Carol Szymanski CV
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Improvising Across the Electronic Abyss
Playing into the Machine: Improvising across the Electronic Abyss David Rothenberg and Ben Neill The initial reason we play into machines is The electric guitar is the most per- for the enhancement that basic sound effects offer. The first fect musical sound to be effected, a b s t r a c t sound effect every acoustic player loves is reverb, which can because it is a pure, high-volume, make us sound as if we are playing inside any space imaginable. clear tone, crying out for effects to Two musicians who have A single tone can be quickly played and then remain endlessly shape it in myriad ways. Effects de- focused on playing acoustic ringing on in artificial space. Only a few notes are needed, with fine the personality of guitar play- wind instruments into electron- plenty of silence between them, to make a melody fill the air. In ers, and it is probably with them in ics for the purposes of enhanc- ing their original sound reflect reverb’s earliest incarnation, sounds were piped into resonat- mind that the whole industry has on how the use of such new ing chambers or blasted against springs and plates to create developed. However, wind players technologies inherently pushes the effect, but now it can be expertly synthesized with digital learn their individuality through “old technologies” toward a new precision, and actual acoustic spaces from all over the planet years of practice at personalizing aesthetics of improvisation. can be sampled with the technique known as convolution [1]. a tone, so when we confront the Here a conflict emerges: The regularity of delays adds or- machine, we have a whole different der and rhythm to melodies that otherwise might be free. -
DAVID WOJNAROWICZ (1954–1992) B
DAVID WOJNAROWICZ (1954–1992) b. 1954, Red Bank, NJ d. 1992, New York, NY SOLO EXHIBITIONS 2020 I is Someone Else, Morán Morán, Los Angeles CA David Wojnarowicz, Photography & Film, Morris and Helen Belkin Art Gallery, Vancouver, BC 2019 History Keeps Me Awake at Night, Museum Reina Sofia, Madrid David Wojnarowicz, Photography & Film, Kunst-Werke Institute for Contemporary Art, Berlin 2018 History Keeps Me Awake at Night, The Whitney Museum of American Art, New York, NY Soon All This Will be Picturesque Ruins: The Installations of David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Video and Photography, KW Institute for Contemporary Art, Berlin, Germany. David Wojnarowicz: Flesh of My Flesh, Iceberg Projects, Chicago, IL 2016 Raging Through: The Art of David Wojnarowicz, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2011 Spirituality, P·P·O·W, New York, NY 2009 David Wojnarowicz, Supportico Lopez, Berlin, Germany 2006 Rimbaud in New York, CABINET, London, England David Wojnarowicz, Between Bridges, London, England 2004 Out of Silence: Artworks with Original Text by David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Rimbaud in New York, Roth Horowitz Gallery, New York, NY Close Up sur David Wojnarowicz, Forum des Halles Espace Rencontres, Paris, France 2001 Featured Works VI: David Wojnarowicz: The Elements, Fire and Water, Earth and Wind, Krannert Art Museum, University of Illinois, Urbana-Champaign, IL 1999 Fever: The Art of David Wojnarowicz, New Museum, New York, NY David Wojnarowicz: The Boys Go Off -
Performance History 2020 ITSOFOMO (In the Shadow Of
