Announcements and Abstracts from Vs. Interpretation Festival And
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FMP FREE MUSIC PRODUCTION Distribution & Communication Markgraf-Albrecht-Str
Mary Oliver w ww.oliverheggen.com Mary Oliver (violin, viola, hardanger fiddle) was born in La Jolla, California, and studied at San Francisco State University (Bachelor of Music), Mills College (Master of Fine Arts) and the University of California, San Diego where she received her Ph.D in 1993 for her research in the theory and practice of improvised music. Her work as a soloist encompasses both composed and improvised contemporary music; she has premiered works by among others,Richard Barrett, John Cage, Chaya Czernowin, Brian Ferneyhough, Joëlle Léandre Liza Lim, George E. Lewis , Richard Teitelbaum and Iannis Xenakis . Oliver has worked alongside improvising musicians such as Han Bennink, Mark Dresser, Cor Fuhler, Jean-Charles François, Tristan Honsinger, Joëlle Léandre, George E. Lewis, Nicole Mitchell, Andy Moor, Misha Mengelberg Evan Parker, and Anthony Pateras. As a soloist and ensemble player she has performed in numerous international festivals including the Darmstädter Ferienkurse für Neue Musik ,Donaueschinger Musiktage 2002, Bimhuis October Meeting, Vancouver and Toronto Jazz Festivals, Ars Electronica , Ars Musica, London Musicians Collective Festival, Münchner Biennale, Salzburger Festspiele and MaerzMusik Festival in Berlin. In 1994, she was an artist in residence at Akademie Schloss Solitude in Stuttgart where she added, through their generosity, the hardinger fiddle to her instrumentarium. For the past twelve years she has been based in Amsterdam where she has worked locally and internationally with various ensembles such as Instant Composer’s Pool (ICP) Orchestra, Magpie Music and Dance Company, AACM Black Earth Ensemble, Scapino Ballet , Elision Ensemble, MAE, Het National Ballet and Xenakis Ensemble. Currently she teaches at the Hogeschol voor Kunst, Media en Technology and a member of ICP Orchestra, Ammü (with Han Bennink, Johanna Varner, cello and Christofer Varner – trombone) and Magpie Music Dance Company. -
Solo Contrabass and Washtub Bass Program 2019
CHRISTOPHER WILLIAMS Solo Contrabass & Washtub Bass Christopher Williams (1981, San Diego) is a way arer on the !o"y#mind continu$m. %is me"i$m is m$sic. PhD, 'ei"en (ni)ersity (with *ichar" +arrett and Marcel Co!$ssen); +., (ni)ersity o Cali ornia, San Diego (with Charles Curtis, Chaya Czernowin, and +ertram 0$ret/1y). .s a composer and contrabassist, Williams2s wor1 r$ns the gam$t rom cham!er m$sic, impro)isation, and radio art to collaborations with "ancers, so$nd artists, and )is$al artists. Collaborators incl$"e Derek +ailey, Compagnie 3$ie/Dire, 'aMonte 4o$ng2s 0heatre o 5ternal ,$sic, 6erran 6ages, +ar!ara %el", *o!in %aywar" (as *ei"emeister Mo)e), Christian Kesten, %ans W. Koch, Christina 7$!isch, 'iminar, ,aulwer1er, Charlie Morrow, Davi" Moss, .ndrea 8eumann, ,ary 3li)er and *o/emarie %eggen, +en &atterson, *o!yn Sch$l1ows1y, Martin Sonder1amp, and 5nsem!le S$per,$si9$e. Wor1 presented thro$gho$t 5$rope : (S., incl$"ing ;&*3 *adio < (%olland), Deutschland $nk 7$lt$r, the ,$seum o Contemporary .rt +arcelona, Vol1s!=hne +erlin, and the .merican Doc$mentary 6ilm 6esti)al. CONTACT Williams2 artistic research takes the orm o !oth conventional academic p$!lications and [email protected] practice-base" m$ltime"ia pro>ects. %is nati)e "igital "issertation Tactile Paths: on and through Notation for Improvisers is available at http://www.tactilepaths.net. %e also c$rates the +erlin http://www.christopherisnow.com concert series 7380*.7'.8G and wor1s with so$n" experience makers MorrowSo$nd. -
Music Notation and the Mediation of Improvising Agency
