit audio. He is the creator of Microtonal Wall, a large-scale installation comprising 1,500 speakers, which was included Soundings at Museum of Modern Art, New York. In the mechanical drawing systems that he builds, Perich investigates recursive line and patterned surface formation. Perich’s art and music have been exhibited and performed internationally. The recipient of a Rhizome commission in 2010, Perich was recognized with an Award of Distinction at the 2009 Ars Electronica for his composition Active Field (for ten violins and ten-channel 1-bit music). His past works have also been presented at The Whitney Museum of American Art, New York; P.S.1/MoMA, New York; Mass MoCA, North Adams; LABoral, Gijon, Spain; The Kitchen, New York; iMAL, Brussels; Katonah Museum of Art, Katonah; bitforms gallery, New York; Tanya Bonakdar Gallery, New York; Lydgalleriet, Bergen, Norway; ABC No Rio, New York; Sonar, Barcelona; Issue Project Room, Brooklyn; Zipper Hall, Los Angeles; and Merkin Hall, New York; among many celebrated spaces for multidisciplinary art. His works for soloist, ensemble and orchestra have been commissioned and performed by Bang on a Can, So Percussion, Calder Quartet, the Meehan/Perkins duo, and others. Perich studied Music, Math and Computer Science at Columbia University, and Electronic Art at New York University's Interactive Telecomunnications Program, part of the Tisch School of the Arts. bitforms gallery | 131 Allen Street New York, NY 10002 | t 212 366 6939 | www.bitforms.com EDUCATION 2007 M.P.S. Interactive Telecommunications Programs, NYU/Tisch 2004 B.A. Columbia University SOLO EXHIBITIONS 2017 Mies Van Der Rohe Barcelona Pavillion, Barcelona, Spain 2015 Museo de Arte Contemporaneo, Universidad de Chile, Santiago, Chile Sampler Series, L'Auditori, Barcelona, Spain 2013 Interval Studies, bitforms gallery Project Space, New York, NY Tristan Perich, Hopkins Center, Dartmouth College, Hanover, NY 2011 Tristan Perich: Interval Studies, LEAP, Berlin, Germany Minimal, LydGalleriet, Bergen, Norway Tristan Perich: Machine Wall Drawing, Katona Museum of Art, Katonah, NY Tristan Perich: Interval Studies, Monster Truck Gallery, Dublin, Ireland 2010 Tristan Perich: Interval Studies, Museo Carandente, Spoleto, Italy 1-Bit Show, Motelsalieri, Rome, Italy Artist’s Project: Tristan Perich, Addison Gallery, Andover, MA Tristan Perich: Interval Studies, Mikrogalleriet, Copenhagen, Denmark 2009 Tristan Perich: 1-Bit Symphony, bitforms gallery, New York, NY Eighteen Linear Constructions, ssue Project Room, Brooklyn, NY SELECTED GROUP EXHIBITIONS 2017 David Owsley Museum of Art, Muncie, IL 2016 Fifteen-Year Anniversary Exhibition, Minnesota Street Project, San Francisco, CA Sonar Festival, Mies van der Rohe Pavilion, Barcelona, Spain Stonybrook University, Stonybrook, NY New Media Gallery, British Columbia, Canada FIAC, León, Mexico 2015 The Art of Music, San Diego Museum of Art, San Diego 2014 Audible Spaces: Tristan Perich, Zarouhie Abdalian, and [The User], David Winton Bell Gallery, Brown University, Providence, RI 2013 Soundings, Museum of Modern Art, New York, NY My Brain Is in My Inkstand: Drawing as Thinking and Process, Cranbrook Art Museum, Bloomfield Hills, MI Ambient, Tanya Bodnakar Gallery, New York, NY Temporary Services: Socialized Media – Designated Drivers, Interactive Records and a Booklet CloudTexas State University, San Marcos, TX FINE SOUND keine medienkunst, das weisse haus, Vienna, Austria (in)complete, TEMP Art Space, New York, NY 2012 Life is Tape, Black Box Gallery, Copenhagen, Denmark NYFA Fellows Exhibit, NYFA Gallery, Brooklyn, NY Five, Greylock Arts, Adams, MA (Un)folding Patterns, Dorsky Gallery, Queens, NY Click Festival, Kulturværftet, Helsingor, Denmark Microtonal Array, InterAccess