Ben Neill – Performance History 2020 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, Getty Museum, Los Angeles, CA Fantini Futuro, Berrie Center for the Performing Arts at Ramapo College, Mahwah, NJ 2019 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, KW Institute, Berlin Big Ears Festival 2019, duo with Mimi Goese, Knoxville, TN International Computer Music Conference, NYU, New York, NY Fantini Futuro world premiere, Roulette, Brooklyn, NY 2018 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, 4 performances at Whitney Museum of American Art, New York, NY STEIM, Amsterdam, The Netherlands 2017 Winter Garden at Brookfield Place, WNYC New Sounds Live, MANITOGA, STEAK abc, performance and installation with artist Carol Szymanski College of Santa Monica Art Gallery, performance of Horizonal in exhibition of artist Andy Moses Woodstock Artists Association and Museum (WAAM), Fathom, collaboration with Mimi Goese Howland Center, Beacon NY, collaborative performance with visual artist Carl van Brunt O+ Festival, Kingston, NY, performance with Mimi Goese Romanischer Sommer, Koln, Germany; World Minimal Music Festival, Amsterdam, Netherlands; Klangspauren Festival, Polling, Germany, NO Festival, Krems, Austria; co- leader of Theater of Eternal Music Brass Ensemble performance of La Monte Young’s work The Second Dream 2016 Lied Center, University of Kansas, The Demo with Mikel Rouse Brooklyn Academy of Music BAM Café with Mimi Goese Café Oto, London, UK International Conference on Live Interfaces, University of Sussex, Brighton, UK Manitoga/The Russel Wright Design Center, Garrison, NY, performance of MANITOGA The Towne Crier, Beacon, NY, premiere of Fathom, commissioned work with Mimi Goese Ultima Festival, Oslo, Norway, Creative Technology Week, “Repurposed Technology; A Night of Invented Instrument Performance”, Clemente Cultural Center, New York, NY Roulette, John Cage Concert for Piano and Orchestra, Orchestra of the S.E.M. -
Explorations of Dissent in the Music of Czech-Born Composers Marek Kopelent and Petr Kotík
Notes from the Underground: Explorations of Dissent in the Music of Czech-born Composers Marek Kopelent and Petr Kotík by Victoria Johnson A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts Approved November 2015 by the Graduate Supervisory Committee: Sabine Feisst, Chair Robert Oldani Jody Rockmaker ARIZONA STATE UNIVERSITY December 2015 ABSTRACT Since the collapse of the Soviet Union, musicologists have been delving into formerly inaccessible archives and publishing new research on Eastern Bloc composers. Much of the English-language scholarship, however, has focused on already well-known composers from Russia or Poland. In contrast, composers from smaller countries such as the Czech Republic (formerly Czechoslovakia) have been neglected. In this thesis, I shed light on the new music scene in Czechoslovakia from 1948–1989, specifically during the period of “Normalization” (1969–1989). The period of Normalization followed a cultural thaw, and beginning in 1969 the Czechoslovak government attempted to restore control. Many Czech and Slovak citizens kept their opinions private to avoid punishment, but some voiced their opinions and faced repression, while others chose to leave the country. In this thesis, I explore how two Czech composers, Marek Kopelent (b. 1932) and Petr Kotík (b. 1942) came to terms with writing music before and during the period of Normalization. My research draws on the work of Cold War scholars such as Jonathan Bolton, who has written about popular music during Normalization, and Thomas Svatos, who has written about the art music scene during the fifties. For information particular to art music during Normalization, I have relied on primary sources including existing interviews with the composers. -
Dypdykk I Musikkhistorien - Del 23: Minimalistisk Musikk (25.03.2019 - TNB) Oppdatert 25.03.2019
Dypdykk i musikkhistorien - Del 23: Minimalistisk musikk (25.03.2019 - TNB) Oppdatert 25.03.2019 Spilleliste pluss noen ekstra lyttetips: Pionerer Dragon’s teeth Moondog And His Friends (1953) / Moondog November (1959) / Dennis Johnson Untitled organ (1964-1966) / Terry Riley Inside the dream syndicate volume 1: Day of Niagara (1965) [2000] I of IV (1966) Electronic works (1997) / Pauline Oliveros It’s gonna rain (1965) / Steve Reich Piano phase (1967) / Steve Reich The Velvet Underground & Nico (1966) / The Velvet Underground & Nico De 4 store La Monte Young The well-tuned piano (1964) (The well-tuned piano in the Magenta lights (2000)[DVD]) Steve Reich Drumming (1971) ; Music for 18 musicians (1976) ; Different trains (1988) (Phases - A Nonesuch retrospective (2006)) Terry Riley A rainbow in curved air (1969) In C (1968) / Terry Riley In C (1968) (Terry Riley - In C (2005) / DesAccordes) In C (2001) / Acid Mother Temple & The Melting Paraiso U.F.O. Philip Glass Music in twelve parts (1976) Glassworks (1982) Andre minimalister From the side of man and womankind Outside the dream syndicate (1973) / Tony Conrad with Faust Visitations Part 1 Visitations (1973) / Jon Gibson Evil nigger (1979) (Unjust Malaise (2005) / Julius Eastman) Monk Fear And Loathing In Gotham - Gotham Lullaby (Dolmen music (1981) / Meredith Monk) Nothin To Look At Just A Record (1982) / Phil Niblock Crossing the border (1990) / Steve Martland Europa The piano concerto / Michael Nyman Passio (1988) / Arvo Pärt De Stijl (1994) / Louis Andriessen Hout [Louis Andriessen] Industry (1995) / Bang On A Can Baalbeck under the stars ; Shijingshand ballad (Inside (2014) / Urban Sax) Opera Akhnaten / Philip Glass Nixon in China / John Adams Mikrotonalitet ii-v-i freeHorn (2017) / Larry Polansky Lois V Vierk Postminimalisme Part I. -
Label: Audiokult Recordings, Vienna, Austria Artist: Ben Neill Album: Horizonal Release Date: September 15, 2015 Contact: [email protected]
Label: Audiokult Recordings, Vienna, Austria Artist: Ben Neill Album: Horizonal Release date: September 15, 2015 Contact: [email protected] Horizonal is a new album by electronic music innovator Ben Neill featuring his self-designed computer interactive mutantrumpet. The recording is an ambient journey that blends Neill’s richly timbral melodies and textures with glitchy, minimal beats and deep sub bass lines. Using the unique palette of sounds generated by his instrument, Neill incorporates elements of future garage and deep house while keeping an ambient, reflective vibe with jazzy overtones. Guest artists appearing on the record are guitar wizard Gary Lucas, (Future Sound of London, Captain Beefheart) and saxophonist/sonic ecologist David RotHenberg. In addition to 5 original songs, the album includes a cover version of Sweetness and Light, written and recorded by the 1990’s shoegaze band Lush. Neill has been active as a composer/performer in New York City since the mid 1980’s when he worked with synthesizer pioneer Robert Moog to develop the first version of his instrument. He has previously released 9 albums on labels including Astralwerks, Verve, Six Degrees and THirsty Ear. Horizonal is his first release since the 2011 Songs for Persephone, a collaboration with vocalist Mimi Goese released on Ramseur Records. Neill has performed his music in wide ranging venues, from concert halls and jazz festivals to experimental art spaces and dance clubs. He has been called “a creative composer and genius performer” (Time Out NY),"the mad scientist of dancefloor jazz" (CMJ), and "a musical powerhouse, a serious and individual talent" (Time Out London). -
French Mottershead Interview 2/13/06
FrenchMottershead Interview - Jennie Klein 12th February 2006, NRLA, Glasgow Reproduced courtesy of New Moves International. FrenchMottershead is a London-based live art collaborative who since 1999 have created and developed an approach called microperformance to explore the details of urban and social life. In 2006, they, along with Richard Dedomenici, were the artists in residence at the National Review of Live Art (NRLA) the longest running live art festival in the UK. Their association with the NRLA began in 2004, when they showed up uninvited and initiated guerrilla actions with an edition of their The People Series from an impromptu stall set-up in the Arches’ main bar. In 2005 they returned as invited artists, and from site research and one-to-one conversational interviews with audience members (called micro-classes) created and facilitated The Enarelay, which involved handing out microperformance instructions to audience members queuing up for the various performances, on their way to the