Toward a Critical Musical Practice

Seminar: Sound Work – Composition as Critical Technical Practice
Orpheus Institute, Ghent, Belgium
23 November 2016
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Scientific Listening

DisPerSion Lab
York University, Toronto, Canada
10 November 2016
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Beautiful Sounds . . .

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in Ithaca NY at the 2016 Porchfest
. . . John Cage’s Sonatas and Interludes, for prepared piano, composed in 1948, create unexpectedly inviting, gentle buzzes, bells, resonant gongs, and extended piano sonorities. In-between the piano’s strings are pieces of rubber and plastic, small, medium, large bolts, furniture bolts, screws, hardware nuts, an eraser . . . . . . and out of the piano come . . . delicate bells . . . expansive gongs . . . hi-hat cymbals . . . drums  . . .
as if suspended  in  t  i  m  e   &    s    p    a    c    e
18 September 2016
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Spectromorphology, Human Affinities, Animal Voices

MuSA Conference
Karlsruhe, Germany
1 July 2016
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The Spaces of Animal Voices

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During 2015-16 I worked at the Contemporary Music Research Centre, at the University of York, investigating ways to listen to spatial interactions among animal sounds, and to how sound changes as it travels through air and water. How might music composition facilitate an exploration of our perception of animal voices and our connections to them? Starting from the composition Dawn’s Chorus we made Imagined Environments.
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Patrick Wood


Four Hands Vier Hände
Pomfret School, Connecticut
November 2015
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“My God! What has sound got to do with music?”

Fireplace
Gesture and relationship as compositional materials in two pieces by Christian Wolff
Christian Wolff Study Days
Orpheus Institute, Ghent, Belgium
This event explored Wolff’s music via paper presentations, performances of solo and chamber works, and an interview with the composer. I’ve been exploring and comparing the use of musical structure in Dark as a Dungeon and Edges.
28 September 2015
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Humpback Whales: Composers of the Sea


This Monday Night Seminar, at the Cornell Lab of Ornithology,
was a collaboration with Katy Payne, who, through listening,
discovered the evolving patterns of humpback song.
19 May 2014
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Erasing the Glitch


f(Glitch) – The Function of Glitch
cDACT, Stony Brook University
Our perception of what is a “glitch” may depend on the history and on the purposes of our listening. Through accumulating deeper, focused listening experiences, and through examining and exploring our motivations for listening to specific musics and sounds, we may find that glitches come and go, their existence being dependent upon our interests as listeners. This presentation at a conference organized by Margaret Schedel investigates contrasting approaches to listening and illustrates ways in which specific glitches may appear and disappear within them.
March 2014
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Listeners are Observers and Musicians


Deep Listening: Art/Science conference
Rensselaer Polytechnic Institute, Troy, NY
Deep Listening to African Forest elephants, presented in collaboration with Katy Payne, and contributions to a Round Table Discussion about Hearing vs. Listening, Artistic and Scientific Perspectives, with Pauline Oliveros, Seth Horowitz, China Blue, Chris Chafe, and moderator Lance Brunner.
July 2013
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