A few upcoming performances on the docket:
The London Contemporary Music Festival features performances of What then renders these forces visible is a strange smile (2007-08) and songs only as sad as their listener (2006), 2 August, 7.30pm, in performances by Peter Yarde Martin (trumpet) and David Roode (trombone). On 7 September, Jeffrey Gavett performs I, purples, spat blood, laugh of beautiful lips (2006) at the Resonant Bodies Festival in Brooklyn.
This summer also sees the publication of two articles on my recent work with multi-coloured tablature notation in Second String Quartet (2010) and A painter of figures in rooms (2012). “The String Quartet as laboratory and playground for experimentation and tradition (or, opening out/closing in)” will appear in Contemporary Music Review, and “Constraint Schemata, Multi-axis Movement Modeling, and Unified, Multi-parametric Notation for Strings and Voices” will appear in Search Journal for New Music and Culture. Additionally, the latest in Bärenreiter’s series of contemporary instrument technique books, The Techniques of Violin Playing / Die Spieltechnik der Violine, by Irvine Arditti and Robert HP Platz, which includes discussions of The Crutch of Memory (2004) and Second String Quartet (2010), will be available soon.
The big focus this summer has been the final preparations for the book Noise In And As Music, which I am co-editing with my Huddersfield colleague Aaron Einbond, for which I have also contributed a chapter, “Noise and the Voice: exploring the thresholds of vocal transgression.” The book brings together contributions from composers, performers, artists and scholars from a wide range of musical communities and practices–including chapters on noise music analysis, noise and digital (un)creativity, the work of the pianist Andrea Neumann, the noise of rumour, and ‘Un-sounding music’–and includes an illuminating series of ‘mini-interviews’ with musicians including Ben Thigpen, George Lewis, Lasse Marhaug, Kasper Toeplitz, and Franck Bedrossian, among others. It will be published by Huddersfield University Press and will be released in the early autumn in conjunction with the Noise in/and/as Music Symposium at CeReNeM, 4-6 October.