Cadernos de Arte e Antropologia Vol. 5, No 1 | 2016 Micro-utopias: anthropological perspectives on art, relationality, and creativity The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency Floris Schuiling Electronic version URL: http://journals.openedition.org/cadernosaa/1028 DOI: 10.4000/cadernosaa.1028 ISSN: 2238-0361 Publisher Núcleo de Antropologia Visual da Bahia Printed version Number of pages: 39-58 Electronic reference Floris Schuiling, « The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency », Cadernos de Arte e Antropologia [Online], Vol. 5, No 1 | 2016, Online since 01 April 2016, connection on 01 May 2019. URL : http://journals.openedition.org/cadernosaa/1028 ; DOI : 10.4000/ cadernosaa.1028 © Cadernos de Arte e Antropologia THE INSTANT COMPOSERS POOL: MUSIC NOTATION AND THE MEDIATION OF CADERNOSIMPROVISING AGENCY AA Floris Schuiling1 Utrecht University, he Netherlands his article relates the recent development of a “relational musicology” to debates about participatory art and relational aesthetics. I present results from an eth- nographic study of the Dutch improvising music collective the Instant Composers Pool, founded in 1967 and still performing. With a background in jazz, ex- perimental music and performance art, this group developed an improvisatory musical practice in which musical notations are freely used. hese pieces mediate the social and creative agency of the musicians in the group. As such, they pro- vide a case for reconsidering the nature of musical notation, and the distinction between composition and improvisation, which have been foundational for the academic study of music, and constitutive for a distinction between the aesthetic and the social. -
A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism. -
View 2008 Program
Third Annual Conference December 5-7, 2008 Improvisation and Identity: Discovering Self and Community in a Trans-Cultural Age ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Keynote Address: Roscoe Mitchell Featured Performers and Speakers: Joëlle Léandre and India Cooke isim INTERNATIONAL SOCIETY FOR IMPROVISED MUSIC THIRD ANNUAL CONFERENCE About ISIM Mission Statement ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Narrative Reflecting the melding of diverse cultures, ethnicities, disciplines, and ideas that shapes society at large, today’s musical world is increasingly characterized by creative expressions that transcend conventional style categories. Improvisation is a core aspect of this global confluence, and in recent years the phrase “improvised music” has emerged as a kind of an overarching label for much of this eclectic musical activity. Initially used to describe jazz and its offshoots, the phrase now encompasses a broad spectrum of formats—from computer music and multi-media 1 collaborations to string quartets, bebop quintets and multiethnic fusion. Enabling spontaneous interactions between musicians from the most disparate backgrounds, the dissolution of boundaries between performers and listeners, and access to the transcendent dimensions of creative experience, improvisation is at the heart of a new musical paradigm that is uniquely reflective of contemporary life. Musical improvisation may also shed light on creativity in a wide variety of fields, as corporate executives, educators, athletes, medical professionals and other practitioners recognize an improvisatory core to success, progress, and fulfillment in their respective disciplines. -
Nick Didkovsky
Nick Didkovsky 118 E 93rd St, Apt 9C, NY NY 10128 (212) 369-1733 [email protected] www.doctornerve.org www.myspace.com/doctornerve www.myspace.com/bonepowertrio With a musical career spanning 25 years, Doctor Nerve founder and leader Nick Didkovsky is a world-renowned guitarist, band leader, composer, and music software programmer. In 1983, he founded the avant-rock band Doctor Nerve which to date has released 8 albums of over 50 of his compositions on the progressive rock label Cuneiform Records and his own Punos Music label. Doctor Nerve joins the furious energy of rock with intricate composition, annihilating the boundaries between heavy metal, contemporary music, and