DOCSLIB.ORG

Bow Wow: the Interactive Violin Bow and Improvised Music, a Personal Perspective

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bow Wow: the Interactive Violin Bow and Improvised Music, a Personal Perspective Bow Wow: The Interactive Violin Bow and Improvised Music, A Personal Perspective Jon Rose a b s t r a c t Bowed string music has always existed as an aural culture with improvisation considered as a prime focus of expression. It is the author’s strong belief that experimenta- tion is the natural state of Grunt Grunt hair have in common is their stick- all string music. This paper slip action. While the bow hair is concentrates on recent history: Sometime after the last ice age, a hunter-gatherer returned bows that have incorporated to his cave and, instead of sharpening his arrows for the next sticking to the string, motion in one interactive sensor technology. day’s sortie, picked up his bow and started to improvise on it— direction is followed by a quick snap The central narrative deals with using his fingers, a stick or a bone. Sometime later, in a stroke back in the opposite direction upon the author’s own experiments and experience at STEIM since of genius, he started to use that weapon to excite the strings release. This gives rise to the charac- teristic sawtooth waveform and con- 1987. How reliable and practi- of a chordophone, a precursor to the rebab, lira, ravanastron, cal is this technology? Are the er-hu, kalumbu, crwth, berimbau, bumbass, chikara, viol and sequent sound of the bowed string. results worth the trouble? Are violin, to name but a few from the long list. With the invention of the “mod- there new modes of improvising Bows come in a plethora of shapes and sizes, from the colos- ern” François Tourte violin bow in only possible with an interactive bow? sal arched Vega bow invented through misguided Bach schol- the 18th century, an aesthetic as arship [1] to the abrupt, serrated and hairless stick used with well as technical watershed for the the Korean ajaeng (zither). One thing, however, that bows with violin bow was reached. Up until that time, violin bowing technique Jon Rose (violinist, improviser, composer, instrument-maker). E-mail: <jonrose19@aol. maintained the essence of its dance-music origins in the messa com>. Web site: <www.jonroseweb.com>. di voce bow stroke—a short, sharp sonic hairpin articulating a See <mitpressjournals.org/lmj/-/20> for audio related to this article. rhythmic gesture. The accumulated knowledge of the dancing Fig. 1. Jon rose playing Palimpolin with the K-bow at Galapagos club, New York, 2010. (© Jon rose. Photo © Jill steinberg.) ©2010 ISAST LEONARDO MUSIC JOURNAL, Vol. 20, pp. 57–66, 2010 57 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LMJ_a_00013 by guest on 29 September 2021 bow reached its zenith in works such as corporates a loop of lateral (normal saw- uncool to do all the lightweight rapid L’arte del Arco (The Art of Bowing) by Gi- tooth action) and longitudinal (à la Ellen up/down stuff. That said, it’s a very ef- useppe Tartini (1692–1770). Post-messa, Fullman) vibrating options. Between the fective bow stroke that all non-string play- composers (with the exception of the vir- straight and unstraight bow stroke lies ers want to do when they pick up a violin tuoso class, e.g. Paganini) moved string a broad area of under-utilized bow op- for the first time, because it looks good music ever further away from the rhyth- tions—and that’s using just the straight and punters think you are really working mic impulse into a symphonic swirl of vanilla detaché bow stroke. hard.) massed strings—leading to Mahler and If we push and pull on through the The reverse bow requires the string eventually to Mantovani. Nothing wrong bow’s repertoire of tricks, we find the player to remove bow hair from bow by with either, but the rise of the symphony martelé, meaning “hammered,” referring undoing its frog, then replacing hair in orchestra to unchallenged power sped to a percussive on-string stroke produced said frog, but with the instrument now the death of many improvising traditions by an explosive release following heavy caught between bow hair and bow stick. in European music. The ones that sur- pressure—a kind of initial pinching of This enables the violinist to play all four vived, such as church organ music, did the string. Staccato is basically a series of or more strings at once. Like most string not use the violin bow. martelé strokes taken in one bow stroke. techniques, it has probably been around Then we get to the flying staccato (prob- since the beginning of bowing itself and ably more hovering than flying), which was standard fare in the fiddling tradi- ups anD Downs leads us to the ricochet or thrown bow