overtone #2

One of the ways I hope to address some of my artistic goals is to move away from using 'conventional' performance spaces, and taking music to where people are... rather than the other way around. Maybe this won't be a hard and fast rule, but it's at least a way to start thinking about how music is perceived and embraced when it's outside the confines of a more traditional concert hall type venue.

I'm planning to start with art galleries, as I've had some fantastic experiences performing in this type of space. I think the way that music and art can reflect, complement, challenge and enhance each other is pretty cool - for audience as much for performer. I'm really looking forward to the "Clocked Out" gig next weekend, at the Judith Wright Centre for Contemporary Arts - in an interview last night one of the members of the Clocked Out duo was talking about how the performance would work. From what I gleaned, it's going to be more of an 'installation' style performance, where the 'audience' is encouraged to move freely during the performance, giving listeners the opportunity to experience the works from whatever perspective they choose. My good friend Julian has also talked about wanting to move ahead with a similar idea for a performance event, with different performers in different rooms, and the audience moving between them as and when they desire.

Along these same lines of thought, I was recently thinking about the different experiences and roles of various people involved in a performance, and discovered a posting to a bulletin board which I'd written some months ago. I'm really glad I found it, as I really think it's worth thinking about why so many audiences may be resistant to 'new music'. Here's the post:

"The way I see it there are 3 levels of interpretation: the composer, the performer, and the audience. The composer spends weeks, months, maybe even years, creating the work. They have an intimate bond with it and a clear vision of what they want to say through their work. The performer gets a few weeks (or months if they're lucky) to delve into the score, usually without any help from the composer, and has to then communicate the ideas to the audience. The audience then has to digest the work in real-time, they only get one chance to hear the music and piece it all together in their minds. Whether they "get it" is beside the point. Whether they are moved in some way (positive or negative) is entirely the point.

The beauty of music is that it is an essentially personal expression. Yes, the composer may have had a specific intention in mind, but it's what each individual gains from the music that really counts. Were they disturbed by it? Excellent! Were they uplifted? Great! Did it make them sad, angry, confused, joyful, reflective? Then we have done our job. "

What are your thoughts?

j*

the first overtone

greetings, and welcome to my new blog! Over the next few weeks I hope to make this a place full of visions, ideas, hopes and musings on what "random overtones" is destined to be. Feel free to chime in!

j*