toilets, or standing in the bar, who could then decide whether or not they wanted to “perform” the suggested actions. In 2006, they premiered three pieces: A Daily Ritual To Capture the Presence of Everybody, Local Review of Necessary Amenities (LRNA), and Now That’s An Idea. In this interview, which took place on the second to last day of the festival, Rebecca French and Andrew Mottershead reflected on the success of the NRLA 2006. JK: I would like to start by asking you to define microperformance and to give me some sort of background on how you came to develop this format. Do you feel it is more successful because you are a collaborative duo rather than a single individual? RF: We define microperformance as a series of one on one actions or performances that are performed on and by an active audience. -
MIKEL ROUSE & BEN NEILL 2014-15 Touring Prospectus
THE DEMO New York City 2014-15 Touring Prospectus ArKtype / Thomas O. Kriegsmann, MIKEL ROUSE & BEN NEILL Producer and Touring Representation THEOUR DEMO: MISSION AN OVERVIEW The Demo is a music theater work written by com- poser/performers Mikel Rouse and Ben Neill based on Douglas Engelbart’s historic 1968 demonstration of early computer technology. Engelbart’s 1968 demo rolled out virtually everything that would define modern comput- ing; videoconferencing, hyperlinks, networked collabora- tion, digital text editing, and something called a “mouse,” laying the ground work for the future of our society in a mere 90 minutes. The Demo re-imagines Engelbart’s historic demonstration as a technologically-infused music theater piece, a new form of hybrid performance. THE EVENT: ENGELBART’S 1968 DEMO On December 9, 1968, Douglas C. Engelbart and his text, object addressing and dynamic file linking, as well as team of researchers (including technical assistant and shared-screen collaboration involving two persons at dif- future computing legend William English) at the Augmen- ferent sites communicating over a network with audio and tation Research Center at Stanford Research Institute in video interface. Menlo Park, CA presented a 90-minute live public dem- onstration entitled “A Research Center for Augmenting Instead of standing at a podium, Engelbart was seated at Human Intellect,” which demonstrated the online system a custom designed console, where he drove his presenta- NLS, which Engelbart had been working on since 1962. tion via the NLS computer - which resided 30 miles away in his research lab at Stanford Research Institute - onto a large The public presentation was a session of the Fall Joint projection screen overhead, flipping seamlessly between Computer Conference held at the Convention Center in his presentation outline and live demo of features. -
2011 3–5 GREETINGS Chair Letter, 4 Executives Letter, 5
THEATER FILM DANCE MUSIC COMMUNITY ART BAM AnnualAnnual Report Report 2011 3–5 GREETINGS Chair Letter, 4 Executives Letter, 5 BAM’s mission is 6–28 WHAT WE DO BAM Campus, 7 2010 Next Wave Festival, 8–9 2011 Spring Season, 10–11 BAM Rose Cinemas First-Run Films, 12 to be the home BAMcinématek, 13 BAMcinemaFest, 14 The Met: Live in HD / National Theatre Live, 15 BAMcafé Live, 16–17 Between the Lines, 18 for adventurous BAMart, 19 Community Events, 20–21 Education, 22–23 Humanities, 24–25 Membership, 26 DanceMotion USASM, 27 artists, audiences, Digital Media, 28 29–31 PAST AND FUTURE BAM Hamm Archives, 30 Capital Projects, 31 and ideas. 32–39 WHO WE ARE BAM Board List, 33 BAM Next Stage Campaign, 34–37 BAM Staff, 38–39 40–43 NUMBERS Measures of Success, 41 BAM Financial Statements, 42–43 44–48 THE TRUST BAM Endowment Trust and Chair Letter, 45 BAM Endowment Trust Donors, 46 BET Financial Statements, 47–48 2 TABLE OF CONTENTS Greetings Photo: Peter Jay Sharp Building, by Ben Cohen 3 GREETINGS Dear Friends, engagement benefitted both institutions, bringing sponsor; Time Warner Inc, sponsor of the 2010 thousands of new ballet fans to BAM just as Next Wave Festival; and Bloomberg, sponsor of Happy 150th anniversary wishes to all. Thanks to it introduced this extraordinary New York dance BAM’s 2011 Spring Season. the loyal support of BAM’s audience and friends, institution to thousands of Brooklynites. we’ve enjoyed a productive, rewarding year. And I would like to close by expressing my special through it all, there’s a clear overriding theme: But perhaps most significantly, BAM advanced gratitude to BAM’s tireless board of trustees. -
