Date: Tuesday, July 4, 2023, 19:00 start (open 30 minutes prior to performance) Venue: Suginami Kokaido Small Hall (1-23-15 Kami-ogi, Suginami-ku, Tokyo) https://www.suginamikoukaidou.com/access/
Performer: Tokyo Gen’On Project Sumihisa Arima (electronics), Masanori Oishi (saxophone), Yoshiko Kanda (percussion), Aki Kuroda (piano), Shinya Hashimoto (tuba)
Guest: Yasuaki Shimizu (tenor saxophone), Carl Stone (laptop)
Program (order to be determined) –Yasuaki Shimizu: Carl’s Wild Garden(Seeds, Rain, Work, Be Flat)(2012), Suiren (1982), Asa (2005) -Improvisation by Yasuaki Shimizu and Carl Stone –John Zorn: from Ecomia – five pieces for piano solo (2018) –Anthony Braxton: Composition 131 –Dror Feiler: new piece (2023)
Organized by: Tokyo Gen’On Project Supported by: The Nomura Foundation, Japan Arts Counsil, Tokyo Metropolitan Foundation for History and Culture Arts Council Tokyo, Japan Chamber Music Foundation
Tickets (tax included) : Advance: Adults 3000 yen, College and University Students 1000 yen Door: ¥3,500 Confetti discount: 2,500 yen (limited to Confetti transactions, first-come-first-served basis) Free for high school students and younger
-Yasuaki Shimizu: Carl’s Wild Garden(Seeds, Rain, Work, Be Flat)(2012), Suiren (1982), Asa (2005) -Improvisation by Yasuaki Shimizu and Carl Stone -John Zorn: from Ecomia – five pieces for piano solo (2018) -Anthony Braxton: Composition 131 -Dror Feiler: new piece (2023)
Saxophone: Masanori Oishi Tuba: Shinya Hashimoto Piano: Aki Kuroda Percussion: Yoshiko Kanda Electronics: Sumihisa Arima
Program: Koki Fukuda: staff meeting in progress (2022) Akiko Koga: m(usi)c (2022) Varun Kishore: peculiar convergence chamber for Zoom, saxophone, tuba, piano(2022) Jenn Kirby: music: a movement (2022) G Douglas Barrett: i am sitting in a zoo (on zoom) in memoriam, Alvin Lucier (2022) Aiko Kono: music, in volumes (2022)
Zoom distribution: Free of charge How to watch: please register using the form below. https://forms.gle/9nXaMqcj4kSfWF256 Deadline for subscription: 24:00 on Sunday 18 December 2022 (Japan time).
Supported by Nomura Foundation, Japan Arts Council
contact: nayac@mc.point.ne.jp
Zoomusic Selection
The COVID-19 pandemic brought a sudden and drastic change to our daily lives. As social distance was advocated to prevent the spread of infection, the use of various technologies for staging a virtual contact with others spread as quickly as the virus to compensate for the loss of physical contact. Music also followed this trend and concerts using ZOOM and other online communication systems began to take place everywhere. However, the majority of these attempts appeared to only aim at virtually reproducing the sort of musical experience people had been accustomed to, and not many of them took advantage of this change in the media environment to rethink the way music is composed, performed, and experienced.
In this concert, we will imagine that ZOOM could be regarded not as a transparent medium for simulating what has been lost, but as a “musical instrument” equipped with particular biases and affordances, and that there could be a new genre of music that can only be performed and experienced via this instrument: ZOOMUSIC.
Like all technology, ZOOM is biased by the political and economic forces and historical circumstances that created it, and functions by enabling many things while inhibiting many others. As we explore the specific nature of this instrument——its unique signal processing algorithm, interface design, the degree of indeterminacy, or the way it coordinates sound and image——the conceptual categories usually applied to music such as performer/audience, score/instrument, live/recording, music/non-music become dissolved, forcing us to think, perform, and experience music in unusual ways. For example, music performance could overlap extensively with filmmaking, and the very idea of “composition” or “work” might be called into question. On the other hand, choosing to experience ZOOMUSIC offline might approximate being present at a public broadcast of a television program, perhaps changing the meaning of an in-person music concert.
Please join us for a concert in the time of (post-)COVID-19, where strange new forms of music and pseudo-music will roam around inside and outside the venue, perhaps a bit like the park that places wild animals on display evoked by its title. The only thing we ask in advance is for you to make a selection (like a good critic): whether to experience it online or in-person.
You Nakai
(No Collective/Already Not Yet/Side Effects Laboratory Of the University of Tokyo)
You Nakai makes music(ians), dance(rs), haunted musical houses, nursery rhymes, and other forms of performances as a member of No Collective (nocollective.com), and publishes experimental children’s books and other literary oddities as a member of Already Not Yet (alreadynotyet.org). His extensive research on David Tudor’s music has been published as Reminded by the Instruments: David Tudor’s Music (Oxford University Press, 2021 remindedbytheinstruments.info). Other recent Tudor-related outputs include the double LP+booklet, Monobirds: From Ahmedabad to Xenon (Topos, 2021). You is currently affiliated with the University of Tokyo where he teaches curiosities such as “Archi-Choreographies,” “Zoomusic,” or “Fake Western Music History,” and hosts the Side Effects Laboratory of the University of Tokyo (selout.site).