Electronic Media Arts Centre, Toronto, Canada Illuminating Data, The College of New Jersey Art Gallery, Ewing, NJ Science and Art, Reading Public Museum, Reading, PA 2011 Multiple Market, Black Box Gallery, Copenhagen, Denmark Visual Phrasing, Therese A. Maloney Art Gallery, Morristown, NJ Drawn/Taped/Burned, Katonah Museum, Katonah, NY 92YTribeca, New York, NY 2010 Camel Art Space, Brooklyn, NY. Sanity Disobedience Science and Art, Arts & Science Center for Southeast Arkansas, Pine Bluff, AR; Center for Math and Science Education, Fayetteville, AR; Arkansas State University Museum, Jonesboro, AR; Mid-America Science Museum, Hot Springs, AR High Zero Festival Exhibition, Gallery Four, Baltimore, MD Tweak Festival Exhibition, Church Gallery Space, Limerick, Ireland Playlist, iMAL, Brussels, Belgium bitforms gallery | 131 Allen Street New York, NY 10002 | t 212 366 6939 | www.bitforms.com The Amazing Acoustaphotophonogrammitron, MCLA Gallery 51, North Adams, MA 2009 Playlist, LABoral Centro de Arte, Gijon, Spain Science and Art, Texarkana Museums System, Texarkana, AR; Arkansas Museum of Natural Resources, Smackover, AR; Museum of Discovery, Little Rock, AR Bent Festival, The Tank, New York, NY 2008 Piksel 08: Code Dreams, LydGalleriet, Bergen, Norway The Headphones Show, Abrons Art Center, New York, NY Algorithmic Art, Greylock Arts, Adams, MA Common Denominator, ABC No Rio, New York Nomenus Group Show, Dactyl Foundation, New York 2006 Philoctetes Center, New York Bushwick Art Project, 3rd Ward, Brooklyn, NY 2005 39 Troy, Providence, RI 2004 Columbia University, New York 2003 Princeton University, Princeton, NJ AWARDS, COMMISSIONS AND RESIDENCIES 2018 Young Artist in Focus, ReWire Festival, The Hague, The Netherlands 2015 Dartmouth College Visiting Artist, Hanover, NH 2012 Residency. The Watermill Center: A Laboratory for Performance, Water Mill, NY Grant. Chamber Music America Classical Commissioning Grant. Det Jyske Kunstakademi, artist residence, Aarhus, Denmark 2011 Grant. Meet the Composer New York Foundation for the Arts, Artists’ Fellowship in Digital/Electronic Arts, Gregory Millard Fellow Aaron Copland Fund for Music, Recording Program 2010 Artist in Residence, Mikrogalleriet, Copenhagen, Denmark, Spring Addison Gallery of American Art, Edward E. Elson artist in residence, Andover, MA Harvestworks, Artist-in-Residence STEIM, residency, Amsterdam, Netherlands Clocktower, Audio Art Residency, New York, NY 2009 Prix Ars Electronica: Award of Distinction 2008 Artist in Residence, Issue Project Room, Brooklyn, New York 2008 Bang on a Can People’s Commissioning Fund 2002 Bang on a Can Summer Institute of Music SELECTED PERFORMANCES AND TALKS 2017 OBEY Convention, Halifax Central Library, Halifax, Nova Scotia, Canada 2016 Surface Image performed with Vicky Chow, Ohio Wesleyan University, Delaware, OH Impermanent, Greenwood Cemetery Chapel, Brooklyn, NY Parallels, 9 Evenings + 50, Fridman Gallery, New York, NY Noise Patterns, Le Poisson Rouge, Brooklyn, NY Surface Image performed with Vicky Chow, National Gallery of Art, Washington D.C. Surface Image performed with Vicky Chow, Walker Arts Center, Minneapolis, MN Surface Image performed with Vicky Chow, The Andy Warhol Museum, Pittsburg, PA 2015 Sequential at Amos Eno Gallery, Brooklyn, NY Three Improvisations, Roulette, Brooklyn, NY Barnes Recital Hall, Winthrop University, Rock Hill, SC Walt Disney Concert Hall Los Angeles, CA 2013 Museum of Modern Art, New York, NY Tanya Bonakdar Gallery, New York, NY MIT, Cambridge, MA das weisse haus, Vienna, Austria Cisternerne Museum of Modern Glass Art, Copenhagen, Denmark TEMP Art Space, New York, NY The Kitchen, New York, NY 2012 Guggenheim Museum, New York, NY NYFA Gallery, Brooklyn, NY Le Poisson Rouge, New