Archives for category: show

June 20th
The Silent Barn, NY

issue 2014 of the Experimental Music Yearbook comes to NYC for a performance featuring contributor Carmina Escobar (Mexico City) as well as performances by Casey Anderson (Los Angeles), Scott Cazan (Los Angeles), & John P. Hastings (Brooklyn).

And here is preliminary information for the other Chicago show:

June 25th
Anderson/Cazan/Hastings (EMY Editors), Troy Shafer, Katherine Young
Elastic Arts, Chicago, IL

This event, curated by Olivia Block, features new work by the editors of the Experimental Music Yearbook, John P. Hastings (Brooklyn)/Casey Anderson (Los Angeles)/Scott Cazan (Los Angeles), as well as performances by Troy Shafer (Chicago), and Katherine Young (Chicago).

Over the next few weeks, we will begin announcing the public presentations of work from issue 2014. Here is the first of such announcements:

Constellation, Chicago, IL
$10 is teaming up with L.A’s EMY, an experimental music curated collection, to perform a concert of its works. The concert will include pieces by James Saunders, Manfred Werder, Olivia Block, Albert Ortega, Jessie Marino, and Nomi Epstein. More information here.

April 12th
WEST COAST SOUNDINGS / the experimental music yearbook
Kolomba, Kolumbastraße 4 – D-50667, Cologne, Germany

Im Rahmen der Ausstellung von Bruno Jakob, für dessen Malerei John Cage ein wichtiger Bezugspunkt ist, spielen unter dem Titel WEST COAST SOUNDINGS fünf Musiker Stücke aus dem »experimental music yearbook«. Diese Onlinepublikation ist ein wahrer Fundus an Partituren von jungen Komponisten, die am California Institute of the Arts bei James Tenney und Michael Pisaro studiert haben und durch ihren experimentellen Umgang mit Musik in John Cages Fußstapfen getreten sind. Das musikalische Interesse dieser Komponisten reicht von der Erforschung von Stimmungssystemen (Lamb) zu komplexen mathematischen Graphiken und Spieltheorien (Winter), dem Gebrauch von Trockeneis, um Triangel zu spielen (Mooney) bis zu Radios als Klangquelle (Anderson). Eine CD mit den Titeln dieses Konzertes ist im Juni 2013 aufgenommen worden und wird im April 2014 bei wandelweiser erscheinen (€20,00).

Frank Gratkowski – Klarinette, Bassklarinette, Altsaxophon, Radio, Triangel
Lucia Mense – Blockflöten, Radio, Triangel
Anton Lukoszevieze – Violoncello, Stimme, Radio, Triangel
Seth Josel – E-Gitarre, Mandoline, Radio, Triangel
hans w. koch – Elektronik, Radio, Triangel


G Douglas Barrett
Two Transcriptions
May 25, 2013, 8pm (free)
at Incubator Arts Project
St. Mark’s Church in-the-Bowery
131 East 10th Street (at 2nd Avenue)
New York, NY 10003

Two Transcriptions celebrates the release of G Douglas Barrett’s record Two Transcriptions / Ode to Schoenberg, a historical revision of Arnold Schoenberg’s 1942 composition Ode to Napoleon performed by artist Zackary Drucker and musician Theo Baer. The evening will function as a record release party in addition to a discussion involving Douglas Barrett, activist Che Gossett, musician Theodore Baer, and musicologist Benjamin Piekut.

Two Transcriptions / Ode to Schoenberg is a vinyl record based on Schoenberg’s 1942 composition Ode to Napoleon for string quartet, piano, and voice. Schoenberg’s piece has an interesting history: the composer arguably over-asserted his authority in writing a letter protesting a recording of the work (originally scored for a male reciter) performed with a female voice. Challenging Schoenberg’s position with respect to musical authorship while considering identities beyond the gender binary central to the dispute, a pair of “transcriptions” of Ode to Napoleon feature the voices of performance artist Zackary Drucker and musician Theodore Baer, two transgender artists.

Two Transcriptions / Ode to Schoenberg was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation; the Lambent Foundation Fund of Tides Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional support provided by The New Spectrum Foundation, Mutable Music, and individual contributions. Two Transcriptions / Ode to Schoenberg was performed by The FLUX Quartet, Stephen Gosling, Theo Baer, and Zackary Drucker.

