“Man Unseen (Theme)” Choreographed again
Here’s another dance set to “Man Unseen (Theme)” performed by Kimberly Patterson at 60×60 Dance at the Winter Garden in New York City November 14, 2008.
Link: YouTube
Genesis of Meaning in Sound and Music published by Springer
My paper, “Ontological Substance and Meaning in Live Electroacoustic Music,” has been released in the select proceedings of the Computer Music Modeling and Retrieval conference with the theme Genesis of Meaning in Sound and Music published by Springer. Read the rest of this entry »
Video of 60×60 Dance Available
A video of “Man Unseen” (Theme) with dance choreographed by Laura Shapiro and performed at Galapagos Art Space in New York city last September is now available on the 60×60 Dance blog.
New article in Leonardo Music Journal
Leonardo Music Journal Volume 18 (2008): Why Live? Performance in the Age of Digital Reproduction
“Structure in the Dimension of Liveness and Mediation”
by Jeffrey M. Morris
ABSTRACT: While technological developments can replace some aspects of live performance, they have also opened a new dimension of musical structure: that of liveness and mediation, which requires live performance in order to be meaningful. Liveness itself can be used and manipulated as a distinct musical element. The author describes these concepts at work in his compositions that explore mediatization as a device of intermedial imitative counterpoint and formal structure.
“Man Unseen” (Theme) included in 60×60 International Mix 2008
This 60-second piece in the style of a 1960’s crime drama theme song was just chosen for the 2008 International Mix of Vox Novus’s 60×60 project. It was also included in the Evolution Mix, which was presented in concert in New York with choreography (see events listing).
RUhere x60 released in the Vox Novus 60×60 CD
60×60 is a project containing 60 compositions from 60 different composers, where each composition is 60 seconds (or less) in duration.
My RUhere x60 is included in the 2006-07 edition and has already received many performances. Read the rest of this entry »
Third Prize in UnCaged Toy Piano Competition
Performance Paradigm (# 4) 2008 Emergences: 21st Century Performance
Emergent forms and themes in performance and culture in the first decade of C21 Edited By Peter Eckersall And Helena Grehan Online Now www.performanceparadigm.net PERFORMANCE PARADIGM No 4, 2008. Featuring reviews of recent books by Rustom Bharucha, Mike Pearson, Leslie Hill and Helen Paris and the enormous Performance Cosmology from CPR in Wales. We also have Meg Mumford’s detailed analysis of recent publications on contemporary theatre in Europe by and Maggie Philiips’ discussion of new work by Ramsay Burt . The articles section features new essays from a number of established and emerging scholars in the field. The topic of new forms and paradigms in performance emerges in essays such as Kate Rossmanith’s account of Bio Art, Jeffrey Morris’s discussion of digital music performance and Diana Smith’s account of Sydney based visual artists ‘The Kingpins’. We are especially excited to be publishing Meiling Cheng’s recent exploration of recent performance work in China.
Composing Character Pieces from Poetry with GarageBand
From elementary school through college, music composition and theory pedagogy often focuses on beginning from a set a “safe” rules. While this demonstrates some reasons why familiar music sounds “right,” such exercises rarely produce expressive or interesting music. Such compositions are typically void of dots and accidentals and do not much resemble “real” musical works–something about the musical experience is missing from approaches like these.
In the following process, students rely heavily on listening and spatial reasoning, and they learn not to be afraid of wrong notes and revising. Because the process begins with a poem and includes drawing a graphic score, this project could be tied into learning goals in Reading and Art classes.