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In his lecture Music in the Expanded Field, originally titled Wide Is the New Deep, Marko Ciciliani takes a look at how today’s composers typically include a wide range of activities in their practice. Expanding their field rather than jumping the fence.

An interdisciplinary experience that can play a role even when working within the medium of music alone.

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I’ve been catching up on lectures from the Darmstädter Ferienkurse 2016. They’re fortunately all available in audio form via Voice Republic with a handy podcast feed so that I can get them into Overcast.

I started off with Klaus Lang’s Liebe und Notation. Klaus was a fellow student back in the day when I studied composition with Younghi Pagh-Pahn in Bremen. He enjoyed the long trips from the Austrian mountains to the flat spaces of the German north: Creating open spaces happens to be one of the main features of his music.

The second lecture I’ve gotten round to has been Theater – Macht – Kritik – a concise overview of the changing views on theatre since the Greeks. I found it useful as a framework – as a tool for placing the kind of mindset (the director’s inszenierung as central focus) that Pelle Gudmundsen-Holmgreen came up against when getting his opera staged, as discussed at Frankenstein’s Lab last year.