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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: 
08/17/2020
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London Symphony Orchestra seeks six composers to write/curate new chamber work through LSO Soundhub & LSO Jerwood Composer+

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Could you be one of the next composers to work with LSO Discovery? Applications are now open for up to six emerging composers to join two of our composer programmes: LSO Jerwood Composer+ and LSO Soundhub. Find out more about how the programmes can help you and how to apply before the deadline of Monday 1 July.

LSO Jerwood Composer+ 2019/20

The London Symphony Orchestra is pleased to recruit two composers for the LSO Jerwood Composer+ scheme's third year.

LSO Jerwood Composer+ supports composers in programming, planning and delivering two chamber-scale concerts in Jerwood Hall, LSO St Luke’s including work of their own developed through the programme. Composers will gain entrepreneurial skills around programming for specific audiences, planning and organising events, marketing and budgeting, gaining knowledge and practical experience in how to establish and promote themselves professionally.

Guidance and expertise will be provided by LSO staff and an external mentor. Composers will also access compositional workshops and masterclasses with other composers and LSO musicians, supporting the development of their own musical practice.

Two composers will be accepted onto the LSO Jerwood Composer+ scheme, which will run from September 2019 for up to 16 months. Applications are welcome from outstanding emerging composers from any musical background who would like to gain skills to support their professional development, work with world-class orchestral musicians and contribute to the concert programme and its developing audiences at LSO St Luke’s. Applicants may not be in full time formal education or training due to the time required.

We are particularly interested in applications from underrepresented groups. Further information and application details are available on the LSO Jerwood Composer+ webpage.

LSO Jerwood Composer+ is generously supported by Jerwood Arts

 

LSO Soundhub 2019/20

Applications are open for the flagship LSO Soundhub composer programme, now in its eighth year, thanks to generous funding from long-time London Symphony Orchestra supporter, Susie Thomson.

We will be recruiting four composer members to LSO Soundhub, our composer-led resource, which responds directly to the needs of those using it. Based at LSO St Luke’s, LSO Soundhub provides a flexible environment for composers to develop and showcase new work through exploration, collaboration and experimentation; and access to vital resources, state-of-the-art equipment and professional support.

We will offer up to four new members the opportunity to undertake projects with LSO musicians or independently, with membership for one year from September 2019, initially. LSO Soundhub is open to UK-based composers who create music using any medium. Composers must demonstrate an active interest in, and some experience of, working with classical musicians.

We are particularly interested in applications from underrepresented groups. Further information and application details are available on the LSO Soundhub webpage.

LSO Soundhub is generously supported by Susie Thomson

Deadline: 
07/01/2019
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Modern Composition with Gavin Bryars

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Check out the report on Gavin's 2018 session here.Gavin Bryars is without a doubt one of the world's most celebrated living composers. He emerged to the musical establishment in the early sixties, playing bass with improvisers Derek Bailey and Tony Oxley - his relationship with improvisation was short lived, and by the late 60's he was working with John Cage, Cornelius Cardew and John White. His first major works - The Sinking of the Titanic (1969), originally released on Brian Eno's Obscure label in 1975, and Jesus' Blood Never Failed Me Yet (1971) - were released in new versions in the 1990s, selling over a quarter of a million copies.

Opera and ballet have formed important strands in Gavin's practice - he has written four full-length operas, working with the BBC Scottish Symphony Orchestra, English National Opera, Mainz Opera, Long Beach Opera and the Opera de Paris, alongside such renowned directors as Robert Wilson, Georges Delnon and Jean Lacorrnerie. Hi has worked with Opera North Projects and the Royal Shakespeare Company since 2006, and his collaboration with Merce Cunningham, Biped, toured worldwide with the Cunningham Company.

Elsewhere in Gavin's extensive catalogue of works can be found vocal works written for The Hilliard Ensemble, and commissions for Bournemouth Sinfonietta, BBC Symphony Orchestra, Primavera Chamber Orchestra and London Sinfonietta. His background in the visual arts has resulted in works for the opening of the Tate Gallery in Liverpool, an installation in the Chateau d'Oiron, commissioned by the French Ministry of Culture, a work for the Tate Gallery St Ives, and a project for the Valencia Architecture Biennale. This visual arts affinity has also led to highly successful collaborations with David Byrne, Bruce MacLean, Bill Culbert, Juan Munoz, Christian Boltanski, Will Alsop and others.

This course will take Gavin's work as a starting point to examine compositional forms and strategies, working closely with the group's existing practice and methods, with the aim of each student developing a finished work for performance at the end of the session. Students from all musical backgrounds are welcome, whether classically trained, improvisors, sound artists, installation artists, conceptual artists or favouring any other approach. The session will include:

Individual tuition sessions, examining and developing each student's existing work and practiceGroup sessions examining different types of musical material, including vocal music (both solo and ensemble), string music, opera, music for dance, composing in relation to music from the past, and arranging the music of othersEvening events showing Gavin's work in opera and filmDevelopment of each student's work for final performance by the group at the end of the course

The sessions will be accompanied by optional outdoors activities led by CAMP crew, including guided mountaineering, visits to local beauty points, and downtime to hang out, relax, enjoy the local food and wine, and learn informally from Gavin, the CAMP crew, and your fellow students. Following the course, further support of the work developed will come in the form of performance and releasing opportunities via Fuse Art Space and our range of in-house record labels.

Deadline: 
05/15/2019
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Marx.Music

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On the bicentenary of his birth, Birmingham Contemporary Music Group invites contributions to commemorate Marx’s legacy through music: choose a quote from Marx’s writings to set to music, capture some essence, reflect on his life and work, their consequences, or their future development. Please visit bcmg.org.uk/wilde-lieder for full details.

Deadline: 
06/29/2018
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