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Jonathan Benjamin Myers 205 Seaview Ave., Santa Cruz, CA 95062 [email protected] | 617-650-3307 Education 2016— University of California at Santa Cruz D.M.A. in Music Composition 2012—2014 Mills College M.A. in Music Composition 2007—2011 Wesleyan University B.A. with High Honors in Music Honors 2016-17 Regents Fellowship, University of California at Santa Cruz 2015 Orkest de Ereprijs: Young Composers Meeting Finalist [Netherlands] for Flocking 2013 Performing Indonesia: Conference/Festival of Music, Dance, and Drama Diffusion premiered at Freer Gallery of Art, Smithsonian Institution, Washington D.C. 2013 Now Hear Ensemble [Santa Barbara] Made in California project Mobile commissioned for performance and recording 2011 Gwen Livingston Pokora Prize, Wesleyan University awarded to the outstanding undergraduate in music composition Selected Professional Experience 2018 Instructor of Record for History, Literature, and Technology of Electronic Music; Workshop in Electronic Music. 2017-2018 Teaching Assistant for Laptop Music, Electronic Music; Music of the Beatles; Artificial Intelligence in Music; Advanced Music Theory; History of Rap and Hip Hop; Laptop Music; Psychophysics of Music; at UCSC, Santa Cruz, CA 2016 Administrator / Coordinator for the S.E.M. Ensemble, Brooklyn, NY 2014 Stage Manager for Littlefield Concert Hall, Mills College, Oakland, CA Major Teachers Composition with Larry Polansky (UCSC), David Dunn (UCSC), Zeena Parkins (Mills), James Fei (Mills), Chris Brown (Mills), Anthony Braxton (Wesleyan), Alvin Lucier (Wesleyan). Performance with Roscoe Mitchell (improvisation), William Winant (percussion), Pheeroan AkLaff (percussion), Tyshawn Sorey (percussion), Abraham Adzenyah (West African drumming), I.M. Harjito (Javanese Gamelan) Masterclass/workshop participation with Louis Andriessen, Martijn Padding, George Lewis, Nicolas Collins, Laurie Anderson, Pauline Oliveros, David Behrman..

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Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez.
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UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Experimental Music: Redefining Authenticity Permalink https://escholarship.org/uc/item/3xw7m355 Author Tavolacci, Christine Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Experimental Music: Redefining Authenticity A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Christine E. Tavolacci Committee in charge: Professor John Fonville, Chair Professor Anthony Burr Professor Lisa Porter Professor William Propp Professor Katharina Rosenberger 2017 Copyright Christine E. Tavolacci, 2017 All Rights Reserved The Dissertation of Christine E. Tavolacci is approved, and is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2017 iii DEDICATION This dissertation is dedicated to my parents, Frank J. and Christine M. Tavolacci, whose love and support are with me always. iv TABLE OF CONTENTS Signature Page.……………………………………………………………………. iii Dedication………………………..…………………………………………………. iv Table of Contents………………………..…………………………………………. v List of Figures….……………………..…………………………………………….. vi AcknoWledgments….………………..…………………………...………….…….. vii Vita…………………………………………………..………………………….……. viii Abstract of Dissertation…………..………………..………………………............ ix Introduction: A Brief History and Definition of Experimental Music
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Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
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Helsingin Kaupunginteatteri
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Program (As of 1 August 2018)
AMS/SMT ANNUAL MEETING San Antonio, 1–4 November 2018 Preliminary Program (as of 1 August 2018) 10:00–12:00 SIMSSA: Single Interface for Music Score WEDNESDAY 31 October Searching and Analysis, Working Group 11:00–1:30 Society for Seventeenth-Century Music 9:00–12:00 Grove Editorial Board Governing Board 9:00–6:30 Staging Witches: Gender, Power, 11:00–7:00 Speaker Ready Room and Alterity in Music Sponsored by the AMS Committee on Women and Gender and 12:00–2:00 AMS Membership and the LGBTQ Study Group Professional Development Committee 1:00–8:00 Exhibits 1:00–5:00 Grove Editorial Board and Advisory Panel 2:00–6:00 SMT Executive Board THURSDAY AFTERNOON SESSIONS—2:15–3:45 2:00–8:00 AMS Board of Directors African-American Representations (AMS) 3:00 Diversifying Music Academia: Strengthening the Pipeline Thomas Riis (University of Colorado Boulder), Chair 3:00–6:00 The Mendelssohn Network: Current Mary Beth Sheehy (University of Kansas), “Portrayals of Female Exoti- Developments in Mendelssohn Research cism in the Early Broadway Years: The Music and Performance Styles of ‘Exotic’ Comedy Songs in the Follies of 1907” 6:15–7:30 SMT Executive Board, Networking Committee, Kristen Turner (North Carolina State University), “Back to Africa: Images Publications Committee, and of the Continent in Early Black Musical Theater” Publication Awards Committee Dinner Sean Lorre (Rutgers University), “Muddy Waters, Folk Singer? On the Discursive Power of Album Art and Liner Notes at Mid-Century” 7:30–11:00 SMT Networking Committee Cassettes (AMS) 7:30–11:00