improvisation. Doctor Nerve channels the gut wrenching intensity of hard rock and heavy metal into a head-on collision with the compositional sensibilities of Bartok and Cage, with blistering and idiosyncratic guitar work leading the charge. Bone is Nick’s hard-rocking all-star trio with Hugh Hopper (Canterbury fuzz-bass legend for Soft Machine & Isotope), and John Roulat (Forever Einstein). Inspired by the energy and iconoclasm of heavy metal, evoking the fervor of guitar gods past, Bone’s music is cathartic, blistering, and smart. Bone has performed at various festivals and venues including Whitney Museum of American Art. Nick is also a member of the Fred Frith Guitar Quartet, a radical electric guitar ensemble which redefined the shape and sound of electric guitar music, composition, and improvisation. Didkovsky contributed twelve compositions to the quartet, which has enjoyed many European tours and festival appearances since 1989. As a composer, Nick has composed music for Bang On A Can All-Stars, Meridian Arts Ensemble, Fred Frith Guitar Quartet, California EAR Unit, New Century Players, Ethel String Quartet, Electric Kompany, ARTE Quartett, and other ensembles. -
Liner Notes, Visit Our Web Site
Ice Cream Time: The Raunchy and the Rigorous “I can think of no one else whose music combines the raunchy and the rigorous, the tender and the hyper, or the intricate and the intense with quite this passionate persuasiveness.” —Fred Frith, Prologue to Skin Nick Didkovsky is an accomplished composer, virtuoso guitarist, and computer programmer who works on the cusp between the concert hall and the rock-and-roll club—territory that is only now beginning to be taken seriously. In his book American Music in the Twentieth Century Kyle Gann has written that “Nick Didkovsky is one of the most unusual composers of his generation, with a computer-generated complexity to his ensemble music that goes beyond totalism.”1 Didkovsky’s compositions are rigorously conceived, yet leave plenty of room for spontaneous input. He freely combines intuition with meticulous systematic techniques. He has tapped into what one might describe as a typically American way of making music—iconoclastic and formalist without being overly uptight. Combining complex rhythms, harmonies, and textures with the visceral energy of rock music he creates work that is cutting-edge (albeit more Downtown than Uptown), rigorous, and subversive. His employment of asymmetrical meters, gratuitous dissonance, and tonally ambiguous harmonies rubs against the pop sensibility implied by the compositional forms and instrumentation with which he works. The aspects of directness or accessibility inherent in his work refuse to kowtow to Romantic notions of beauty, or a bankrupt Postmodernist pastiche. The sense of compositional and technological inventiveness in Didkovsky’s music bears resemblance to that of other maverick composer-hacker-performers such as Salvatore Martirano, Larry Polansky, David Rosenboom, and George Lewis. -
Nail Quartet
NUMUS CONCERTS 18-19 SEASON MAIN SERIES Nail Quartet SEPTEMBER 20, 2019 8:30PM CHURCH OF THE GOOD SHEPHERD KITCHENER, ON PROGRAM Quartet NAIL (Duo Baars Henneman and Duo Mercury) will play a selection from their tour book with pieces for different combinations of players and instrumentation. Among our selection of pieces you can expect to hear quartets like Five (Lori Freedman) or Vehement (Ig Hennema), or duos like August (Nicolas Caloia) or Toru’s Garden (Ab Baars) as well as fully improvised music. We will decide on the spot over the course of our tour. Mercury is Lori Freedman - clarinets, Nicolas Caloia - bass Baars Henneman is Ig Henneman - viola, Ab Baars - clarinet/shakuhachi NAIL is Nicolas Caloia, Ab Baars, Ig Henneman and Lori Freedman BIOGRAPHY Mercury is a Montreal-based improvising duo, a product of a long-time collaboration between Lori Freedman (clarinets) and Nicolas Caloia (double bass). The Dutch duo Baars/ Henneman is