York, NY Issue Project Room, Brooklyn, NY bitforms gallery | 131 Allen Street New York, NY 10002 | t 212 366 6939 | www.bitforms.com InterAccess Electronic Media Arts Centre, Toronto, Canada The Kitchen, New York, NY Telfair Museums, Savannah, GA Kunstallen Nikolaj, Copenhagen, Denmark 2011 Arts Santa Monica, Barcelona, Spain Motelsalieri, Rome, Italy New Museum, New York, NY Tramway, Glasgow, Scotland Silent Barn, Ridgewood, NY MUTEK, Montreal, Canada Eyebeam, New York, NY Issue Project Room, Brooklyn, NY Trinity College, Dublin, Ireland 92Y Tribeca, New York, NY Printed Matter, New York, NY Neuberger Museum, Harrison, NY 2010 Le Poisson Rouge, New York, NY Issue Project Room, Brooklyn, NY 92Y Tribeca, New York, NY MCLA Gallery 51, North Adams, MA Monkey Town, Brooklyn, NY 2009 Joe’s Pub, New York Trinitatis Church, Copenhagen, Denmark MATA Interval, New York The Stone, New York Chelsea Art Museum, New York 2008 Floating Points Festival, Issue Project Room, New York Evolution, UK (Loud Objects) Whitney Museum of American Art, New York Bang on Can People’s Commissioning Fund, Merkin Hall, New York Piksel, Bergen, Norway (Loud Objects) 2007 Screen Music 2, Italy (Loud Objects) Amoeba Records, Los Angeles Art & Music with the Overhead Projector, Germany (Loud Objects) P.S.1. Contemporary Art Center, New York Loud Objects at NIME, New York Master’s Recital at Tenri Cultural Institute, New York Chelsea Art Museum, New York 2006 St. Paul’s Chapel, Columbia University, New York 2004 Thesis Recital at Columbia University, New York SELECTED PERFORMANCES 2018 “Noise Patterns”, bitforms gallery, New York, NY Vicky Chow performs Tristan Perich's Surface Image at Institute for Advanced Study, Princeton, NJ 2017 “Tristan Perich: Five Works”, The Kitchen, New York, NY Vicky Chow performs Tristan
Load more

Recommended publications
  • Orientalism, Regionalism, Cosmopolitanism: Musical Manifestations of Cultural Hybridity Audrey M. Wozniak Advised by Martin Brod
    Orientalism, Regionalism, Cosmopolitanism: Musical Manifestations of Cultural Hybridity Audrey M. Wozniak Advised by Martin Brody, Department of Music Wellesley College May 2014 Submitted in Partial Fulfillment of the Prerequisite for Honors in Music Performance © Audrey Wozniak, 2014 Introduction If the declaration that music is a “universal language” is in itself controversial, then any assertion that there can be “purity” within a musical style is surely even more contentious. Even the terms “East” and “West” can be difficult to tease apart. As we consider artistic cross-fertilization, we should remember that compartmentalizing cultures and countries (or even continents) involves potentially arbitrary, or certainly changeable, boundaries. In reality, cultural sub-groups cannot be neatly distilled to a formulaic laundry list of attributes. They serve as poor substitutes for nuanced distinctions and too easily reinforce cultural place-markers or stereotypes. Musically speaking, the so-called “classical music” of the West may seem to be an exception; that is, to contradict a norm of hybridity. European tonal music emerged from centuries of slowly evolving norms of harmony and voice leading. However, “Western” music has incorporated a variety of idioms and practices. One kind of cultural hybridity that emerges in various guises in the context of tonal music is a formulaic, what might be called “Orientalizing,” allusion to the Near or Far East. In this essay, I will explore attitudinal shifts among European and American composers toward incorporating non- European art music sources in art music. A wide variety of attitudes about Eastern- Western musical hybridity are reflected in the compositional processes and approaches of composers from Mozart to Ives.