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Beethoven Was a Lesbian a Tribute to Pauline Oliveros
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A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
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Regional Oral History Office University of California the Bancroft Library Berkeley, California
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2013 DL Art Science Conference Program.Pdf
Across Boundaries, Across Abilities Deep Listening Institute, Ltd. 77 Cornell St, Suite 303 PO Box 1956 Kingston, NY 12401 www.deeplistening.org [email protected] facebook.com/deep.listener Twitter @DeepListening What is Deep Listening? There’s more to listening than meets the ear. Pauline Oliveros describes Deep Listening as “listening in every possible way to everything possible to hear no matter what one is doing.” Basically Deep Listening, as developed by Oliveros, explores the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive -- of listening. The practice includes bodywork, sonic meditations, interactive performance, listening to the sounds of daily life, nature, one’s own thoughts, imagination and dreams, and listening to listening itself. It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth. ; 2 Experimental Media and Performing Arts Center (EMPAC) Troy, New York My hope is to inspire scientific inquiry and research on listening as well as to bring the world community together to share ideas and practice Deep Listening. --Pauline Oliveros, Founder of Deep Listening Institute Dear Conference Attendees, I am extremely pleased to welcome you to Deep Listening: Art/Science, the First International Conference on Deep Listening! This three-day event will feature an amazing array of lectures, workshops, posters and experience-focused presentations on a number of topics related to the art and science of listening. This includes many distinguished and long-time members of the Deep Listening community as well as a host of scholars and creators who approach listening from unique perspectives.
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Wisdom of the Impulse on the Nature of Musical Free Improvisation Part 1
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Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in
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ICASP Annotated Weblinks Feb 10 (Final)
Web Resources Related to Improvisation Compiled by Karl Coulthard Dance Improvisation Body Research http://www.bodyresearch.org/ Project combining performance work with body awareness, based on the art of Contact Improvisation. Located in Oakland, CA and directed by Karl Frost. Hillary Bryan http://www.hilarybryan.com/ Acclaimed performer and choreographer: teaches dance and theatre at the University of California Davis. Is certified in Laban Movement Analysis (LMA) and uses improvisation as a framework to expand expressive range. Contact Improvisation http://www.contactimprov.com/ Online world resource for a dance form based on spontaneous physical dialogue between two moving bodies, one initiated by American choreographer Steve Paxton in 1972. Contact Quarterly http://www.contactquarterly.com/ Biannual journal of contemporary dance, improvisation, and performance. Based in Northampton, Massachusetts. Dance Art Group http://www.danceartgroup.org/ Promotes and fosters the study of improvisational dance in Seattle. Produces the Seattle Festival of Dance Improvisation (SFDI), a week-long, annual summer event. Also offers weekly classes and workshops in dance and movement. Manipulation in Contact Improvisation http://www.youtube.com/watch?v=PrYB14yLIUU Video excerpt from Dieter Heitkamp’s “School of Sensibility,” showcasing contact improvisation. In German with English subtitles. Educational Programs and Resources Ali Akbar College of Music (AACM) http://www.aacm.org/ Teaches, preserves, and performs the classical music of North India, specifically the Seni Baba Allauddin Gharana tradition. Located in San Rafael, California. Website includes links to YouTube clips of instrumental, vocal, and tabla classes. Center for Black Music Research http://www.colum.edu/cbmr/ Founded at Columbia College in Chicago in 1983.
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