プログラム: 福田考樹《staff meeting in progress》 (2022) 古賀晶子 《m(usi)c》(2022) ヴァルン・キショール《peculiar convergence chamber》サクソフォン、チューバ、ピアノのための(2022) ジェン・カービィー《music: a movement》(2022 公募作品) G・ダグラス・バレット《I AM SITTING IN A ZOO (ON ZOOM)》アルヴィン・ルシエを偲んで(2022) 荒野愛子《music, in volumes|巻物音楽》(2022)
中井悠 ◉ You Nakai No Collectiveの一員として音楽(家)、ダンスもどき、お化け屋敷、わらべ歌などを世界各地で制作(http://nocollective.com)、出版プロジェクトAlready Not Yetとして実験的絵本やことわざ集などを出版(http://alreadynotyet.org)。制作の傍らで音楽、影響や癖について研究を行なう。最近の仕事としてデーヴィッド・チュードアの研究書 Reminded by the Instruments: David Tudor’s Music(オックスフォード大学出版局、2021年)や、チュードアの未発表音源を収めた二枚組LPと論考Monobirds: From Ahmedabad to Xenon(TOPOS、2021年)。2021〜22年ヴァージニア大学大学院作曲コースのヴァーチャル・レジデンシー・アーティスト、2022〜24年札幌国際芸術祭ラボ「サイド・プロジェクト」のアーティスティック・リサーチャー。東京大学大学院総合文化研究科(表象文化論)+芸術創造連携研究機構准教授。東大副産物ラボ主宰(http://selout.site)、令和4年度東京大学卓越研究員。
黒田亜樹 Aki Kuroda 東京芸術大学卒業、伊ペスカーラ音楽院高等課程を最高位修了。フランス音楽コンクール第1位。ジローナ20世紀音楽コンクール現代作品特別賞。現代音楽演奏コンクール優勝、朝日現代音楽賞。ビクター『タンゴ2000』『タルカス&展覧会の絵』、伊LIMENレーベル『ブルグミュラーエチュード全曲集』DVDなど録音多数。サルデーニャのSpazio Musica現代音楽祭、シチリアのエトネ音楽祭などイタリアを中心に活動。作曲家の指名により録音した『Piano Collections FINAL FANTASY』等によっても親しまれている。2014年『火の鳥〜20世紀ピアノ編曲集』を伊オドラデクよりリリース、英BBCミュージックマガジンにて五つ星、レコード芸術誌にて特選盤。http://www.kuroaki.net/
主催:The University of Virginia, Department of Music
経歴
No Collective:(中井悠、Kay Festa、Ai Chinen、Jay Barnacle、Earle Lipski、その他)パフォーマンスの物理的/非物理的なインフラを探究するパフォーマンスを制作・上演する集団(もどき)。2008年の設立以来、音楽(家)、舞踏(家)、演劇、台本、絵本やお化け屋敷を世界各地で発表してきた。2014年にはLeonardo Music Journal(MIT Press)により、いまテクノロジーを使って新しいことをしているアーティストの一人に選出された。彼らの作品の詳細な分析や研究は、Perspectives of New Music、TDR、Performing Arts Journalなど、さまざまな学術誌に掲載されてきた。出版プロジェクトAlready Not Yetも運営し、アルゼンチンの作曲家Ellen C. Covitoの作品集や、ベルリンのMuseum der Unerhoerten Dingeのカタログ・レゾネ、子どもによって書かれた実験的な絵本やことわざ集など風変わりな文学作品を刊行している。(nocollective.com / alreadynotyet.org)
Karlheinz Stockhausen: -Saxophon (aus Jahreslauf) für Sopransaxophon und Bongo (1977) -Solo für Melodieinstrument mit Rückkopplung (1965/66) -Mikrophonie I für Tamtam, 2 Mikrophone, 2 Filter und Regler (1964) Yoshiko Kanda: Raiden (2022 W.P.)
神田佳子 Yoshiko Kanda 打楽器奏者&作曲家 東京藝術大学卒業及び同大学院修了。ダルムシュタット国際現代音楽夏期講習会で奨学生賞を二度受賞。現代音楽のスペシャリストとして、オーケストラとの共演や音楽祭への参加に加え、多くの作曲家との共同作業や作品の初演を通して、打楽器演奏の可能性を追究してきた。一方、作曲家として自作の打楽器アンサンブル作品集CD「かえるのうた」をリリースの他、国内外で数多くの作品が演奏されている。また、相撲太鼓を所有するほどの生粋の好角家。相撲にまつわる「SUMO-TAIKO」、相撲組曲「Xe」なども作曲し、心技体をキーワードに相撲と音楽の真髄を探究中。8月には浪曲地歌「初代高砂浦五郎」初演予定。http://www.yoshiko-kanda.com/
檜垣智也《オルガニカ/リトミカ/アクースマティカ》(2021、初演) 2人のサウンド・プロジェクショニストのためのアクースマティック・ミュージック Tomonari Higaki: Organica/rhythmica/acousmatica (2021 W.P.) Acousmatic Music for two sound Projectionists