    [Show full text]
  • Drone Records Mailorder-Newsflash MARCH / APRIL 2008
    Drone Records Mailorder-Newsflash MARCH / APRIL 2008 Dear Droners & Lovers of thee UN-LIMITED music! Here are our new mailorder-entries for March & April 2008, the second "Newsflash" this year! So many exciting new items, for example mentioning only the great MUZYKA VOLN drone-compilation of russian artists, the amazing 4xLP COIL box, a new LP by our beloved obscure-philosophist KALLABRIS, deep meditation-drones by finlands finest HALO MANASH, finally some new releases by URE THRALL, and the four new Drone EPs on our own label are now out too!! Usually you find in our listing URLs of labels or artists where its often possible to listen to extracts of the releases online. LABEL-NEWS: We are happy to take pre-orders for: OÖPHOI - Potala 10" VINYL Substantia Innominata SUB-07 Two long tracks of transcendental drones by the italian deep-ambient master, the first EVER OÖPHOI-vinyl!! "Dedicated to His Holiness The Dalai Lama and to Tibet's struggle for freedom." Out in a few weeks! Soon after that we have big plans for the 10"-series with releases by OLHON ("Lucifugus"), HUM ("The Spectral Ship"), and VOICE OF EYE, so watch out!!! As always, pre-orders & reservations are possible. You also may ask for any new release from the more "experimental" world that is not listed here, we are probably able to get it for you. About 80% of the titles listed are in stock, others are backorderable quickly. The FULL mailorder-backprogramme is viewable (with search- & orderfunction) on our website www.dronerecords.de. Please send your orders & all communication to: [email protected] PLEASE always mention all prices to make our work on your orders easier & faster and to avoid delays, thanks a lot ! (most of the brandnew titles here are not yet listed in our database on the website, but will be soon, so best to order from this list in reply) BUILD DREAMACHINES THAT HELP US TO WAKE UP! with best drones & dark blessings from BarakaH 1 AARDVARK - Born CD-R Final Muzik FMSS06 2007 lim.
    [Show full text]
  • Bang on a Can Live – Vol
    NWCR646 Bang on a Can Live – Vol. 2 Gary Trosclair, trumpet; Mark Stewart, electric guitar; Alan Moverman, piano and synthesizer; Tigger Benford, percussion Jeffrey Brooks 3. Composition for Two Pianos (1992) ................... (8:55) (Bang on a Can 1992) Piano Duo – Cees van Zeeland & Gerard Bouwhuis Elizabeth Brown 4. Migration – in memory of Julie Farrell (1992) .... (11:44) (Bang on a Can 1992) Elizabeth Brown, shakuhachi; Mayuki Fukuhara, violin; Sarah Clarke, viola; Theodore Mook, cello David Lang 5. The Anvil Chorus (1991) ..................................... (7:00) (Bang on a Can 1991) Steve Schick, percussion Jeffrey Mumford 6. a pond within the drifting dusk (1989) ................ (9:22) (Bang on a Can 1989) Laura Gilbert, alto flute; Joshua Gordon, cello; Victoria Drake, harp Phil Kline Shelley Hirsch/David Weinstein 7. Bachman’s Warbler (1992) ................................. (16:34) 1. Haiku Lingo (excerpt) (1990) ............................. (8:15) (Bang on a Can 1992) Phil Kline, harmonica and (Bang on a Can 1990) Shelley Hirsch, voice; boomboxes David Weinstein, electronics Total playing time: 74:53 Lois V. Vierk 2. Red Shift IV (1991) ............................................. (12:25) Ê & © 1993 Composers Recordings, Inc. (Bang on a Can 1991) A Cloud Nine Consort: © 2007 Anthology of Recorded Music, Inc. Notes Bang on a Can is among the most inclusive and hospitable of introductions are cursory, a bit nervous and wonderfully all new music festivals. Its ambiance is informal. When the illuminating—an introduction to the person, not the concept, venues allow it, audiences can come and go during annual all- behind the music. When John Cage stepped on stage to kick day marathon concerts, sit up close and listen, or casually off the 1992 edition of the festival, which began with his stand in the back with a beer or an apple cider.
