Recital: New Music for Solo Tuba
Berserker - Hong-Da Chin
Scrawl/Puncture-Stir - Anthony Donofrio
Encounters II - William Kraft
Digestion of Memory - Élise Roy
Left Out - Laura Schwartz
19 E. Main St., Alhambra, CA 91801 - Nicholas Deyoe
Berserker - Hong-Da Chin
Scrawl/Puncture-Stir - Anthony Donofrio
Encounters II - William Kraft
Digestion of Memory - Élise Roy
Left Out - Laura Schwartz
19 E. Main St., Alhambra, CA 91801 - Nicholas Deyoe
Laura Schwartz’s (B.A. ‘13) Idioms and Episode 8
original works by ensemble members
RANT-titude, alla Robert Ashley.
Danny Clay’s Music for Hard Times
Sarah Hennies’s Growing Block,
Laura Schwartz, Figment (CSO Commission)
Nielsen, Violin Concerto — with Alina Kobialka
Sibelius, Symphony No. 2
Responding to the forced separation and longing for connection we all experienced during Covid-19 pandemic, Left Coast Chamber Ensemble commissioned works conceived as long distance conversations between a piano trio and a soprano.
New Work for electric fan trio, Objects Only
Responding to the safety measures required in the pandemic, Left Coast has commissioned new works conceived as long distance conversations between a piano trio and a soprano. Laura Rose Schwartz and Ryan Suleiman will each write a new work, using a call and response model: the singer and ensemble alternate in sending each other musical postcards! Music by Frederic Rzewski, George Lewis, and Louise Farrenc completes the program.
My two movements of my work Miniature Flowering Plants will be performed by Dan Lippel of the FretX Guitar Duo on the final concert of the Beyond 2020: Microtonal Music Festival.
Sunday, March 1
The Andy Warhol Museum
Pre-Concert Symposium Session, 6 –7:30 p.m.
John Schneider (Keynote), Del Sol String Quartet and Johnny Reinhard
FretX Guitar Duo (Mak Grgic and Daniel Lippel, guitars) performs works by Agustín Castilla-Ávila, Helmut Lachenmann, Jeffrey Holmes, Dan Lippel, and Laura Schwartz
Del Sol String Quartet plays music by Wen Deqing, Ben Johnston, and Michael Harrison
Featuring video projections by artists Delanie Jenkins, Lenore Thomas and Ivette Spradlin, Scott Turri, and Michael Morrill
I am the producer of Beyond 2020: Microtonal Music Festival. See below for festival schedule.
Friday, February 28
Concert, 7 p.m.New Hazlett Theater
John Schneider, solo guitar, performing works by Lou Harrison, Harry Partch and John Schneider
Brightwork newmusic from Los Angeles plays music by Eric Moe, Amy Williams, Federico Garcia-De Castro, and Mathew Rosenblum
Featuring video projections by artists Barbara Weissberger, Aaron Henderson, Jeremy Boyle, Mareike Yin-Yee, and Marc Sabat
Saturday, February 29
Symposium Session, 10 a.m. – 1 p.m.
Room 132 Music Building
Recent Scholarship on microtonal music by John Jansen, Taylor Brook, Robert Lopez-Hanshaw, Nicholas Stevens, Paul Miller, Thomas Nicholson/Marc Sabat
FREE Concert: Microtonal Pittsburgh, 2 – 5 p.m.
Frick Fine Arts Auditorium
Alia Musica, Kamratōn, NAT 28, Lindsey Goodman, Nuiko Wadden, WOLFTRAP, Ted Mook, Pauline Kim Harris, Aaron Myers-Brooks. Including music by Catherine Lamb, Burr Van Nostrand, Tristan Murail, Curtis Rumrill, Brian Riordan, Jason Belcher, Ezra Sims, James Tenny and others
Concert, 7 p.m.
The Andy Warhol Museum
MikroEnsemble from Finland performs by works by Veli Kujala, Juhani Nuorvala, Kyle Gann, Devon Tipp and others
Ray-Kallay Duo presents new works by Jason Barabba, Nick Norton, Mathew Rosenblum, Dylan Mattingly, and Sean Friar
Sunday, March 1
The Andy Warhol Museum
Pre-Concert Symposium Session, 6 –7:30 p.m.