tions before improvisers took it as their The majority of detaché violin bow strokes stroke said to have been invented by Pa- own. take place at right angles to the string— ganini in a very bad mood. The same goes for super-slow martelé the legitimate angle of action. Once an Improvisers such as myself have de- bow strokes that slow the sawtooth wave- improvising musician circumnavigates veloped variations and combinations of form and pitch down to something more this straightjacket convention, a number these two killer actions—one of mine is like a chainsaw idling. Most improvisers of bent bow strokes—from the diagonal the equivalent of running on the spot for can control this bowing feature quite to the almost parallel—can be applied to extended durations (it comes with an RSI well, but Mari Kimura is in a sub-har- the string. The lateral bow stroke (with health warning). Utilizing and extending monic class of her own, capable of play- bow hair moving at 180º up and down the bow’s basic binary action presents ing a complete scale down from the open the whole fingerboard) is perhaps the most available sensors with quite an ar- G (the lowest string on her violin). These most useful, revealing (with variable ray of readings. (Oh, I forgot to mention kinds of sub-harmonics are not achiev- pressure) a smorgasbord of vibrations the tremolo. On no account use this bow able through any signal processing that and transient noise. The circular bow in- stroke! These days it is considered very I have heard. In the classical pedagogy of the last 150 years, the bow has been pacified and straightened out, and the violinist conned into the notion or nonsense of Fig. 2. bowing the “endless singing line.” The violin was experiments with the 10 string invented not for singing, but for danc- Double Violin, ing! And for dancing, you have to have sydney, circa 1982. rhythm in the bow. Any research direct- (© Jon rose. Photo: ing the bow toward a more radical life Kristine rose.) armed with sensors needs, I believe, to take this into consideration. Despite Gravity Once the bow leaves the strings, theatri- cal space can be accessed, the audience easily following the gesture; away from the violin, the sonic simulacrum of a fly can meet its doom with a swish of the bow stick [2]. Apart from the natural swish of the bow (one of the great acoustic gestures), other sonic phenomena lend association, such as the sounds of bird wings flapping, wind blowing, machines whirring or preindustrial slashing and hacking. The bow can unleash psycho- drama—the bow is a bit dangerous, you see; you can poke someone’s eye out with it. In the hands of Wilbur Hall (Paul Whiteman’s trombonist and the most out-there violinist ever recorded on film), the bow becomes truly a magician’s wand. The famous armless violinist Carl Unthan was also captured by camera but, 58 Rose, Bow Wow Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LMJ_a_00013 by guest on 29 September 2021 Fig. 3. Jon rose, Violin Vivisection, Kunstler- haus bethanien, berlin, 1986. (© Jon rose. Photo: Konstanze binder.) alas, there is no movie of him plying his sound of the bow hair is embedded in ev- bow is used merely for the addition of bowing skills with his right foot. ery bow stroke that the “perfect” Heifetz- signal processing (let’s call it effects!) to The bow is forever weaving a pattern, type classical violinist has ever emitted. the regular violin, is that a worthwhile en- like a giant knitting needle noodling It’s the noise, the grain, the grit behind deavor? My first effects gadget, purchased with imaginary wool, drawing transitory any bowed utterance. By itself a belt of in 1969, was a wah-wah pedal—not the shapes, creating an abstract gestalt, not droning broadband noise, but amplified kind of thing I wanted an interactive sys- quite a synesthetic condition, but posing and augmented by pitch shift, the horse tem to bother with 20 years later. Satu- intangible relationships. The sign is writ- can get very frisky, with a sound pallet rated feedback-distortion, however, is a ten in the bow stick as well as by it. The reminiscent of a double bass, Albert Ay- sonic state that I have never grown out bow drips with its own totemic language. ler in the top octave or a barbed wire of, even 40 years on. Looking at classical violinists on YouTube fence [4]. The use of samples became a polemi- with the sound turned down, it is possible The bow can also play the big switch cal quest: Why use a violin sample when to pick the composition being rendered character. Keith McMillen’s K-Bow (Fig. you already play the violin? I relished (or murdered) as much by looking at the 1) has included gesture recognition the study of the simulacra; the industrial bow as by watching the left hand.