a musical partnership of more than 25 years between Ab Baars (winds) and Ig Henneman (viola). Together the four musicians decided that it would be a good idea to join forces and create some new quartet music. After their début concert in Amsterdam in April 2019, Freedman organized NAIL Canada, a 7-city tour in September 2019. NAIL is Nic, Ab, Ig, and Lori. Although each musician individually has performed with one or more of the four BIOGRAPHY members in the past, this current project brings them together to play as a quartet for the first time. It is an unusual musical venture, to put two very distinct duos together, both rife with their different personalities, sound, energy and style. -
Monsieur Délire: 2013-11-25/26: Copernicus, the Claudia Quintet
Mer Nästa blogg» Skapa en blogg Logga in Portail du journalisme et de l'activisme musical de François Couture. INTRODUCTION | JOURNAL D'ÉCOUTE | DÉLIRE MUSICAL | DÉLIRE ACTUEL | FIMAV | MA PROPRE MUSIQUE Home of François Couture's music journalism and activism. INTRODUCTION | LISTENING DIARY | DÉLIRE MUSICAL | DÉLIRE ACTUEL | FIMAV | MY OWN MUSIC 2 0 1 3 - 1 1 - 2 7 CE François Couture 2013-11-25/26: Copernicus, The Claudia Quintet, Nouvel album solo / New solo Chrome Hoof, 21, Metal-o-Phone, Brigitte release Fontaine Libellés : 21, Brigitte Fontaine, Chrome Hoof, Claudia Quintet, Coax Records, Copernicus, Cuneiform, Journal d'écoute / Listening diary, Metal-o-Phone, Collaboration avec ®o©HLo / New Nevermore, Superior Viaduct collaboration with ®o©HLo Journal d'écoute / Listening Diary 2013-11-25/26 D'autres musiques sur / More music COPERNICUS / L’Éternité immédiate (Nervermore – merci à/thanks on: bandcamp soundcloud to Moonjune) J’aime bien Copernicus – son personnage, ses musiques, son propos. Les choix de Monsieur Délire / Or, avec L’Éternité immédiate, c’est la débandade. Je m’explique: en Monsieur Délire's current favs 2001, Copernicus enregistre Immediate Eternity en Équateur, avec des - Anthony Braxton: Quartet (FRM) musiciens équatoriens, en espagnol et en anglais. Il considère encore 2007 Vol. 4 aujourd’hui qu’il s’agit de son meilleur album en carrière. Au cours des - The Wrong Object: After the deux années suivantes, il a réenregistré des paroles en fançais et en Exhibition allemand. En 2013, à l’occasion d’une longue entrevue dans un - Dieuf-Dieul de Thiès: Aw Sa Yone, magazine français, son étiquette Nervermore a réédité L’Éternité Vol. -
Quartetto Santorsola Plays Davide Ficco's CLAPS I December 4, 2008
DAVIDE FICCO, QUARTETTO SANTORSOLA, VIDEO QuartettoNeuGuitars Santorsola plays Davide Ficco’s CLAPS I December 4, 2008 #video on #neuguitars #blog Posted by ANDREA AGUZZI on 27 AUGUST 2018 Antonio RUGOLO, Angelo GILLO, Vincenzo ZECCA and Livio GRASSO plays the first performance of CLAPS I, the first piece of the three moviments suite titled “CLAPS, three pieces for four guitars”, composed by Davide Ficco. Taranto (Italy) 4th of december 2008 / Istituto San G.Bosco / Associazione Jonica della Chitarra / Itinerari Culturali con la Chitarra Davide Ficco Quartetto Santorsola Video FOLLOW BLOG VIA EMAIL Enter your email address to follow this blog and receive notifications of new posts by email. Join 2,474 other followers Enter your email address FOLLOW Search … RECENT POSTS GuitarS Speak #radio #program on air on KOWS Community Radio today March 17 2019 1-2 PM Pacific Time #Interview with Mark Wingfield (March 2019) on #neuguitars #blog Mark Wingfield: Tales From The Dreaming City, The Stone House and Lighthouse on #neuguitars #blog MarkRECENT Wingfield: COMMENTS Tales From The Dreaming City, The Stone House e #IntervistaLighthouse con su Fili… #neuguitarson #Recensione #blog di #ReviewMacchie of Proof diof FiliLight… by Fretless Guitar Mark Wingfield, Moon June News… on Erkan Records, 2016 0n #neuguitars Ogur/Telvin – Live… #blog Michael Clayton on Eliot Fisk & Paco Peña: NP… Sergio Altamura | Bl… on #Intervista per Sergio Altamur… #Recensione di G2,44… on Rafael Toral Wave Field, ARCHIVES Money… March 2019 February 2019 January 2019 December -
