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ANNIE GOSFIELD PUBLICATIONS /BIBLIOGRAPHY PUBLICATIONS Six essays for the New York Times’ “The Score”, a series on music published in the Opinion section: "Confessions of a Composeress" reflections on being female and a composer in the 21st Century. The New York Times. 6 August 2013. http://opinionator.blogs.nytimes.com/2013/08/06/confessions-of-a-composeres "Advice to Young Composers" on why we should all consider ourselves young composers. The New York Times. 5 December 2009. http://opinionator.blogs.nytimes.com/2009/12/05/the-score-advice-to-young-composers/ “Bringing in the Noise" on the influence of noise and environmental sound in music. The New York Times. 29 March 2007. http://thescore.blogs.nytimes.com/2007/03/29/bringing-in-the-noise/ “Composer House Arrest" on the day-to-day process of composition. The New York Times. 20 March 2007. http://thescore.blogs.nytimes.com/2007/03/20/composer-house-arrest/ “Factory Girl" on composing a site-specific piece for a factory in Germany. The New York Times. 8 March 2007. http://thescore.blogs.nytimes.com/2007/03/08/factory-girl/ “How I Learned to Love the Wrong Notes” autobiographical information and influences. The New York Times. 1 March 2007. http://thescore.blogs.nytimes.com/2007/03/01/the-new-y1/ OTHER ARTICLES AND ESSAYS “Fiddling With Sputnik: How I Wrote Lost Signals and Drifting Satellites,” Arcana II, Musicians on Music edited by John Zorn. New York: Granary Books/Hips Road 2007, p.104-109 “Music From Factories,” cover story on the composition, production, and performance of EWA7, a site-specific piece performed in a factory in Germany. Avant Magazine [London]. Winter 2000. “Inspired by Noise,” notes on becoming a composer written for a magazine for gifted children. Imagine, published by Johns Hopkins University Center for Talented Youth. Volume 15 Number 2, Nov. 2007. CONFERENCE PAPERS PRESENTED ON GOSFIELD'S MUSIC Feisst, Sabine. “Defying Constructions of Female Gender: Annie Gosfield’s Industrial Soundscapes,” International Conference for Feminist Theory and Music, 27-31 May 2009, University of North Carolina, Greensboro. Feisst, Sabine. “The City as Muse: Annie Gosfield’s New York City Soundscapes,” Annual Meeting, Society for American Music, Denver, 19-22 March 2009. Feisst, Sabine. “The City as Muse: Annie Gosfield’s New York City Soundscapes,” 14th International Congress “Music – City. Traditions and Perspectives of Urban Music Cultures,” Gesellschaft für Musikforschung, Institut für Musikwissenschaft, University of Leipzig, Germany, 28 September-3 October 2008. Annie Gosfield bibliography p.1 Weber, Eckhard. “Schwermetall und Satellitenmusik. Die grenzüberschreitenden Klangwelten von Annie Gosfield” ("Heavy metal music and satellites. The cross-border Soundscapes by Annie Gosfield") Open Music, Zentrum für Genderforschung KUG Institut 17 IEM CUBE, Graz, Austria, 9 December 2013 CITATIONS IN BOOKS, TEXTBOOKS, AND ENCYCLOPEDIAS Boyd, Melinda; Pendle, Karin. Women in Music: A Research and Information Guide. London: Routledge, 2012, p159. Dicaire, David. Jazz Musicians, 1945 to the Present. Jefferson, North Carolina: McFarland & Co., 2006, p138. Feisst, Sabine. “The City as Muse: Annie Gosfield’s New York City Soundscape.” Kongressbericht: Musik – Stadt: Traditionen und Perspektiven urbaner Musikkulturen. Gesellschaft für Musikforschung, Leipzig, 28 September-3 October 2008. Leipzig: Gudrun Schröder Verlag, 2009. Feisst, Sabine: “The City as Muse: Annie Gosfield’s New York City Soundscapes,” in Musik – Stadt: Traditionen und Perspektiven urbaner Musikkulturen, vol. 2, ed. Sebastian Klotz (Leipzig: Gudrun Schröder Verlag, 2012), 80–86. Feisst, Sabine. “Gosfield, Annie.” Entry in Die Musik in Geschichte und Gegenwart, ed. L. Finscher, Supplement-Volume. Kassel: Bärenreiter Verlag, 2008. Gagné, Nicole V. Historical Dictionary of Modern and Contemporary Classical Music. Lanham, Maryland: The Scarecrow Press, 2011, p.92, 106, 117-118, 306. Gould, Claudia; Smith, Valerie. 