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Treephonia: Live 2022 - Open Call for Composers

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Treephonia invites composers to apply for our inaugural Open Call 2022, an opportunity to write new works inspired by trees and our environment.

Treephonia: Live 2022 explores new relationships between humankind and nature. It offers the experience of close connections between music, musicians, and audiences in shared natural and social spaces.

Six UK-based composers will be chosen by a selection panel and commissioned to write new works inspired by trees.

These new works will be performed by the professional Treephonia Ensemble at the Treephonia: Live concert series in London in Autumn 2022.

 

About Treephonia

In 2020, Treephonia was launched as an interactive website where users navigate a virtual Kensington Gardens and listen to new music inspired by trees.

17 composers from the Royal College of Music wrote works for 32 species of trees in Kensington Gardens. These individual works formed part of a larger ecosystem of musical interactions, reflecting the harmonious and symbiotic coexistence of the urban trees.

 

Project Aims

Treephonia aims to participate and engage with nature and inspire people to forge healthier and more sustainable relationships with their environment.

We wish to investigate deeply what trees mean to humans, to share these experiences and relationships through music, and to engage with art and its role in shaping our sustained existence for the future.

 

Project Brief

Trees are among the largest and oldest living organisms on Earth, revealing multitudes about the world and our place within it.

Observing from various perspectives and dimensions, we witness complexities, patterns, order, chaos, symbiosis, competition, reproduction, decay, endurance, and impermanence…

We see the past, present, and future manifested all at once in their roots, branches, layered trunks, and budding leaves and flowers.

Since antiquity, arboreal imagery has permeated art, literature, mythology, genealogy, religion, and science.

Trees are truly amazing beings, sustaining and nourishing all life around them.

In Treephonia 2020, composers explored the particular characteristics of various tree species. The specific trees of Kensington Gardens gave rise to unique soundworlds, textures, and forms, and invited composers to consider musical material in diverse ways.

For Treephonia: Live 2022, we wish to dig deeper and a pursue a greater discovery of the majesty of trees!

We are looking for composers with a passion for exploring the relationship between music, nature, and ecology. The theme of trees encompasses a multitude of disciplines and thought. As long as your work engages with trees or is inspired by an aspect of trees, we would love to hear from you.

We welcome all styles and genres, though pieces which take advantage of an outdoor/semi-outdoor performance environment will be particularly welcome.

We actively encourage applications from diverse, underrepresented, and/or marginalised backgrounds.

Previous Treephonia composers are eligible and welcome to apply.

 

Selection panel

Jonathan Cole — Composer, Head of Composition at the Royal College of Music

David Elliot — Chief Executive at Trees for Cities

 

Instrumentation

You may choose to write for a maximum of 8 instruments (min 3)
• Flute
• Oboe
• Bb Clarinet
• Bassoon
• Saxophone (Either Soprano/Alto/Tenor)
• Horn
• 2 Violins
• Viola
• Cello
• Double Bass

You do not have to use all the available forces. We encourage unique configurations of the ensemble that suits your proposal.

 

Duration

The piece should be between 4-8 minutes.

Scores will be required in order to communicate ideas to the musicians. However this does not need to be traditionally notated (i.e. we welcome graphic scores, free notation).

 

The award

•  Each composer receives a £500 commission fee.
•  The composition will be performed by the professional Treephonia Ensemble.
•  The composition will be professionally recorded and filmed live on site.
•  The composer will be featured on the Treephonia website.
•  The music will be published on the Treephonia website.

 

Licensing the work and moral rights

If the composer is selected to write a new work, the composer grants to Treephonia a non-exclusive, worldwide, royalty-free, irrevocable, perpetual licence to reproduce the work.

Treephonia will acknowledge the composer whenever rearranging or publishing the work or communicating the work to the public.

 

Key dates

Applications open: 5 May 2022
Deadline for applications: 26 May 2022 (12.00pm)
Composers announced: 9 June 2022
Compositions due: 29 August 2022

 

Download a PDF print-out of this page.

 

We are looking forward to hearing your work!

Treephonia: Live 2022 is generously supported by the Genesis Foundation and RCM Accelerate.

Application and selection process in line with Sound and Music Fair Access Principles.