More information HERE.

May 3rd
American Hardcore (as part of the Experimental Music Yearbook in SF)
ATA, San Francisco, CA

Los Angeles-based artists Casey Anderson and Scott Cazan present new and recent live-electronic work as part of a series of events celebrating the Experimental Music Yearbook’s weekend of San Francisco events. Anderson will present new work interfacing custom circuitry/hardware with improvisatory, digital structures to explore the acoustical properties of musical and non-musical objects. Cazan will present new work involving the use of custom software/hardware feedback networks where misunderstanding, chance, and chaotic elements in algorithms serve to generate new audio and visual information.

May 5th
EMY in San Francisco
Center for New Music, San Francisco, CA
$5 (members) / $7 (others)

The Experimental Music Yearbook is pleased to present a concert at the Center for New Music (55 Taylor St. San Francisco, CA) featuring works from across the musical spectrum. Now entering its 5th year, the Experimental Music Yearbook ( is a curated online repository of contemporary experimental music. Downloadable scores, along with audio from past performances, showcase the diversity of compositional techniques and performances practices that are in use today. This concert presentation will have a dual focus. The first half features work from 2012 guest editor Laura Steenberge and her colleagues at Stanford University. The second half will feature works from throughout the years of the Yearbook’s existence.

All of the pieces will be performed by the composers themselves and the EMY Players, a performance group dedicated to the realization of these works.

Laura Steenberge – Dante’s Inferno
John Granzow – TBD
Eoin Callery – TBD

Michael Winter – scene++
Manfred Werder — 20091
hans w. koch – e.t. (l.a.)

EVOL – tape installation

March 22nd
II.3: Casey Anderson
Willow Place Auditorium (26 Willow Place, Brooklyn)

New and recent work by Casey Anderson presented as a circus. In other words, a simultaneous performance of numerous works which can be executed simply by speaking, operating radios, or using other everyday objects.

In the words of Travis Just: “So Doug will open a door, I will pluck a guitar and Jason is reading Stalin.”

March 21st
Soundscape 003
the salon, Providence, RI

New and recent work by Casey Anderson and others (TBA).

Dear friends of theorization at large:

You are most cordially invited to an intimate preview benefit on Saturday, March 23 at Glasshouse Projects (246 Union Ave, Brooklyn) featuring a lecture by Dr. Gayatri Chakravorty Spivak, an excerpt of G. Douglas Barrett‘s Hence Where Labor performed by Fahad Siadat and Robert Ashley‘s Public Opinion Descends Upon the Demonstrators, performed by Varispeed. As part of this extraordinary evening, we invite you to contribute your written reactions, impressions, and notes from the lecture and performance to be sold at our silent auction at the end of the evening, allowing the ideas and events of the evening to circulate past the walls of the gallery.

This night benefits the production of Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater, a conference framed-as-performance that will culminate in September, 2013 in NYC. This experimental conference theorizes that performance is not just an artistic medium, it is also a vast and complex conceptual structure reaching into every atom of society. We will be raising funds to facilitate the development of performance projects by four “plenary” artist-theorists, Kikuko Tanaka (Japan/USA), Amapola Prada (Peru), Mike Taylor (NYC), and Reality Research Center (Finland).

For tickets click here.

More information here

March 10th
Ripe for Embarrassment: For a New Musical Masochism [a lecture] & Tomb of the Unknown Composer [a brief concert]
the wulf., Los Angeles

featuring Matador Oven, Adam Overton, and possibly others soon to be announced…

“Ripe for Embarrassment: For a New Musical Masochism” is a manifesto—written by Matador Oven, translated by Adam Overton—proposing a new paradigm in composer/performer relations, wherein the composer is a masochist who uses score-based Cageian indeterminacy in hopes of being humiliated by a willing performer. It was published in February 2013 as part of the Experimental Music Yearbook 2012, and was first delivered as a lecture at Kristi Engle Gallery in January 2012. Keywords: masochism, scores, work to rule, malicious compliance, consenting adults.

Find the full lecture online here.

“Tomb of the Unknown Composer,” by Adam Overton (and cited in Matador Oven’s “Ripe for Embarrassment”) is concert featuring performances of re-named and mis-attributed scores. Unknown titles and composers are soon to be determined, and may feature a number of performers, also soon to be determined.