Sound Studies Lecture am 18. Januar 2010
In much of the experimental music being created today notation has turned to a use of written language in which the score can be said to contain not simply a description of sounds to be performed, but rather, a prompt to action, an invitation or proposal for the performance or observation of sounds, the execution of actions, the realization of situations, thoughts, or the condition of non-action. Contextualized by the music and writings of American composer John Cage, and in light of technological shifts introduced by the ability to record sound, I look at several contemporary works of experimental music which use language as their primary means of notation.
G. DOUGLAS BARRETT is a composer, performer, and writer. His work has been presented in festivals, galleries, concert halls, academic conferences, and street performance events throughout North America and Europe. Performers of his music and performance works have included The S.E.M. Ensemble, The Flux Quartet, Philip Thomas, Kerstin Fuchs, Ensemble SurPlus, Johnny Chang, Christine Tavolacci, Francesco Gagliardi, Adam Overton, Joseph Kudirka, and Mark So. He has participated in festivals such as the Huddersfield Contemporary Music Festival (UK), Ostrava Days (Czech Republic), Wandelweiser Festspiel (Düsseldorf), Visiones Sonoras (Mexico City), June in Buffalo, and the CEAIT Festival (Los Angeles); and has appeared at venues such as the Ontological-Hysteric Theater (New York), Listen/Space (New York), the Wulf (Los Angeles), Theater Perdu (Amsterdam), Miss Micks (Berlin), the Sonic Arts Research Centre (Belfast, UK).