    [Show full text]
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • Calder Quartet, Terry Riley to Play Blum & Poe Gallery
    Calder Quartet, Terry Riley to play Blum & Poe gallery - latime... http://www.latimes.com/entertainment/news/music/la-et-calder-r... latimes.com/entertainment/news/music/la-et-calder-riley-20110914,0,4944057.story latimes.com Calder Quartet, Terry Riley to play Blum & Poe gallery The young players (and their mentor) perform to raise money so they can commission new works. By Margaret Wappler, Los Angeles Times September 14, 2011 Los Angeles is teeming with places to perform if advertisement you're a rock band stoking dreams of becoming the next Arcade Fire, but what about a classically trained string quartet, one that can play with party guru Andrew WK or the National's stormy rock? The art world, ready to foster the kind of cross-pollination that sparked between Merce Cunningham and John Cage, is ready to receive you with open arms. It's a good thing, too, in a city where genre-jumping musicians have few mid-level-sized homes. Either play in the splendor of Walt Disney Concert Hall or the tiny confines of the Smell or Pehrspace. Or, in the case of local heroes Calder Quartet, talk to Tim Blum, co-owner of Culver City's prestigious Blum & Poe gallery. On Wednesday, the Calder Quartet will perform, followed by a piano set from their mentor Terry Riley, at an event designed to raise money for the group to commission new pieces. Hosted in Blum & Poe's new space partially conceived for interdisciplinary works, it's the kind of show that feels auspicious for its connective tissue between the art world and classical music that expands tradition to incorporate forays into rock, jazz, Indian raga or whatever catches the roaming ear.
    [Show full text]
  • First Glimpse 2018: Songs from the Great Room
    presents First Glimpse 2018: Songs from the Great Room World Premiere Songs rom e 17-19 omosers e oie series Composers & the Voice Artistic Director - Steven Osgood Musical Direction by Mila Henry & Kelly Horsted 2017-19 Composers & the Voice Composer and Librettist Fellows Laura Barati Pamela Stein Lynde Sokunthary Svay Matthew Browne Scott Ordway Amber Vistein Kimberly Davies Frances Pollock Alex Weiser 2017-18 Composers & the Voice Resident Singers Tookah Sapper, soprano Jennifer Goode Cooper, soprano Blythe Gaissert, mezzo-soprano* Blake Friedman, tenor Mario Diaz Moresco, baritone Adrian Rosas, bass-baritone *Songs written for mezzo-soprano will be performed tonight by Kate Maroney Resident Stage Manager - W. Wilson Jones May 19 & 20, 2018 - 7:30 PM SOUTH OXFORD SPACE, BROOKLYN FROM THE ARTISTIC DIRECTOR I always have mixed emotions when a cycle of Composers and the Voice arrives at the First Glimpse concerts. It is thrilling to FINALLY throw open the doors of this room and share some of the wonderful pieces that have been written since last Fall. But it also means that my time working so regularly and directly with a family of artists is drawing to a close. It takes a huge team of people to make a program like Composers and the Voice work, but I would like to thank two who have stepped into new and significantly larger roles this year. Mila Henry, C&V Head of Music, has overseen the musical organization of the entire season, while also preparing several pieces for each of our workshop sessions. Matt Gray, as C&V Head of Drama, has brought his insight into character and operatic narrative into every element of the program.
