Music graduate student Dina Maccabee writes in:
Wesleyan undergraduate and graduate musicians will join San Francisco composer Lisa Mezzacappa for the Wesleyan Edition of her ongoing series Mission Eye & Ear. Players form small ensembles to create live scores, on the spot, alongside short experimental films. Presented by Experimental Music Group.
Date: Monday, November 24th
Place: CFA Hall
From CFA Staffer Andrew Chatfield:
This concert by graduate music student Jason Brogan links together thought, noise, and improvisation in an attempt to investigate the self as being just a process: a “no one” that could be constructed or manipulated. Through the defamiliarization of neurobiological, psychological, and artistic-performative parameters (as “opera”) via amplification and digital processing, and the objectification of this experience via live documentation and recording/playback on tape, subjectivity is disassociated from selfhood and reconsidered as experimental music.
Date: Tuesday, November 18th
Place: World Music Hall (CFA)
Enjoy an exciting evening of electronic ensemble music:
Wesleyan’s Toneburst Laptop and Electronic Arts Ensemble, directed by Assistant Professor of Music Paula Matthusen, performs works written by ensemble members.
Read more about Toneburst and about this performance here.
Date: Friday, May 9
Time: 8:00 pm
Place: World Music Hall (Center for the Arts)
From Daniel Fishkin GRAD:
experimental music group presents….
WEDNESDAY 4/30: TECHNÉ SERIES 1: THE MIXER: MARINA ROSENFELD AND G LUCAS CRANE
The Techné Series considers philosophies and practices of music technology. Each occasion of the series will focus on a particular theme within the context of presentations, workshops, and live performances. For Techné Series: The MIXER, Wesleyan invites two composers who utilize the ubiquitous audio mixer for vastly different means. The principal performers are, G. Lucas Crane and Marina Rosenfeld. Crane and Rosenfeld are two artists who use found sound to create sheets of delicate sonic webs. Each uses DJ mixers to mix tapes and records in a unique fashion borrowing equally from hip hop technique and the american avant-garde. The artists are spiritual cousins, using similar styles and equipment, but have never before collaborated.
An exciting invitation to an upcoming performance:
“Touch Tones, TV’s, and Time: An Elegy for Debased Media” is an evening length work by University Professor of Music Ronald Kuivila for singing and speaking voices, live electronics, and various media past their prime. Enumeration and iteration abound in an exploration of the extent to which a listener (human or otherwise) can be trained to be entranced by the entrance of entrainment. The heterophonic kabelsalat that results includes the ring tones, dial tones, and busy signals of the world’s land lines, the Wesleyan carillon in effigy, an electro-ideological party line and an ever-present chorus lurking in a state of auditory denial.
Date: Tuesday, February 25th – tomorrow!
Time: 8:00 PM
Place: Beckham Hall
Nathan Friedman MA ’14 invites you to an exciting evening of new musical works by Wesleyan graduate student composers:
Featuring new pieces by:
Peter Blasser MA ’15
Hallie Blejewski MA ’14
Jason Brogan MA ’15
Sam Dickey MA ’14
Daniel Fishkin MA ’15
Nathan Friedman MA ’14
Gabriel Kastelle MA ’14
Jasmine Lovell-Smith MA ’14
Dina Maccabee MA ’15
Cristohper Ramos Flores MA ’14
Sean Sonderegger MA ’14
Performed by loadbang:
Carlos Cordeiro, clarinets
Jeffrey Gavett, baritone
Andy Kozar, trumpet, flugelhorn
Will Lang, trombone
Date: Monday, December 9
Time: 8:00 PM – 10:00 PM
Place: CFA Hall
Facebook: Event page
Ben Zucker ’15 wants you to experiment a little:
The third and final concert this semester brought to you by the Experimental Music Group, Jessica Pavone and Wesleyan alumni Mary Halvorson will present their captivating set of “improvised/composer/strange/melodic songs for guitar and viola.”
Mary Halvorson has been called “the most future-seeking guitarist working right now, thinking out the instrument on a level most couldn’t comprehend” (NPR). Jessica Pavone has been called “Jessica Pavone is a vital force in New York’s music community, capable and competent of playing way out in left field, or keeping things much closer to home” (Dusted). They have been playing together as a duo for years now, with four critically-acclaimed albums released. Together, they make what legendary Downtown composer Elliott Sharp called “transcendent chamber music outside any genre”; it’s a meeting of minds not to be missed.
Date: Thursday, May 2nd, 2013
Time: 8:30 PM
Place: Russell House
Cost: Your ears and attention
On Thursday, March 28, as people noshed on Thin Mints and sipped Moxie before the senior recital of Tobias Butler ’13 seemed to begin, the music was well underway. Crouched in a corner of the main room of 200 Church, Butler seemed to be manipulating his Macbook to produce a series of chromatic-sounding mutant robot noises. As the performance began and audience members trickled in, a sign was hoisted requesting visitors to visit http://t.obi.as on their mobile phone browsers. As Butler explained to me, it turns out that each visit to the website and the scrolling of each user was what was controlling the sounds.
I sat down with Butler to discuss the technology underpinning this portion of the performance, his composition techniques more generally and what led him down this kind of musical path. Click through the break for the full text of my interview with Tobias Butler, after some introductory thoughts by yours truly.
This first portion of Butler’s recital, the installation for mobile browsers and web server, gradually built into an expansive, thumping mass of wonky beats and siren-like wobbles. Eventually, in the second or third movement of the piece, percussion was introduced with drone-y growls placed over top. Bells and bumping beats ensued.
Monica Tinyo ’13 reminds you that you can learn about some rad experimental music here at Wes as part of this conference on notation:
Michael Parsons has been active since the 1960s as a composer, performer and writer on new music. He belongs to a generation of English musicians who have explored a range of radical alternatives to mainstream tendencies. In the 1960s he became interested in the work of John Cage and David Tudor and other composers of the New York school. In London in 1969 he was co-founder of the Scratch Orchestra, an experimental collective of musicians, artists, performers and improvisers from diverse backgrounds. Informed by ideas arising from Fluxus, the work of Cage and other experimentalists, they developed an open-ended approach to sound and performance, challenging traditional boundaries and definitions of music.
Michael Parsons will talk about his experience of the Scratch Orchestra, its social context and evolution, and how it has influenced his subsequent work. He will introduce a participatory performance of his Walking Piece, a spatial event originally composed for the Scratch Orchestra in 1969.
Date: Tomorrow, April 3rd
Time: 4:15 pm