Report of the Activities in the Field of Improvisation at the Royal Conservatoire the Hague 2010-2012
Report of the activities in the field of improvisation at the Royal Conservatoire The Hague 2010-2012 Royal Conservatoire publications 1 Content 03. About this publication 04. Part I: Report of the Improvisation Project Sessions during the Academic Year 2010/2011 06. Introduction 06. A general overview of all activities 07. Project schedule 08. Overview: Publicity materials and notes 30. Evaluation 34. Part II: Report of the ERASMUS Intensive Programme “Improvisation in European Higher Music Education: Improving Artistic Development and Professional Integration” 36. Introduction 37. Background to the project 38. Report of the January 2012 edition of European Impro Intensive 40. Programme European Impro Intensive 44. Report public seminar 14 January 52. List of participants 54. Biographies tutors 52. List of participants 54. Biographies tutors 61. Relevant websites 62. Relevant literature 64. Colophon 2 1 increasingly developing improvisation courses About this and seeing the benefits of such courses for their students and teachers, while often struggling publication with similar issues. Why this focus on improvisation? Reinink gives a good explanation in the introduction to his report: “Improvisation is not just a jam ses- sion, nor is it confined exclusively to jazz or This publication presents the results of experimental music. Improvisation is an integral a large-scale initiative organised by the element of every type of music: it improves Royal Conservatoire in The Hague to pro- technique, musicianship, ensemble playing mote improvisation in all of its educational and recitals, and reinforces the musician’s programmes. This initiative started with a bond with the repertoire, fellow artists and the year-long project during the academic year public.” It is clear that improvisation provides 2010-2011, which saw weekly sessions organ- important benefits in terms of technical, social ised by and for various departments of the and artistic skills, as well as benefits in the field conservatoire. -
PSN2013 Schuiling.Pdf
Composition, Improvisation and Practical Creativity in the Performance Practice of the Instant Composers Pool Floris Schuiling University of Cambridge In this paper I propose some ideas about creativity no so much in practice, but rather as practice, by which I mean both that creativity is something that people develop through practice, but also, consequently, that different practices yield different creativities. I will present some material I have collected through fieldwork and simultaneously try to develop a certain pragmatist philosophical conception of creativity in performance. Interest in creative practice rather than creativity per se is a fairly recent development. In 2006, Deliège and Richelle tentatively but quite radically suggested that ‘We might […] look at those behaviours that eventually lead to novelty in a given field of arts or sciences, and try to account for them by identifying the processes involved. In simple terms, get rid of creativity, and look at creative acts.’ (Deliège and Wiggins 2006, p. 2) Pamela Burnard (2012) has proposed a pluralistic conception of creativity, arguing that, once you focus on creative practices, you start to see that there is no such thing as musical creativity, but only creativities. She writes: ‘Music occurs in a multiplicity of social spaces of the dominant culture, and counter- or sub-cultural genres, and is invested with a multiplicity of meanings underpinned by a multiplicity of practices and market forces, that, most importantly constitute a multiplicity of musical creativities.’ (Burnard 2012, p. 30) I will return to the problem of how to conceptualise practice below. For now, let me introduce my own research, which is also centred on a creative practice.