    [Show full text]
  • Presidency Cultural Programme in Kraków
    Presidency Cultural Programme in Kraków 2011-08-23 4th “Divine Comedy” International Theatre Festival December 2011 The Divine Comedy festival is not just a competition, but also an opportunity to see the top shows by young Polish directors and the chance to compare opinions of Polish theatre with critics from all over Europe. The selection of productions is made by the most prominent Polish critics, journalists, and reviewers, while the decision on who walks away with the figurine of the Divine Comedian is made by an independent international jury. The festival is divided into three blocks. In the Inferno section – the contest for the best Polish productions of the previous season – the maestros of Polish theatre and their students compete for the award. Paradiso is the section of the festival devoted to the work of young, but already acclaimed, directors. The Purgatorio block includes accompanying events. It should be emphasised that this year the festival has changed its formula – traditionally the competition section and culmination of accompanying events fall in December, while the international section takes place all year round – every month excluding the summer holidays. Organiser: Krakow Festival Office www.boskakomedia.pl Opera Rara: A. Vivaldi – L’Oracolo in Messenia 8 December 2011 December’s performance in the Opera Rara cycle perfectly achieves the goals set by originator Filip Berkowicz when he began the project in 2009 – to present above all works which are rarely played or which have been restored to the repertoire after centuries of absence in concert halls. This will be the world première of the opera written by Antonio Vivaldi in the last years of his life, published just after his death and then lost for a very long time.
    [Show full text]
  • Young Composers-Now!
    MAtA FESTIVAL 2010 APRIL 19-22 YOUNG COMPOSERS-NOW! (Le) Poisson Rouge new YoRk CitY PhiLiP Glass Executive Producer MissY MAzzoLi Executive Director ChRistoPheR McIntyre Artistic Director NathAn koCi Development and Operations Manager BOARD OF DIRECTORS JiM RosenFieLd President theodoRe wiprud Vice-President Russell PoMeranz Treasurer JoAn LA Barbara Secretary Ellen BRodY hughes Past President PhiLiP Glass Executive Producer LisA BielawA Artistic Director Emeritus EleonoR SandReskY Artistic Director Emeritus LAuRie AndeRson Grethe Barrett holby zonA hostetLeR Ralph Jackson Aaron Jay keRnis JAson MAsiMoRe JAMes MAtheson John L. stewart FOUNDERS (1996) LisA BielawA PhiLiP Glass EleonoR SandReskY FESTIVAL 2010 TEAM Dan Bora Technical Director sid king Stage Manager steVen swartz, dotdotdotMusiC Public Relations CAseY MAheR | THIS will kill thAt Graphic Design stePhen TayloR Photography/Video PeteR wise, square CAndY design Website Development MESSAGE FROM THE DIRECTORS Welcome to MATA’s 12th annual Festival of New Music by young composers. As MATA nears completion of its 13th year of concerts, commissions, installations, panels and collaborations, we continue to be motivated by the same things that inspired Philip Glass, Eleonor Sandresky and Lisa Bielawa at the first MATA concerts in 1997. Each year, the body of work that we and our panel of established peers encounter in the Call For Submissions (including well over 400 composers at this point!) is full of surprising and innovative music by artists who are sure to be leaders in the field in the decades to come. We draw inspiration from their ingenuity and energy during the selection process and throughout the year. 2010 brings many firsts to the MATA Festival, including the American debut of Italian new music ensemble L’arsenale, a group making waves all over Italy, and the Festival debut of the Calder Quartet, Ensemble Pamplemousse, and New York’s venerable new music ensemble, Argento.