Prize summary: 
£500 commission fee.
Prizes Details: 

•  Each composer receives a £500 commission fee.
•  The composition will be performed by the professional Treephonia Ensemble.
•  The composition will be professionally recorded and filmed live on site.
•  The composer will be featured on the Treephonia website.
•  The music will be published on the Treephonia website.

Deadline: 
26/May/2022

Entry Fee:

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Creative Work with Tuning with Tashi Wada

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Workshop dates: 21/09/2022 - 26/09/2022

CAMP is a residential arts facility in the French Pyrenees. It's a place where great art is made, new movements are formed, new ideas are explored and groundbreaking people are nurtured. CAMP is located in Aulus les Bains, the last village before the France/Spain Pyrenean frontier chain. The location is spectacular - we are nestled at 750m above sea level, surrounded by snowcapped peaks over 3000m high, ancient forests and cascading waterfalls. There are eagles, lammergeiers, vultures, ibex and bears. Walk out of the residency, and within ten minutes you are completely alone in one of the most beautiful mountain landscapes in Europe. Aulus les Bains is also a spa village - there are hot water springs, and a thermal spa in the village to take advantage of the healing and relaxing properties of the water.

The use of alternative tunings in music offers rich, often overlooked, worlds of harmony and ways into sound. Venturing beyond twelve-tone equal temperament allows us to explore new sounds and rehear familiar ones. In this workshop, we will survey a range of alternative tunings found in the work of composers of the last century, as well as historical tuning systems from cultures throughout the world, with attention given to how these systems have developed in relation to the musics they inform. Attendees will be encouraged to find and develop personal approaches to tuning to jumpstart new processes and work, to integrate into already existing practices, and simply to broaden their ears and awareness. Working in the classroom, in CAMP's various facilities, and outside in the mountain landscape, we will listen to, read, and discuss a selection of relevant source materials while focusing on the development of individual and group projects to explore and share ideas.

Subjects will include: just intonation (La Monte Young, James Tenney, among others); historical tunings and temperaments (Pythagorean tuning; meantone, well, and equal temperaments); non-Western tuning systems; phenomena-based approaches (Alvin Lucier, Pauline Oliveros, Éliane Radigue, Giacinto Scelsi, Iannis Xenakis, among others); instruments (acoustic and electronic) and instrument and scale building (Harry Partch, Erv Wilson); and contemporary work with guest speakers from across the field. No prior knowledge of the subject is necessary; however, the ability to read music and a basic understanding of functional harmony is helpful. 

Tashi Wada is a composer and performer based in Los Angeles. Wada studied composition at CalArts with James Tenney and for many years performed alongside his father, Yoshi Wada. He has presented his music internationally and collaborated with a range of artists including Charles Curtis, Simone Forti, and Julia Holter. Wada founded and runs the label Saltern. His most recent album Nue was released by RVNG Intl.

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Sonic Conversations: Creative Clarity And Alternatives For Music Composition with Matana Roberts

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This is an online workshop over 5 days.

Workshop dates: 07/02/2022 - 07/02/2022

Matana Roberts has been called "a major talent" (The Wire) and "the spokeswoman for a new, politically conscious and refractory Jazz scene" (Jazzthetik). Their Coin Coin work has been widely and highly praised for its stylistic innovations and narrative power. A self-taught mixed media composer, the Chicago-born composer earned two degrees in performance from a smattering of American institutions but received their primary training from free arts programs in the American Public School System.

Matana is a past member of the Black Rock Coalition (BRC) and The Association for the Advancement of Creative Musicians (AACM). They have been a Van Lier Fellow, a Brecht Forum Fellow, a Copeland Fellow, a Jerome fellow, an ICASP fellow, an FCA awardee, and an Alpert Award In The Arts winner; they're also a recipient of the Doris Duke Impact Award and the Doris Duke Artist Award.

Matana was resident at the Whitney in 2015, and exhibited in 2018 at the Fridman Gallery (NYC) and Bergen Kunsthall. In 2015 she collaborated with the filmmaker Laura Hanna on a film short entitled CODE: Stop & Frisk - this work developed into a series of events throughout 2016 supporting the families of victims of police brutality. This path developed further into her 2017 mixed media work "breathe", for a 32 piece chorus. 

