[NewMusic] dialog etc..

[Phillip Greenlief]

-----Original Message-----
On Behalf Of J. Segel
Sent: Sunday, July 22, 2007 12:47 AM
To: newmusic at music.mills.edu
Subject: [NewMusic] dialog etc..


in re: this
i had a really funny experience about two weeks ago playing at a new
venue in
447 25th st, essenially an artist's space that she had opened for some
shows
that anne hege was curating. so the audience were, uh.. older gallery
goers?
mostly, not entirely. but a guy played jazz-ish guitar solo on 7 string
before
me, then i played two computers, electric guitar and violin, a mic on
some
glasses with teeth and rocks in them (my normal stuff, in other words.
though i
could be really quiet in the space which was cool.) 
anyway, the audience listened intently to each piece, but in between
they
erupted in questions! so at least a quarter of the concert time was q&a.
it was
pretty cool actually, each section informed what i did next. for
example, some
people asked how i did what i did, then after explaining a bit about
sample
manipulation and granular synthesis, the next questions were about the
semantic
ramifications, i.e., how little of a phrase or note can you use while
still
retaining its information. then sets of questions about what choices i
allow
the computers to make. 
i uploaded it to archive.org wihtout the q&a in between, maybe that was
a
mistake...
http://www.archive.org/details/jsegel2007-07-12


PG:
Yeah, and I bet you were playing to what I imagine was largely a room of
non-musicians. At least that's the sound of it.  I don't always want to
hear a lot of talk either, so I think, although I'm contradicting myself
here a little bit (big surprise, right?), that you read your audience
and act accordingly. 

Tonight when I played at Maybeck I talked a little about meeting Lauren
Tietz (the dancer I collaborated with - man did she blow me away tonight
- she is one of the few dancers I've worked with who really gets it -
improvisation, that is - if you're ever in Austin, check her out - ask
her to collaborate if you're interested in that sort of thing -
laurentietz at gmail.com ) and Dottie Grossman (whose poems we were using).
I did that because I want people to know about Dottie - that's why I
chose her work - I want to "present" her along with her work. I didn't
really say anything about the music itself...or what we were
"doing"...yeah, sometimes it's totally obvious, why say anything?

Of course, if I was playing with shudder at 1510 and Ava and few other
friends were the only ones in the room, I wouldn't bother saying
anything...