The mason-dixon handbook (a handbound book and online response with audio) for issue 7 of the peer-reviewed art journal Contemporaneity
Deeply humbled to have been awarded the 2017 Ernst Krenek Commission Prize to write a new work for Klangforum Wien. Selected by Klangforum Wien, IMPULS Festival Graz, and the Ernst Krenek Institut.
three activities (or, the layman's guide to taxonomy) at North American Saxophone Alliance Biennial Conference
three activities (or, the layman's guide to taxonomy) for Andrew Hutchens
soprano saxophone, field recordings, and video
The structured retreat features daily quiet time, personal and group composition, informal performances with voice and hand percussion, personal meetings, and preparing and sharing meals together. Led by Tony Geballe, Dev Ray, Erin Rogers, Frank Sheldon, and Craig Shepard.
selected fellow for the 2017 MISE-EN Music Festival
The daylong workshop led by Craig Shepard includes silence, vocal meditations, and basic exercises to create music together. Over the course of the day, the group will create and rehearse new music and present it at a public concert in the evening.
Yin Tak Au and Lena Cuglietta will perform Filth for two baritone saxophones in a concert that includes additional works by Jacob TV, Philippe Geiss, Ryan Brown, Frank C.S. Nawrot, and Bob Pritchard.
$150 in advance or Fringe Member / $200 on day / One Free Drink Included
8pm Fringe Club, Hong Kong
Returning as a selected composer at the 2017 IMPULS International Composition and Performance Festival. Working with Klaus Lang in the program "Translucent Spaces"
Amsterdam, 1973-1975 for small courtyard, flashlights, field recordings of geese, recorded whistling, feathers, and quiet instruments
I'm thrilled to have been invited to write a text on Eastman's notation alongside articles by Jan Williams and Joe Kubera. The article appears as part of SUNY Buffalo and SUNY Buffalo State's exhibit/concert The Scores Of A Man: The Revival of Julius Eastman and can be found here.
In our far from post-racial world, museums are not immune to the pressures of demographic change and urgent new campaigns for racial justice. Famous European museums are altering the titles of art works to eliminate demeaning terms; Confederate monuments are being dismantled in public space and sent to history museums for storage; museums across the U.S. are scrambling to shed their image as bastions of privilege and to diversify their audiences and supporters. Exploring Julius Eastman's racially provocative and vague life, especially the remaining fragmented and nebulous scores scattered throughout personal and private archives, my participation in the museum will investigate the role of the score as an object that has influenced the racial narrative of this composer.
How have museums, as collections and as institutions, created, supported, or challenged constructions of race and racial identity? How are museums and their objects implicated in the history of slavery, indigenous peoples, and race relations? How have museums represented and interpreted these issues? How can and should their collections tell different stories? What can museums do to combat white privilege, and become more diverse in their institutional structures and in their audiences? The workshop will work to confront these and many other pertinent questions through discussion with Carnegie Museum of Art, Natural History, and Science curators.
Studio recording and filming RULER PIECE NO. 2 with Michiko Saiki at Bowling Green State University (USA). Looking forward to working more with Michiko.
I've been asked to participate in a seminar with the brilliant philosopher and critical theorist Lydia Goehr. The content of the week is still being solidified, but will be rooted in issues of theory and history and wit and melancholy across instances of philosophy, opera, and the arts. My thanks to Pitt's Humanities Center for this wonderful opportunity.