Load more

Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Elegies for Cello and Piano by Bridge, Britten and Delius: a Study of Traditions and Influences
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences Sara Gardner Birnbaum University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Birnbaum, Sara Gardner, "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences" (2012). Theses and Dissertations--Music. 7. https://uknowledge.uky.edu/music_etds/7 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Electric & Acoustic Guitar Strings: a Recording of Harmonic Content
    Electric & Acoustic Guitar Strings: A Recording of Harmonic Content Ryan Lee, Graduate Researcher Electrical & Computer Engineering Department University of Illinois at Urbana-Champaign In conjunction with Professor Steve Errede and the Department of Physics Friday, January 10, 2003 2 Introduction The purpose of this study was to analyze the harmonic content and decay of different guitar strings. Testing was done in two parts: 80 electric guitar strings and 145 acoustic guitar strings. The goal was to obtain data for as many different brands, types, and gauges of strings as possible. Testing Each string was tested only once, in brand new condition (unless otherwise noted). Once tuned properly, each string was plucked with a bare thumb in two different positions. For the electric guitar, the two positions were at the top of the bridge pickup and at the top of the neck pickup. For the acoustic guitar, the two positions were at the bottom of the sound hole and at the top of the sound hole. The signal path for the recording of an electric guitar string was as follows: 1994 Gibson SG Standard to ¼” input on a Mark of the Unicorn (MOTU) 896 to a computer (via firewire). Steinberg’s Cubase VST 5.0 was the software used to capture the .wav files. The 1999 Taylor 410CE acoustic guitar was recorded in an anechoic chamber. A Bruel & Kjær 4145 condenser microphone was connected directly to a Sony TCD-D8 portable DAT recorder (via its B&K preamp, power supply, and cables). Recording format was mono, 48 kHz, and 16- bit.
    [Show full text]
  • Black Violin
    This section is part of a full NEW VICTORY® SCHOOL TOOLTM Resource Guide. For the complete guide, including information about the NEW VICTORY Education Department check out: newvictorYschooltools.org ® inside | black violin BEFORE EN ROUTE AFTER BEYOND INSIDE INSIDE THE SHOW/COMPANY • closer look • where in the world INSIDE THE ART FORM • WHAT DO YOUR STUDENTS KNOW NOW? CREATIVITY PAGE: Charting the Charts WHAT IS “INSIDE” BLACK VIOLIN? INSIDE provides teachers and students a behind-the-curtain look at the artists, the company and the art form of this production. Utilize this resource to learn more about the artists on the NEW VICTORY stage, how far they’ve traveled and their inspiration for creating this show. In addition to information that will enrich your students’ experience at the theater, you will find a Creativity Page as a handout to build student anticipation around their trip to The New Victory. Photos: Colin Brennen MAKING CONNECTIONS TO LEARNING STANDARDS NEW VICTORY SCHOOL TOOL Resource Guides align with the Common Core State Standards, New York State Learning Standards and New York City Blueprint for Teaching and Learning in the Arts. We believe that these standards support both the high quality instruction and deep engagement that The New Victory Theater strives to achieve in its arts education practice. COMMON CORE NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS Speaking and Listening Standards: 1 Arts Standards: Standard 4 Music Standards: Developing Music English Language Arts Standards: Literacy; Making Connections
    [Show full text]
  • Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131
    Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project.
