Event overview
020 7919 7645
Tactile Paths: an introduction to notation for improvisers
Since the 1960s, many composers and musicians have worked at the interface of notation and improvisation. The list is long and diverse: Richard Barrett, Anthony Braxton, Earle Brown, Cornelius Cardew, Malcolm Goldstein, Vinko Globokar, George E. Lewis, Annea Lockwood, Pauline Oliveros, Bob Ostertag, Wadada Leo Smith, John Zorn, and myself are just a few examples. Thinking about this body of work as a whole – connected by methods and practices that belie aesthetic and historical differences – has much to recommend itself to both practitioners and scholars. As I detail in my Ph.D. dissertation "Tactile Paths" (http://www.tactilepaths.net), it reveals hidden assumptions about notation and improvisation beyond this repertoire alone. It also broadens our awareness of the many ways in which performers and composers approach collectivity and collaboration.
Christopher Williams (1981, San Diego, lives in Berlin) is a wayfarer on the body-mind continuum. His medium is music. B.A., University of California, San Diego; Ph.D., Leiden University. As a composer and contrabassist, Williams's work runs the gamut from chamber music, improvisation, and radio art to collaborations with dancers, sound artists, and visual artists. Williams’ artistic research includes several articles and book chapters; presentations at universities and conferences across North America, Europe, and India; and a native digital dissertation entitled "Tactile Paths: on and through Notation for Improvisers" (http://www.tactilepaths.net). He co-curates the monthly contemporary music series KONTRAKLANG (http://www.kontraklang.de) and manages sales and productions for immersive sound experience makers Charles Morrow Productions.
Dates & times
| Date | Time | Add to calendar |
|---|---|---|
| 29 Jan 2018 | 6:00pm - 7:30pm |
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