    [Show full text]
  • Catalog INTERNATIONAL
    اﻟﻤﺆﺗﻤﺮ اﻟﻌﺎﻟﻤﻲ اﻟﻌﺸﺮون ﻟﺪﻋﻢ اﻻﺑﺘﻜﺎر ﻓﻲ ﻣﺠﺎل اﻟﻔﻨﻮن واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ The 20th International Symposium on Electronic Art Ras al-Khaimah 25.7833° North 55.9500° East Umm al-Quwain 25.9864° North 55.9400° East Ajman 25.4167° North 55.5000° East Sharjah 25.4333 ° North 55.3833 ° East Fujairah 25.2667° North 56.3333° East Dubai 24.9500° North 55.3333° East Abu Dhabi 24.4667° North 54.3667° East SE ISEA2014 Catalog INTERNATIONAL Under the Patronage of H.E. Sheikha Lubna Bint Khalid Al Qasimi Minister of International Cooperation and Development, President of Zayed University 30 October — 8 November, 2014 SE INTERNATIONAL ISEA2014, where Art, Science, and Technology Come Together vi Richard Wheeler - Dubai On land and in the sea, our forefathers lived and survived in this environment. They were able to do so only because they recognized the need to conserve it, to take from it only what they needed to live, and to preserve it for succeeding generations. Late Sheikh Zayed bin Sultan Al Nahyan viii ZAYED UNIVERSITY Ed unt optur, tet pla dessi dis molore optatiist vendae pro eaqui que doluptae. Num am dis magnimus deliti od estem quam qui si di re aut qui offic tem facca- tiur alicatia veliqui conet labo. Andae expeliam ima doluptatem. Estis sandaepti dolor a quodite mporempe doluptatus. Ustiis et ium haritatur ad quaectaes autemoluptas reiundae endae explaboriae at. Simenis elliquide repe nestotae sincipitat etur sum niminctur molupta tisimpor mossusa piendem ulparch illupicat fugiaep edipsam, conecum eos dio corese- qui sitat et, autatum enimolu ptatur aut autenecus eaqui aut volupiet quas quid qui sandaeptatem sum il in cum sitam re dolupti onsent raeceperion re dolorum inis si consequ assequi quiatur sa nos natat etusam fuga.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008).
    [Show full text]
  • Paul Schoenfield's' Refractory'method of Composition: a Study Of
    Paul Schoenfield's 'Refractory' Method of Composition: A Study of Refractions and Sha’atnez A document submitted to the Graduate School of The University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by DoYeon Kim B.M., College-Conservatory of Music of The University of Cincinnati, 2011 M.M., Eastman School of Music of The University of Rochester, 2013 Committee Chair: Professor Yehuda Hanani Abstract Paul Schoenfield (b.1947) is a contemporary American composer whose works draw on jazz, folk music, klezmer, and a deep knowledge of classical tradition. This document examines Schoenfield’s characteristic techniques of recasting and redirecting preexisting musical materials through diverse musical styles, genres, and influences as a coherent compositional method. I call this method ‘refraction’, taking the term from the first of the pieces I analyze here: Refractions, a trio for Clarinet, Cello and Piano written in 2006, which centers on melodies from Mozart’s Le nozze di Figaro (The Marriage of Figaro). I will also trace the ‘refraction’ method through Sha’atnez, a trio for Violin, Cello and Piano (2013), which is based on two well-known melodies: “Pria ch’io l’impegno” from Joseph Weigl’s opera L’amor marinaro, ossia il corsaro (also known as the “Weigl tune,” best known for its appearance in the third movement of Beethoven’s Trio for Piano, Clarinet, and Cello in B-flat Major, Op.11 (‘Gassenhauer’)); and the Russian-Ukrainian folk song “Dark Eyes (Очи чёрные).” By tracing the ‘refraction’ method as it is used to generate these two works, this study offers a unified approach to understanding Schoenfield’s compositional process; in doing so, the study both makes his music more accessible for scholarly examination and introduces enjoyable new works to the chamber music repertoire.
    [Show full text]
  • PDF Transition
    ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b.
    [Show full text]