Notation and Time: Difference between revisions
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{{Event | {{Event | ||
|Event display name= | |Event display name=Exploded Drawing XXXII | ||
|Date Start=2015-09-28 | |Date Start=2015-09-28 12:00 AM | ||
|Date End=2015-09-28 | |Date End=2015-09-28 12:00 AM | ||
|Event description='w/Andrew Stoltz and | |||
|Event description= | Anna Mikhailova (MoHA's September Artist in Residence)'' | ||
Anna Mikhailova (MoHA's September Artist in Residence) | |||
The notation of new and experimental music has always presented composers with a multitude of challenges and questions: is notation even necessary? Does the music require new symbols and graphics? Is software adequate or will a better result be achieved using hand-written scores? Are scores simply a set of instructions for the performer to execute or an integral part of composition itself? As musical aesthetics, instruments, technology and performance standards evolve, composers must continuously revise their approach to notation and determine what works best for a particular composition. For this discussion, we will focus on these questions as well as the notational aspects of time: how different composers approach non-metered music, free rhythms, improvisation and tempo interpretation. | The notation of new and experimental music has always presented composers with a multitude of challenges and questions: is notation even necessary? Does the music require new symbols and graphics? Is software adequate or will a better result be achieved using hand-written scores? Are scores simply a set of instructions for the performer to execute or an integral part of composition itself? As musical aesthetics, instruments, technology and performance standards evolve, composers must continuously revise their approach to notation and determine what works best for a particular composition. For this discussion, we will focus on these questions as well as the notational aspects of time: how different composers approach non-metered music, free rhythms, improvisation and tempo interpretation. | ||
Anna Mikhailova graduated Rotterdam University of Arts (Codarts) as a theater director (2013), Den Haag Royal Conservatory composition and sonology department (2011), Chicago Columbia University film music (2008, special program), Moscow conservatory (2007) as a composer, organ player and koto player, working with improv, jazz, pop, rock musician, dancers, collecting the folk songs in the folk expeditions, writing music for movies, animations, theater, performances, computer games, moving from one place to another, | Anna Mikhailova graduated Rotterdam University of Arts (Codarts) as a theater director (2013), Den Haag Royal Conservatory composition and sonology department (2011), Chicago Columbia University film music (2008, special program), Moscow conservatory (2007) as a composer, organ player and koto player, working with improv, jazz, pop, rock musician, dancers, collecting the folk songs in the folk expeditions, writing music for movies, animations, theater, performances, computer games, moving from one place to another, | ||
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Complimentary Drinks provided by Dos Equis | Complimentary Drinks provided by Dos Equis | ||
|Event format=Talk | |||
|Event medium=Music | |||
|Associated Program=Unlisted Projects | |||
|Presented by=Anna Mikalhova | |Presented by=Anna Mikalhova | ||
|Funded by=Cultural Arts Division of the City of Austin Economic Development Department | |Funded by=Cultural Arts Division of the City of Austin Economic Development Department | ||
|Event artist=Andrew Stoltz; Anna Mikhalova | |||
|Event artist=Andrew Stoltz | |Airtable Record ID=rech4OKkO2E4j67zH | ||
| | |Airtable Last Modified=2023-11-20 9:04 PM | ||
| | |Is public=1 | ||
}} | }} | ||
Revision as of 17:27, November 25, 2023
'w/Andrew Stoltz and Anna Mikhailova (MoHA's September Artist in Residence)
The notation of new and experimental music has always presented composers with a multitude of challenges and questions: is notation even necessary? Does the music require new symbols and graphics? Is software adequate or will a better result be achieved using hand-written scores? Are scores simply a set of instructions for the performer to execute or an integral part of composition itself? As musical aesthetics, instruments, technology and performance standards evolve, composers must continuously revise their approach to notation and determine what works best for a particular composition. For this discussion, we will focus on these questions as well as the notational aspects of time: how different composers approach non-metered music, free rhythms, improvisation and tempo interpretation.
Anna Mikhailova graduated Rotterdam University of Arts (Codarts) as a theater director (2013), Den Haag Royal Conservatory composition and sonology department (2011), Chicago Columbia University film music (2008, special program), Moscow conservatory (2007) as a composer, organ player and koto player, working with improv, jazz, pop, rock musician, dancers, collecting the folk songs in the folk expeditions, writing music for movies, animations, theater, performances, computer games, moving from one place to another,
Complimentary Drinks provided by Dos Equis
