music teaching at Oxford + Lady Margaret Hall (@uniofoxford/@lmhoxford) he/him
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ALT Séance and technology: intermundane communication as a methodology for contemporary music
ALT Call for Papers - deadline 25 February 2024 for a symposium at Royal Holloway, University of London on 7 June 2024. The symposium name is Creative Machines: Technology & Collaborative Practice in Contemporary Music, hosted by Cyborg Soloists. The image under the text shows two people in silhouette, interacting with desk fans against a red-lit background.
ALT “Nuances in scoring have great importance — often the scorer themselves is not completely aware of how they are projecting their own biases and preconceptions into the score” — Lawrence Halprin (Halprin 1969: 190)
ALT “The composer, much like the architect, plans a particular modulation of space used, thus their main production is not an object of contemplation, but a situation in space. If a composition can be a building (a space to explore) and music can be architecture (an event), then the composer is an architect: not an organiser of form, but a planner of situations, an instigator of events, designing and orchestration conditions towards a relational creativity that is not a reflection of society, but a project of sociality.” — Diogo Alvim (Alvim 2018: 9)
ALT “if you buy a cookbook, there’s probably only six to ten recipes you’ll ever make...The pleasure that you get from reading all the other recipes is in imagining what it would be like to make them, or what the food would taste like, or what our life would be like if we were the sort of people with access to edible flowers to put on our artisanally-sourced quinoa flake chia pots. I think of cookbooks as devices for bringing a partially-realised, partially-imaginary new mode of being into play.And so I like to do that in my scores too sometimes” — Jennifer Walshe (Walshe 2016)
ALT ...not “to see things . . . unseen” but to hear things unheard, and barely heard.To imagine the unheard as the barely heard and strain to listen past the acoustic foreground down to the ghostly echo, the faint trace of obscured selves that lie on or just beyond the periphery of audibility” — J. Martin Daughtry (Daughtry 2013: 9)
