Category: Uncategorized


2016-11-21-train-platform-selfieA sound can evoke a time, a place, a cultural moment, or a worldview.  As someone who loves both the Western classical tradition and the world of pop culture, Alex Temple (b. 1983) has always felt uncomfortable with stylistic hierarchies and the idea of a pure musical language.  She prefers to look for points of connection between things that aren’t supposed to belong together, distorting and combining iconic sounds to create new meanings — often in service of surreal, cryptic, or fantastical stories.  She’s particularly interested in reclaiming socially disapproved-of (“cheesy”) sounds, playing with the boundary between funny and frightening, and investigating lost memories and secret histories.

Alex’s work has been performed by a variety of soloists and ensembles, including Mellissa Hughes, Timothy Andres, Mark Dancigers, the American Composers Orchestra, the Chicago Composers Orchestra, Spektral Quartet, Fifth House Ensemble, Cadillac Moon Ensemble, and Ensemble de Sade.  She has also performed her own works for voice and electronics in venues such as Roulette, Exapno, the Tank, Monkeytown, Galapagos Art Space, Gallery Cabaret, and Constellation.  As the keyboardist for the chamber-rock group The Sissy-Eared Mollycoddles, she’s performed at the South by Southwest Festival and at Chicago’s Green Mill Cocktail Lounge;  and with a·pe·ri·od·ic, an ensemble dedicated to the performance of indeterminate music in the tradition of John Cage, she’s made sounds using her voice, synthesizers and various household objects.

Alex got her BA from Yale University in 2005, where she studied with Kathryn Alexander, John Halle and Matthew Suttor, and released two albums of electronic music on a microlabel that she ran out of her dorm room.  In 2007 she completed her MA at University of Michigan, where she studied with Erik Santos and visiting professors Michael Colgrass, Tania León and Betsy Jolas, as well as collaborating with a troupe of dancers and playing in an indie bossa-nova band.  After she left Ann Arbor, she spent two years in New York, working as the program manager for the New York Youth Symphony’s Making Score program for young composers.  Now she’s pursuing a DMA at Northwestern University, where she’s studied with Hans Thomalla and Jay Alan Yim, and taught aural skills, theory, composition for non-majors, and private composition lessons.  She’s currently working on a podcast-opera called End, about TV production company logos and the end of the world.

Photo post!

What a gig! Amazing music, performances to die for, (we’re looking at you, percussion quartet) and the only big band where the lead trumpet was played on oboe.

As we ramp up for Homophonic! #6! Here’s a couple of photos from last years show to whet your appetite. All photos by BJ Hill.

HamishUpton_ANAM2015_photoPiaJohnson_143 (1).jpg

Hamish is working towards a Master of Music (Research) in partnership with ANAM and Griffith University. He is a founding member of the Bricolage Collective, an ensemble championing new Australian percussion repertoire, directed by Kaylie Melville.  Professional engagements for 2016 include freelance work with the Melbourne Symphony Orchestra, and Ensemble Offspring (Sydney).
Hamish holds a BMUS (Honours) from the Yong Siew Toh Conservatory of Music (Singapore). During this course he spent a semester on exchange at the Peabody Institute of the Johns Hopkins University, and 2 weeks in Bali immersed in Gamelan.

JohnWerekta.jpgJOHN WERETKA has appeared in festivals and concerts throughout Australia, New Zealand and the United Kingdom as a singer and player of the viola da gamba. As a singer, his performance credits include appearances in the Melbourne International Festival, the Autumn Music Festival/Melbourne International Festival of Organ and Harpsichord, the Organs of the Ballarat Goldfields Festival, the Four Winds Festival and the Castlemaine State Festival.
He has appeared with groups including e21, Ensemble Gombert, The Palestrina Project, The Choir of Newman College, The Consort of Melbourne and Gloriana. As a soloist, he has appeared in works as diverse as the Vespers of Monteverdi and Handel, several large-scale works of Marc-Antoine Charpentier including the Te Deum, Bach’s Mass, St Matthew Passion and St John Passion and many others.
He is a specialist in early music generally and in music of the medieval period in particular. John studied the viola da gamba under Ruth Wilkinson and Laura Vaughan and has participated in masterclasses led by Susie Napper and Margaret Little, Asako Morikawa, Brent Wissick, Julie Jeffrey and Joëlle Morton. He has been the Director of the Chapel Choir of Queen’s College at the University of Melbourne since 2013.

