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The Broadway Bomb: 200 skateboarders have a death wish on Saturday
Published on 10/10/08
Published on 10/9/08
Video
The Kitchen; Fri 14
For more than 4,000 years, composers have employed various modes of visual representation in order to control the manner in which their music is performed. Modern notation, developed by the 14th century, has long provided a universal language of notes, staffs and other symbols with which formal instructions could be conveyed. But roughly midway through the 20th century, some composers began to pursue more interactive relationships through the use of graphic scores: personal, idiosyncratic systems of shapes, colors and pictograms that offered suggestions instead of demands. “Between Thought and Sound: Graphic Notation in Contemporary Music,” an exhibition on view at the Kitchen through October 20, demonstrates that many such scores can easily double as works of visual art.
On Friday 14, Either/Or, a new-music collective led by composer Richard Carrick and percussionist David Shively, presents the first of three concerts related to the exhibition. The program features the opening three pages of Cornelius Cardew’s Treatise, a 193-page collection of symbols, numbers and patterns. Also included are seminal graphic works by Earle Brown, Morton Feldman and Christian Wolff, as well as an early, atypical piece by Robert Ashley.
The series continues on October 10, when Ne(x)tworks plays music by Cardew, Joan La Barbara, Wadada Leo Smith and Michael J. Schumacher. Violinist Jennifer Choi and cellist Alex Waterman, both featured in the Either/Or concert, return on October 20 to close the exhibition alongside composer Marina Rosenfeld.
