Selected as a Teaching Artist for the Mattress Factory's 2017 Community Art Lab. I will be working with students ages 10-13 in composing with graphic and events scores and exploring sonic environments in/around Pittsburgh.
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.
Writing a new piece for Peter Tscherkassky´s short film L´Arrivée to be premiered by Ensemble Nikel at IMPULS 2019
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.
Performing James Tenney's BEAST (1971) for the faculty recital at the PYCO School of Music.
Making tunes up on-the-spot alongside Eric Weidenhof and Jason Belcher (TRIO). Majid Araim and Maxwell Boecker will do stuff, too.
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.
Premiere of ruler piece no.3: slow power chord for Ensemble Linea
Conducting the University of Pittsburgh Symphony Orchestra in performance of Phil Thompson's Finney's Prayer
University of Pittsburgh
Curated by Dr. Michael Heller, Billy D. Williams, Miriam Meislik, and myself, Erroll and Martha: The Jazz Manager as Adviser, Advocate, Encourager, Enforcer will open at the International Jazz Hall of Fame in February 2016. The exhibit celebrates the recent posthumously Grammy-nominated pianist and composer's relationship with his only manager. Click above for more details.
Join me as I conduct the University of Pittsburgh Symphony Orchestra in performance of Morton Feldman's rarely performed Structures for Orchestra (1960-62).
teaming up with Ken Ueno and Alia Musica in performance of Ueno's Concerto for Vocalist (2008)
Performance of EXTRACURRICULAR DIRECTIONAL SONIC LEISURE MUSIC for electric guitar, amplified voice and sampler. This performance and other electronic, video and small ensemble pieces will be held in partnership with Pittsburgh's Wigle Whiskey. Wigle is premiering a new signature cocktail during our performance at their Barrelhouse.
Join E.L.C.O.’s musical renegades on a journey to the outer limits of sound as we discover the alien harmonies hidden amongst the echoes! The Eclectic Laboratory Chamber Orchestra presents their latest concoction: “In a Large Reverberant Space.” Here, the performance venue becomes an active part of the concert itself, enveloping the audience in an aura of sound. “In A Large Reverberant Space” pairs the music of American experimentalists Pauline Oliveros and James Tenney with E.L.C.O.’s signature art-pop selections, including new arrangements of Radiohead and melancholy bard Nick Drake. The evening also includes the premiere of Alan Tormey’s long-anticipated American Idyll, which we previewed at last year's Pittsburgh Festival of New Music.
performing on string bass
Thrilled to announce that I was selected as a finalist for the Elizabeth Baranger Teaching Award at the University of Pittsburgh. Many thanks to all of my colleagues and students for their support.
Cultural Studies Colloquium with response by author Toby Miller
Cathedral of Learning 1228
Panel: Art, Space and Belonging
Presentation of my conference paper "They Threw Us All in a Trench and Stuck a Monument on Top: Julius Eastman, Tompkins Square Park and the Politics of Belonging"
click here for more information
SELF-CONTAINED OCCUPATIONAL AWARDS SPEECH MUSIC (#1: NAUTICAL, submitted to the Dead Elf Music Award Competition)
the premiere in a series of 5 works solely created for music composition competitions. each work suggests awards speech music ("wrap it up music") for various occupations outside the field of the arts.
each work is submitted without score as an LP encased in a red-velvet lined and gold-painted wooden box.