John Schneider (Keynote), Del Sol String Quartet and Johnny Reinhard
FretX Guitar Duo (Mak Grgic and Daniel Lippel, guitars) performs works by Agustín Castilla-Ávila, Helmut Lachenmann, Jeffrey Holmes, Dan Lippel, and Laura Schwartz
Del Sol String Quartet plays music by Wen Deqing, Ben Johnston, and Michael Harrison
Featuring video projections by artists Delanie Jenkins, Lenore Thomas and Ivette Spradlin, Scott Turri, and Michael Morrill
Contemporary guitar duo FretX (Mak Grgic and Daniel Lippel) formed in 2015 and is dedicated to the wide range of dynamic repertoire that exists and is coming into existence for their combination. Their concert at Transformer Station includes a program of works by Helmut Lachenmann, Courtney Bryan, Gity Razaz, Laura Schwartz, and more.
It's a new music party with Laura and Jeremy! We've been composer-friends for the past five years and are really excited to collaborate for our first joint show. There will be some old work, some new work, some borrowed work, and some improvisation with fans and contact mics.
My piece Wreathes (2017-2019) for string quintet will be preformed at the Composers Conference at Brandies University in Waltham, MA at 8pm.
The Composers Conference offers a unique opportunity for emerging composers, professional musicians, amateur chamber players, and conservatory-level instrumentalists and singers to come together in an atmosphere of fertile creativity and concentrated, high-level music making.
THE COLOR OF THERE SEEN FROM HERE is commissioned and presented by Electric Earth Concerts.
Live chamber music performance- composed by Eric Moe
With Imagery by Barbara Weissberger
I will be running live projections for each of the shows.
THE COLOR OF THERE SEEN FROM HERE is commissioned and presented by Electric Earth Concerts.
Live chamber music performance- composed by Eric Moe
With Imagery by Barbara Weissberger
I will be running live projections for each of the shows.
THE COLOR OF THERE SEEN FROM HERE is commissioned and presented by Electric Earth Concerts.
Live chamber music performance- composed by Eric Moe
With Imagery by Barbara Weissberger
I will be running live projections for each of the shows.
I have been chosen as a composer participant in the Montréal Contemporary Music Lab. I will write one new work for video imagery and solo percussion.
More information soon!
University of Pittsburgh graduate student concert 2019.
Come hear the premiere of my solo double bass piece A Lot, by Ryan McMasters.
Join us for an evening of music where bodies are recognized and absurd is sometimes observed.
My work Boundaries (2018) for Jazz Ensemble will be performed by the University of New Mexico Jazz Band. It was chosen from 1,000+ entries. The concert will be March 29, 2019.
In this dissertation, I explore how the notational content of the score document can be a
catalyst for the formation of a performer’s subjecthood. Verbal notation is an extreme example of
a kind of western art music composition that allows for subject formation. In verbally notated
scores, Cartesian Mind/body binary performers become practitioners, ones that assume the roles
of listener, performer, and audience, often simultaneously. When performers become practitioners,
the subjecthood so formed repairs the damage of the Cartesian Mind/body binary laced into
musical training. Repair here moves well beyond Elizabeth Spelman’s definition of repair (from
her book Repair (2002)) as the process of returning something back toward its original function.
Rather a performer’s move into a composer’s or audience member’s role allows them to realize
selfhood in an entirely different manner than in conventionally notated scores. The fluidity of and
focus on roles form the first type of score facilitated selfhood, a repaired, formerly Cartesian,
performer. The second type of selfhood, a practitioner-self, is formed through the perspective of
embodied self-awareness. Both of these selfhoods can be created entirely through the process of
engaging with verbally notated scores. I focus my analysis on two verbally notated works—
Pauline Oliveros’s Breaking Boundaries (1996) and Jennifer Walshe’s THIS IS WHY PEOPLE
O.D. ON PILLS (2004). I show how a repaired performer is constructed by these scores through
an analysis of listening—as an embodied process of attention, interpretation, and understanding—
and time— as a recognized labor and embodiment of the present, the past, and the future. I show
how a practitioner is formed through exploration of notational components that facilitate
awareness through models of attention. Through these two analyses of self, I demonstrate how
verbal notation can facilitate a performing person’s repair and self-formation.
Open Close (World Premiere)
Idioms for six voices (World Premiere)
Episode 8 (Live Performance Premiere)
An Apparatus with Rotating Blades (West Coast Premiere)
Free improvisation and experimental sound art by NYC's Lucie Vítková, members of Kamratōn, and other local women artists.
