Thanks to the support of Phi Kappa Phi, I will be able to do research about Aaron Cassidy’s Second String Quartet at the University of Huddersfield in the Fall. Their support helps me fulfill the research dreams I had as I first applied to University of Illinois, so I am especially grateful for this opportunity.
I found out today that DuoTube–which you can play here–was selected to be performed at Electronic Music Midwest in early September at Kansas City Kansas Community College. In talking to a friend who has had music performed in that college’s concert hall, I will probably need to ask a large number of people to play the piece in the audience. If you’re attending and interested let me know!
Thank you to Radiophrenia Glasgow for broadcasting “With Apologies, Nessie” as part of its 2019 broadcast.
I really admire the way they program local and international works of different kinds like Ryan Leith’s four hour “Working Class Pubs of Edinburgh and Leith,” Poulomi Desai’s live in concert call-in work “cOMe what May-hum,” to Jim Cheff’s outrageously adorable Mary Farfisa’s Outer Space Radio Theater (an ongoing show out of New Mexico that is sound practice-oriented and family friendly), works by Kerrith Livengood, Thaddeus Van der Milne, and so many, many others. Thanks so much Radiophrenia! Go get a nap or thousand!
DuoTube was selected to be played by Monash University’s MEME ensemble (Monash Electronic Music Ensemble) as part of TENOR (International Conference on Technologies For Music Notation and Representation). This is pretty exciting!
Thank you to Roselyn Hobbs, Alec Norkey, Brian Stuligross, and Brianna Tagliaferro for playing quartet Losing Constellations at SEAMUS (Society for Electro-Acoustic Music in the United States). Here they are rehearsing with me the night before.
It was a busy time for them and for me, so I really appreciate how comfortable that rehearsal was.
Below is a live recording of Spektral Quartet playing the work at University of Chicago.
I am performing DuoTube at this month’s First Fridays, the recurring series organized by Emma Olson and the University of Illinois Student Advisory Board. Everyone is welcome to join in. Just bring a laptop!
If you want to try it out before the concert or play it at the concert, click here to open the YouTube video in another browser window or use the copy below!
On March 8th, I performed DuoTube with David Nguyen, Alex Christie, Jeff Kaiser, and a number of University of Central Missouri students at MOXSonic.
In this staging, we projected the video score and had my performance coming from the house speakers, with the other performers playing their laptops (with sound from their computers’ speakers) spread out in the audience.
Photo Credit: Jeff Kaiser, MOXSonic
The piece was received warmly. What I treasured the most was that people wanted to get involved and play the piece in the future. The more I perform DuoTube, the more I realize that there is such a viable space for music that welcomes performance levels of all kinds. I am hoping to do a follow up work to DuoTube soon. I am hoping that Robin Meiksins, who I made the piece with, will be able to join me at a future concert of it.
As a comment about MOXSonic itself: it is rare to find a festival that so thoughtfully accommodates electronic music, sound art, and related practices in one space. While the following does not represent the total breadth of the festival, that David Nguyen’s exquisitely choreographed eight channel fixed media Misprints, Alex Christie’s mouthfeel’s interactive, strobe-blasting homemade circuitry, and Kittie Cooper’s corporeal Earth Mother’s meditation on femininity, creation, and vitality could all appear on the same festival is so encouraging. I can’t wait to see what this festival programs next year!
In early February I had the privilege to present Drive to the Edge at N_SEME in a wonderfully curated setting. Thanks to the University of Virginia graduate students who ran the event, not only was the piece broadcast from a local radio station but they rented a shuttle bus so a large audience could gather and listen together. This might be my most favorite presentation of the work thus far, especially because I was able to join the people listening to it
An additional thing I am appreciative of is the advocacy from composer Becky Brown about the work in the local paper The Daily Progress. Making transmission art like Drive to the Edge is ideally about sharing and supporting folks, so to get to be in the middle of things and to be so supported back was amazing. I particularly loved the route Becky chose for the bus ride. It had numerous and varied interferences.