You are invited to the first performance of works created by Miranda Hill and Naima Fine while in residence at Lijiang Studio, as part of the Melbourne Fringe Festival.

Lashihai

Lashihai

 

Featuring work by Miranda Hill, Jennifer Torrence, Naima Fine.

Escape the bright city lights and come with us to the mountains of Yunnan. The white walls of Conduit Arts will be transformed into the mountains and memories of the Naxi people of Lashihai.

This new cross-media graphic score by Miranda Hill explores the melodies of family and natural histories; taking an ancient language and reinterpreting it through new musical expression.

FānYìShān translates the spoken languages of Lijiang into a musical language. It takes the natural melody of tonal languages and joyous inflection of storytelling, and sets them against the imposing mountainous horizon.

This work explores the intricacy of meaning, of what’s gained and lost in the act of translation, of languages not taught in schools and a culture fighting assimilation. It tells a story of lived history, of a changing landscape, and a grandparent’s love.

Performed by:

October 2nd:

Miranda Hill; Belinda Woods; Karen Heath; Matthew Horsely.

October 3rd:

Ben Opie; Lizzy Welsh; Deborah Kayser; Miranda Hill.

Tickets here, or at the door.

Lijiang Studio!

OLYMPUS DIGITAL CAMERA

Lashihai at dawn.

Miranda and Naima are currently living in Yunnan, China, as artists in residence at Lijiang Studio.

You can keep up to date with all their exploits and adventures here!

cookie

Katherine Norman is a Soprano with over 17 year’s ensemble experience, including four European Concert Tours, several recordings and numerous live concert broadcasts presented by ABC Classic FM.

An Early Sacred & Bach specialist whose repertoire also includes modern composition, Katherine is an accomplished Soloist & blended ensemble singer.
Career Highlights include Soprano Soloist for the much-loved and vocally demanding Allegri Miserere, Mozart’s Requiem, and the Pergolesi Stabat Mater, presenting the world Premiere of Hodgson Lamentations, and performing in three separate years of the annual Melbourne Festival. Notable collaborations have included performances with the Tallis Scholars, Warren Trevelyan-Jones, Steven Layton & Jeremy Summerly.

Katherine regularly performs in Melbourne, most frequently with the Consort of Melbourne (www.thecom.com.au)

Backstage passes

New music is always a very serious undertaking.

OLYMPUS DIGITAL CAMERA

Scott Dunsdon has previously sung with Newman College Choir, and was also the founding artistic director of the University of Melbourne Music Theatre Association (UMMTA). He’s also appeared on stage in various musicals and orchestras (as a bassoonist), and off stage as a theatre director.

Jenny Barnes (born Adelaide, Australia, 1981) is a vocalist, performer and video maker based in Melbourne. Barnes achieved a Masters Degree in Applied Linguistics and a Bachelor of Music in Jazz Performance and has studied under the tutelage of predominant vocalists in New York City, Lisboa, Berlin and Oslo. Barnes has travelled extensively throughout rural Australia, Western Europe and Scandinavia gathering fuel for her work into the musicality of language and she is currently undertaking formal study of AUSLAN. Jennyʼs work has featured alongside that of Meredith Monk (USA), Jaap Blonk (Netherlands), Fatima Miranda (Spain) and Amanda Stewart (Australia) among others, in ‘Vocal Folds’ an exhibition at Melbourneʼs prestigious Gertrude Contemporary.

Barnes examines and mimics field recordings of Arctic mammals and domestic pets to achieve an extensive and diverse vocal capacity. Barnes then studies the rhythmic cadences and pitch modulations of human languages and applies her findings to an improvisatory musical context.