5000 Artists Return to Artists Space: 25 Years. New York: Artists Space, 1998 p.299. Gale Group. Bibliographic Guide to Music 2000. Boston: G. K Hall & Company, 2001, p.52. Hinkle-turner, Elizabeth. Women Composers And Music Technology in the United States: Crossing the Line. London: Ashgate Publishing, 2006. Katz, Steve. Time's Wallet, Volume 1. Denver, Colorado: Counterpath Press, 2010, p127. Kole, K.C. Something Incredibly Wonderful Happens: Frank Oppenheimer and His Astonishing Exploratorium. Chicago, Illinois: University of Chicago Press, 2012, p313. Kuhn, Laura. Baker's Biographical Dictionary of Music and Musicians, Centennial Edition (ninth). New York: Schirmer Books, 2001. Leopoldseder, Hannes; Schöpf, Christine; and Stocker, Gerfried. Ars Electronica 1979-2004: The Network For Art, Technology And Society. Ostfildern, Hatje Cantz Verlag, 2005, p.291. Martin, Bill. Avant Rock: Experimental Music from the Beatles to Bjork. Chicago: Open Court Publishing Company, 2002, p.129. Nicholls, David. The Cambridge Companion to John Cage. Cambridge University Press, 2006, pp. 245, 249. Pasternak, Anne. Creative Time: The Book. Princeton Architectural Press, 2007, p.267. Schenck, Christian; Leopoldseder, Hannes; and Schöpf, Christine. Cyberarts: International Compendium Prix Ars Electronica. Basel, Birkhäuser, 1997, p.197. Annie Gosfield bibliography p.2 Wilkins, Margaret Lucy. Creative Music Composition: The Young Composer's Voice. London: Routledge, 2006, p.265. Watson, Ben. Derek Bailey and the Story of Free Improvisation. London: Verso, 2004, p.310. FEATURE-LENGTH INTERVIEWS AND ARTICLES Cahill, Greg: “Bring on the Noise.” Strings Magazine. April 2005. Cowley, Julian: “Music Out of the Moon.” The Wire. May 2005. Feisst, Sabine: “Komponieren mit urbanen Klängen" ("Composing with Urban Sounds"). MusikTexte, issue 115. November, 2007, p.5-15. Gelt, Jessica: “‘War of the Worlds’ to invade Disney Hall and the streets of downtown L.A.” Preview of opera and interview with Yuval Sharon and Christoper Rountree. The Los Angeles Times. 8 November 2017 Hanssen, Frederik: “Lausche wild & gefährlich” (“Listen wild and dangerous”) profile on the composer and preview of 2012 MaerzMusik portrait concert. Der Tagesspiegel, Berlin, Germany. 17 March 2012. Hanssen, Frederik: “Creating Art from Noise: Composer Annie Gosfield shows how it’s done in Berghain” profile excerpted from Der Tagesspiegel. The Berlin Journal. Issue #23. Fall 2012. Hewett, Ivan: “Annie Gosfield: inspiration from the messages of the Resistance: Annie Gosfield tells Ivan Hewett how her latest work was shaped by the wartime exploits of her piano teacher.” The Telegraph (London) 9 November 2011. Kojić, Zorica: “I look forward to listening to the Serbian metal” (“Radujem se slušanju srpskog metala”). Interview and concert preview from Belgrade, Serbia. Danas. 14 May 2013. http://www.danas.rs/danasrs/kultura/radujem_se_slusanju_srpskog_metala.11.html?news_id=260718 Oteri, Frank: “Annie Gosfield: Ghosts in the Machine.” NewMusicBox. February, 2007. Schweitzer, Vivien: “Annie Gosfield, Scoring the Music of Machines.” In-depth profile and interview about Gosfield's past in factories, punk clubs, and the influence of found sources, improvisation, coffee, whiskey, technology and mortality. The New York Times. 2 September 2015. Uitti, Frances-Marie: “A Three Way Talk: Interview with Roger Kleier and Annie Gosfield.“ Contemporary Music Review, Volume 25. London: Routledge, 2006, p.603-612. REVIEWS Anderberg, Thomas “Nutida konstmusik” ("Contemporary art music"). Review of "Almost Truths and Open Deceptions" in Swedish. Dagens Nyhede, Stockholm, Sweden. 