If you’re a composer, performer, sound artist, multimedia artist, or otherwise involved in new music, our job is to provide you with a platform to promote your events.
In fact, what we’re doing is creating a global exchange for new music information, new ideas, new resources.
So what’s an event? Events are things that happen …
It all adds up to creativity, knowledge, resources, and opportunities. It’s all good.
The Startup of Paracademia
Paracademia LLC is a new music center that I recently founded in Harlem, a well-known neighborhood in Manhattan. Composer, performer, and educator with over 20 years of active, professional music experience in New York, in fact around the world, I’ve developed a natural and deep inclination to connect people in collaborative and interdisciplinary projects. I’ve worked in Ghana, China, and other distant places.
Starting from Scratch
The beginning of a New Year offers an ideal opportunity to change plans, it is a welcome occasion to reinvent oneself, try out something new, learn Chinese, refurbish the house, have an affair, throw out all belongings, join a gamelan orchestra, go on a diet, bake a cake, burn old letters, lose the phone and find new friends, write a pamphlet, switch off the light, remember what it is you wanted, forget what it was you were running after, ignore your cravings, turn a page, draw a cartoon, lock your fear in a box and throw it into the sea, fall in love, reconsider your politics, join a choir or invent something new.
The composition of the chamber opera Master-Pieces was initiated by the following events. A suggestion by soprano Sylvia Robert that I compose a piece for soprano, which resulted in an idea/vision of a piece for soprano and violin. Reading, analyzing, rewriting and an attempt to understand the 1936 lecture text by Gertrude Stein titled What Are Master-Pieces And Why Are There So Few of Them (initially, this had no relation to the idea of a piece for soprano and violin). A commission by Jirí Nekvasil, director of the National Moravian-Silesian Theater opera house, to create an opera for the 2014 NODO festival. And my long standing desire to create a piece of music theater.
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Words and politics
As Ensemble Pi, we’re pianist Idith Meshulam, violinist Airi Yoshioka, cellist Katie Schlaikjer, vocalist Kristin Norderval, and, for this concert, clarinetist Moran Katz, and soprano Rachel Rosales. We’re about to present our Ninth Annual Peace Project concert, which will focus on the use of words – their meanings, ambiguities, different contexts – as a way to reflect on truth in art and life and speak out in response to acts of violence or oppression.
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Excerpt from On Innovative Musicians
The news is that the New York composer John Cage, now in his mid-seventies, has written his first opera. “I was asked to write an opera, and I have never written one,” John Cage told an interviewer a few years ago. “It means a lot of work. It means a theater piece with all those singers. And you see, I’ve come to the desire to free each person in the performance from anyone like a conductor. Instead, what I want the opera to be is a collage of sorts, of a pulverized sort, of European opera; and my title, I think, is excellent. It’s Europera, which is the words ‘Europe’ and ‘opera’ put together.” As one of Cage’s best Verbal inventions, this coinage also sounds like “Your Opera,” which is to say everyone’s opera …”
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So what’s new?
Georgia Spiropoulos‘ Vocalscapes on Walt Whitman (2014) is a 6-channel composition to be presented in a concert or as a sound installation.
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