Matana has played with and alongside Rob Mazurek, David Berhman, Pauline Oliveros, Anthony Braxton, Merce Cunningham, Godspeed You! Black Emperor, TV On The Radio, Savath & Savalas, Thee Silver Mt. Zion, Deerhoof and others.

These sessions will revolve around the tools that composer, sound artist and saxophonist Matana finds useful when exploring and creating alternative types of music composition. Self care, outside-the-box thinking, and community will mark the cornerstones of the week. Through this process, by the end of the 5 sessions we will collectively create an alternative group composition that each participant can then experiment with further in their own sonic community.

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Experimental Composition & Performance with Eli Keszler

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CAMP is a residential arts facility in the French Pyrenees. It's a place where great art is made, new movements are formed, new ideas are explored and groundbreaking people are nurtured. CAMP is located in Aulus les Bains, the last village before the France/Spain Pyrenean frontier chain. The location is spectacular - we are nestled at 750m above sea level, surrounded by snowcapped peaks over 3000m high, ancient forests and cascading waterfalls. There are eagles, lammergeiers, vultures, ibex and bears. Walk out of the residency, and within ten minutes you are completely alone in one of the most beautiful mountain landscapes in Europe. Aulus les Bains is also a spa village - there are hot water springs, and a thermal spa in the village to take advantage of the healing and relaxing properties of the water.
    
Workshop dates: 01/03/2021 - 03/05/2021
    
Eli Keszler is a New York based artist, composer and percussionist. His installations, music and visual work have appeared at Lincoln Center, MIT List Center, Victoria & Albert Museum, Sculpture Center, South London Gallery, Hessel Museum, Tectonics Festival Reykjavik, MoMa PS1 and many other locations, and he has collaborated with artists such as Tony Conrad, Oren Ambarchi, Keith Fullerton Whitman, Aki Onda and Rashad Becker. His recordings, most recently the acclaimed "Last Signs of Speed", have been released on Empty Editions, Esp-Disk, Pan and REL records, and he has received commissions from the Icelandic Symphony Orchestra, ICE Ensemble, Brooklyn String Orchestra and So Percussion. Eli's work is regularly featured in Frieze, The New York Times and Wire Magazine amongst other publications, and he has taught  at Brooklyn College, Columbia University, New England Conservatory, Dartmouth University, Washington University, Mass Art and UMass Boston.

The space between composition and performance has never been more blurred. Working directly with environments, their modifications, and the situations which these environments produce allows music to take open forms where spaces, both concrete and social, form experience. 

During this course, you'll work directly with the physical spaces where you are to consider ways of structuring and thinking about music, and various ways of producing. Working with site-specificity in both physical and cultural spaces, Eli will take music as a launching point for work that could take any form or medium. Work will be encouraged which takes into account nature and environments, and the way they interact with culture and technology.

Activities will include:

Exploration of compositional and performance ideas, examining texts, critical listening, and discussionExamining the role and effect of technology on musical processSite-specific work, taking advantage of your location to produce work informed by the environment

The course will focus on the development of a project into a fully formed on-site work, through a combination of discussion and presentation, working together as a group and individually.

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North Indian Raga with Terry Riley

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CAMP is a residential arts facility in the French Pyrenees. It's a place where great art is made, new movements are formed, new ideas are explored and groundbreaking people are nurtured. CAMP is located in Aulus les Bains, the last village before the France/Spain Pyrenean frontier chain. The location is spectacular - we are nestled at 750m above sea level, surrounded by snowcapped peaks over 3000m high, ancient forests and cascading waterfalls. There are eagles, lammergeiers, vultures, ibex and bears. Walk out of the residency, and within ten minutes you are completely alone in one of the most beautiful mountain landscapes in Europe. Aulus les Bains is also a spa village - there are hot water springs, and a thermal spa in the village to take advantage of the healing and relaxing properties of the water.
    
Workshop dates: TBC for Summer 2021
    
This workshop will be based around non-academic, practical sessions in singing North Indian Raga. There will be instruction in voice culturing and in training the ear to hear specific microtones inherent in the Raga melodies. We will progress from singing and tuning up long tones to learning melodic fragments that compose the raga melodies, and then on to learning traditional "bandesh's" or traditional compositions. All of this progress will be made by learning to copy phrases taught by ear.