14 November 2012. Carl, Robert: “Bang on a Can All-Stars.” Review of "The Manufacture of Tangled Ivory". Fanfare. September/ October 1996. Carl, Robert: “Gosfield.” CD review of “Burnt Ivory and Loose Wires.” Fanfare. March/April 1999. Carl, Robert: “Gosfield.” CD review of “Flying Sparks and Heavy Machinery.” Fanfare. July/August 2002. Colter Walls, Seth: “Review: A ‘Fake News’ Opera on the Streets of Los Angeles" review of “War of the Worlds” performed by the Los Angeles Philharmonic. The New York Times. 13 November 2017. Annie Gosfield bibliography p.3 Colter Walls, Seth: “The 25 Best Classical Music Recordings of 2017" review of “Unbound” featuring “The Blue Horse Walks on the Horizon” by the Jasper String Quartet. The New York Times. 13 December 2017. Cowley, Julian: “Annie Gosfield.” Concert review of "EWA7" at King's Place, London. The Wire. March 2009. Cowley, Julian: “Almost Truths and Open Deceptions.” CD Review. The Wire #344. October 2012. da Fonseca-Wollheim, Corinna: “Review: Annie Gosfield Makes Machines Hum in ‘Electric Sweepers and Vacuum Creepers’.” Review of performance at The Stone, New York. The New York Times. 8 September, 2015 da Fonseca-Wollheim, Corinna: “Monica Germino Puts Electronics and Violin Together, and Myriad Sounds Ensue.” Concert review of “Long Waves and Random Pulses” at the Austrian Cultural Forum New York. The New York Times. 16 June 2013. Gann, Kyle: “Consumer Guide.” CD review of “Burnt Ivory and Loose Wires.” Village Voice. 17 August 1999. Gann, Kyle: “Framing Wallpaper.” Concert review of "The Manufacture of Tangled Ivory." Village Voice. 24 March 1998. Gann, Kyle: “Orchestral Maneuvers.” Concert review of "Lost Night." The Village Voice. 26 December 1998. Gann, Kyle: “Rattling the Stones.” Concert review of "EWA7" at the Brooklyn Anchorage. Village Voice. 6 September 2000. Gardner, Alexandra: "Sounds Heard - Annie Gosfield Almost Truths and Open Deceptions." CD review. NewMusicBox 9 October
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  • Is This Jazz? Newport Jazz Festival ’17

    Is This Jazz? Newport Jazz Festival ’17

    Is This Jazz? Newport Jazz Festival ’17 Cecile McLorin Salvant, credit: Norman Grant The jazz world descended upon Newport to see some of the music’s legends as well as many of its rising stars. As is always the case with such events, the hardest part of the weekend was catching a significant portion of each great set before running full speed to another stage to try and catch the next historic moment that could be unfolding. It was tough to get it all in, but here are some of the highlights. The festival kicked off Friday with a stellar set from the Jimmy Greene Quartet on the Fort stage. Greene — the saxophonist and band leader — took his quartet through a set of terrific originals, including the flowing groove of “Second Breakfast” off his latest release Flowers. Later on, Cecile McLorin Salvant and the Aaron Diehl Trio took the stage and shattered minds with their beautiful and complex arrangements, including her profound version of “Wives And Lovers.” Having a soft spot for the New Orleans clarinet style, Evan Christopher’s Clarinet Road & New Orleans Brass was a much- appreciated addition to the Quad stage with a killer band, locked-in swing and loose group improvisations. The day closed out with Joey DeFrancesco + The People, who were by far the funkiest, most swinging band of the day. DeFrancesco is a monster organ player who demonstrated why he has redefined how the instrument is approached. After leaving the Fort I headed over to watch Rhiannon Giddens and Trombone Shorty each play very different, but equally excellent sets at the Tennis Hall of Fame.