Part of She Scores 2019.
Donations accepted at the door. 21+ event.
I will be performing on amplified graphing calculator and electric fans at this event.
The erotic exists at the core of our being, at the peripheries of our consciousness, and is embedded in our senses. It is experienced in the body but is often unspeakable, or exists beyond recognition and conceptualization. As gender, sexuality, and their materiality remain central to music studies today, theorizing the erotic allows us to think through the embodied experience of listening to and producing music and sound.
Evangeline Werger, (Piano), Grace Halloran (Violin), and Natalie Marie (Cello) will be permiering Shoreline for Piano Trio at a concert at 5:30pm at the Warch Campus Center in the Esch Hurvis Room at Lawrence Conservatory in Appleton, WI.
RES at MISE-EN_PLACE Bushwick invites artists to live, work, and create in a focused and supportive environment. This residency is designed to support artists interested in exploring the boundaries of our venue through music/sound art, performance, video, and audio/visual installations. A private studio and rehearsal spaces are provided for developing works-in-progress, and artists will have the opportunity to connect with the community through presenting lectures, workshops, masterclasses, exhibitions, concerts, or live performances. Projects may also be documented with provided audio and video recording equipment. This residency hopes to not only support the development of artists’ current works but also inspire future projects and possibilities for exchange.
In her 2017 American Musicological Society endowed lecture, Susan McClary compared the conclusion of Kate Soper’s dissertation —analysis of her piece Voices from the Killing Jar (2010-2012)—to McClary’s own experience of having to “come-out” as a woman in the field of musicology. While the phrase “coming-out” is never used in Soper’s dissertation, she describes the process of acknowledging herself as a minority gender. Soper’s acknowledgement mirrors a coming-out as a moment of reclaiming selfhood and selfcare. In this paper, I argue that Voices from the Killing Jar is Soper’s reclamation and emphasis of her gendered self that she had minimized to be accepted as a serious contemporary composer in the United States.
I argue that Soper’s reclamation of selfhood is achieved through a crafted coming-out confession as a method of selfcare. Through Chloe Taylor’s interpretation of Foucauldian technologies of self, I examine movement VI. Interlude: Asta Sollilja. Interlude focuses on the reality of Asta Sollilja— a tragic character from Harold Laxness’s Independent People. Through what I call ‘sonic confessional intimacies,’ Soper’s music sonically forms Asta Sollilja away from her killing jar —nineteenth-century rural Iceland and anxiety. The techniques of ‘sonic confessional intimacies’ such as a broken ground bass, vocal failure, and phrase repetition stem from musical indexes of the western traditions of lament and mourning. In Interlude, Soper composes an expanded representation Sollilja by writing into Sollilja’s story a moment of personal care. In embodying Sollilja through performance and writing a moment of care for Sollilja, Soper performs her own selfcare. Within the argument of my paper, I add Soper’s piece as an example of music as a technology of self-formation and selfcare.
For the Borealis 2016 experimental music festival, Jennifer Walshe wrote a manifesto-like program note “The New Discipline.” Walshe’s program note demands an art practice situated on the acknowledgement of live bodies that perform/compose music. This call for reparation between the spilt of practitioner’s minds and bodies is a call for recognition of a practitioner’s full humanity. By binding a Cartesian-based binary of performer (body/feminine) and composer (mind/masculine) into practitioner, works using verbal notation’s reparative structure answer. In this paper, I ask how the reparation of Cartesian legacies within verbally notated works causes a formation of a self without gender.
I analyze the generation and exteriorization of self-reparation as a process of dissolving mind/body binary through attention constructions in Pauline Oliveros’s Breaking Boundaries (1996) and Jennifer Walshe’s THIS IS WHY PEOPLE O.D. ON PILLS (2004). I trace a lineage of Cartesianism through my concept of interior temporality— informed by Ricœur’s triple present paradox. I examine how a reparation of a Cartesian-self produces a self without gender.
My presentation connects legacies of gender and music by applying structuralist methodologies to verbally notated works. Verbally notated works are extreme examples of practices that appear in traditional art music. Therefore, in parsing the explicit reparation of Cartesian self into self without gender, further complicates our notions of how music can erase or perpetuate gender.
I will be doing archival research at University of California, San Diego with the Pauline Oliveros Papers for my dissertation.
At NMOP 2018, my piece Residue (May 2018) will be premiered and my piece Insecurities (May 2018) will be read.