    [Show full text]
  • Articulation from Wikipedia, the Free Encyclopedia
    Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened.
    [Show full text]
  • To the New Owner by Emmett Chapman
    To the New Owner by Emmett Chapman contents PLAYING ACTION ADJUSTABLE COMPONENTS FEATURES DESIGN TUNINGS & CONCEPT STRING MAINTENANCE BATTERIES GUARANTEE This new eight-stringed “bass guitar” was co-designed by Ned Steinberger and myself to provide a dual role instrument for those musicians who desire to play all methods on one fretboard - picking, plucking, strumming, and the two-handed tapping Stick method. PLAYING ACTION — As with all Stick models, this instrument is fully adjustable without removal of any components or detuning of strings. String-to-fret action can be set higher at the bridge and nut to provide a heavier touch, allowing bass and guitar players to “dig in” more. Or the action can be set very low for tapping, as on The Stick. The precision fretwork is there (a straight board with an even plane of crowned and leveled fret tips) and will accommodate the same Stick low action and light touch. Best kept secret: With the action set low for two-handed tapping as it comes from my setup table, you get a combined advantage. Not only does the low setup optimize tapping to its SIDE-SADDLE BRIDGE SCREWS maximum ease, it also allows all conventional bass guitar and guitar techniques, as long as your right hand lightens up a bit in its picking/plucking role. In the process, all volumes become equal, regardless of techniques used, and you gain total control of dynamics and expression. This allows seamless transition from tapping to traditional playing methods on this dual role instrument. Some players will want to compromise on low action of the lower bass strings and set the individual bridge heights a bit higher, thereby duplicating the feel of their bass or guitar.
    [Show full text]
  • Founding a Family of Fiddles
    The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard.
    [Show full text]
  • Computer Music
    THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself.
    [Show full text]
  • Highly Anticipated Non-Profit Music Venue in Williamsburg, Brooklyn, Announces Opening, Curators, Programming Details and a New Name
    For Immediate Release May 8, 2015 Press Contacts: Blake Zidell, John Wyszniewski and Ron Gaskill at Blake Zidell & Associates: 718.643.9052, [email protected], [email protected], [email protected]. HIGHLY ANTICIPATED NON-PROFIT MUSIC VENUE IN WILLIAMSBURG, BROOKLYN, ANNOUNCES OPENING, CURATORS, PROGRAMMING DETAILS AND A NEW NAME Beginning in October, National Sawdust (Formerly Original Music Workshop) Will Provide Composers and Musicians a State-of-the-Art Home for the Creation of New Work and Will Give Audiences and a Place to Discover Genre-Spanning Music at Accessible Ticket Prices Curators to Include Composers Anna Clyne, Bryce Dessner, David T. Little and Nico Muhly; Pianists Simone Dinnerstein and Anne Marie McDermott; Vocalists Helga Davis, Theo Bleckmann and Magos Herrera; and Violinists Miranda Cuckson and Tim Fain Groups and Artists in Residence to Include Brooklyn Rider, Glenn Kotche (Wilco), Alicia Hall Moran and Zimbabwe’s Netsayi Venue Partners and Collaborators Range from Carnegie Hall's Weill Music Institute and the New York Philharmonic’s CONTACT! to Stanford University and Williamsburg-Based El Puente Center for Arts and Culture National Sawdust +, Created by Elena Park, Will Include National Sawdust Talks as well as Performance Series that Offer Leading Directors and Writers, from Richard Eyre to Michael Mayer, a Platform to Share Their Musical Passions Opening Concerts in October to Feature Terry Riley, John Zorn, Roomful of Teeth, Nico Muhly, Bryce Dessner, Fence Bower Jon Rose, Throat Singer Tanya Tagaq and Others Brooklyn, NY (May 7, 2015) - The non-profit National Sawdust, formerly known as Original Music Workshop, is pleased to announce that its highly anticipated, state-of-the-art, Williamsburg, Brooklyn venue will open this fall.
    [Show full text]