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse. -
MEIEA 2012 Color.Indd
Journal of the Music & Entertainment Industry Educators Association Volume 12, Number 1 (2012) Bruce Ronkin, Editor Northeastern University Published with Support from The MEIEA Journal is published annually by the Music & Entertain- ment Industry Educators Association (MEIEA) in order to increase public awareness of the music industry and to foster music business education. The MEIEA Journal provides a scholarly analysis of technological, legal, historical, educational, and business trends within the music indus- try and is designed as a resource for anyone currently involved or interest- ed in the music industry. Topics include issues that affect music industry education and the music industry such as curriculum design, pedagogy, technological innovation, intellectual property matters, industry-related legislation, arts administration, industry analysis, and historical perspec- tives. The MEIEA Journal is distributed to members of MEIEA, univer- sities, libraries, and individuals concerned with the music industry and music business education. Ideas and opinions expressed in the MEIEA Journal do not necessar- ily reflect those of MEIEA. MEIEA disclaims responsibility for statements of fact or opinions expressed in individual contributions. Permission for reprint or reproduction must be obtained in writing and the proper credit line given. Music & Entertainment Industry Educators Association 1900 Belmont Boulevard Nashville, TN 37212 U.S.A. [email protected] www.meiea.org The MEIEA Journal (ISSN: 1559-7334) © Copyright 2012 Music & Entertainment -
Young String Players in The
AMBASSADORS OF MULTIPLICITIES: YOUNG STRING PLAYERS IN THE CONTEMPORARY CLASSICAL MUSIC COLLECTIVE CALLED “FACE THE MUSIC” by Ieong Cheng WeAtherly DissertAtion Committee: Professor Randall Everett Allsup, Sponsor Professor JeAnne Goffi-Fynn Approved by the Committee on the Degree of Doctor of EducAtion Date 22 MAy 2019 Submitted in partiAl fulfillment of the requirements for the Degree of Doctor of EducAtion at TeAchers College, ColumbiA University 2019 ABSTRACT AMBASSADORS OF MULTIPLICITIES: YOUNG STRING PLAYERS IN THE CONTEMPORARY CLASSICAL MUSIC COLLECTIVE CALLED “FACE THE MUSIC” Ieong Cheng WeAtherly This study explores the experiences of young string plAyers in a music collective cAlled Face the Music. The organizAtion consists of musiciAns aged 10 to 18, and is dedicAted to the preparation and performAnce of music by living clAssicAl composers. I begin with the assertion that contemporary clAssicAl music, hereinafter referred to as contemporary music, is often misinterpreted and underappreciAted by the general public, And even musiciAns themselves. There is minimAl reseArch exploring what contemporary clAssicAl music educAtion is or could be, especiAlly regarding non-professional musiciAns And/or adolescents. From this stArting point, I explore the experiences of 18 members, six coaches, and one parent. DAtA includes focus group interviews with young string plAyers in quartet settings, individual interviews with coaches, field notes, and a variety of musicAl artifacts. Face the Music musiciAns were highly flexible and versAtile musiciAns; they identified as performers, composers, and improvisers—And possibly rebels of some kind. In addition to these subjectivities, their most prominent characteristic wAs reveAled in their “polytonal roles,” a concept I explicAte. Findings suggest complex relAtionships between their emotions and contemporary music.