We'll examine raga structure and how a raga develops through the progressive series of sections - "alap", "vilambit", "drut". Various talas - rhythm cycles that frame the ragas - will be explained and practiced. We'll examine how improvisation works in Indian music, and a method of how to improvise in these raga melodies will be given. As a composer, Terry will discuss and demonstrate how he has incorporated raga into his compositional activities.

The workshop is open to all levels of ability - all are welcome who have a passion to use their voice as an expressive musical instrument.

Composer and performer Terry Riley is one of the founders - arguably the founder - of musical minimalism. His early works, notably In C (1964), pioneered a form in Western music based on structured interlocking repetitive patterns. The influence of Terry's hypnotic, multi-layered, polymetric, brightly orchestrated Eastern-flavored improvisations and compositions is heard across the span of contemporary and popular music.

Born in California, Terry studied at San Francisco State University, and the San Francisco Conservatory before earning an MA in composition at the UC Berkeley, studying with Seymour Shifrin and Robert Erickson. At UC Berkeley, he met La Monte Young; together they worked with the dancer Anna Halprin. During a sojourn to Europe 1962-64, he collaborated with members of the Fluxus group, playwright Ken Dewey, and trumpeter Chet Baker, and was involved in street theater and happenings. In 1965 he moved to New York and joined La Monte Young’s "Theater of Eternal Music." 1967 was the year of his first all-night concert at the Philadelphia College of Art and he began a collaboration with visual artist Robert Benson. An influential teacher was Pandit Pran Nath, a master of Indian classical voice; Terry appeared in concert with him as tampura, tabla and vocal accompanist for over 25 years. Terry continues to perform in concerts of his music and of Indian classical music, as well as conducting raga-singing seminars. He also appears in concerts with Indian sitarist Krishna Bhatt, saxophonist George Brooks, guitarist Gyan Riley and with virtuoso Italian bassist, Stefano Scodanibbio.

Terry joined the Mills College faculty in 1971. There he met David Harrington of the Kronos Quartet. Their long association led to 13 string quartets, the concerto The Sands (1990), the multimedia choral work commissioned by NASA, Sun Rings (2003), and The Cusp of Magic (2004) with pipa. The Kronos recording of his epic five-quartet cycle, Salome Dances for Peace was selected as the Classical album of the year by "USA Today" and was nominated for a Grammy.

The Palmian Chord Ryddle, a concerto, was premiered in May 2012 by electric violinist Tracy Silverman and The Nashville Symphony led by conductor Giancarlo Guerrero. A subsequent performance occurred at Carnegie Hall. Recent works include Transylvanian Horn Courtship (2008) for string quartet doubling on Stroh instruments, Universal Bridge (2008) for pipe organ, the violin concerto Zephir (2009), and SwarAmant (2012) for violin, guitar, and tabla.

Past commissions include: the orchestral Jade Palace (1991) for Carnegie Hall’s centennial celebration, premiered there by the Saint Louis Symphony and Leonard Slatkin; June Buddhas (1991) for chorus and orchestra, based on Jack Kerouac's "Mexico City Blues," commissioned by the Koussevitsky Foundation; the chamber vocal work What the River Said (1997) by the Norwich Festival; the piano piece in just intonation The Dream (1999) by the Kanagawa Foundation; the concerto for piano and electro-acoustic band Banana Humberto 2000 (2000) commissioned by Musical Traditions, Inc., the Krannert Center for the Performing Arts, and Emory University, and premiered and toured by Terry with the Paul Dresher Ensemble; Bruce’s Traveling Machine (2005) for cello and tape, commissioned by the artist Bruce Connor; The Heaven Ladder, Book 6 (Night Music) (2006) for piano 4-hands, commissioned by Sarah Cahill and premiered by Sarah Cahill and Joseph Kubera; Loops for Ancient-Giant-Nude-Hairy Warriors Racing Down the Slopes of Battle (2006) for the Crash Ensemble; the triple concerto SolTierraLuna (2007), co-commissioned by the Chamber Orchestra of Philadelphia and the New Century Chamber Orchestra of San Francisco.

Deadline: 
17/August/2020
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