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Bang on a Can Marathon 30th anniversary

Bang on a Can Marathon 30th anniversary – Brooklyn Museum
Saturday, May 6, 2017 – 2:00pm – 10:00pm
Brooklyn Museum
Brooklyn, NY
30th Anniversary BANG ON A CAN MARATHON
Saturday, May 6, 2017 from 2-10pm
8 hours of Live Music!
200 Eastern Parkway, Brooklyn, NY
Admission: FREE with Museum admission
Suggested donation $16 before 5pm; free after 5pm courtesy of Target First Saturdays.
Bang on a Can comes to Brooklyn with its annual incomparable super-mix of boundary-busting music from around the corner and around the world! The 2017 Bang on a Can Marathon will feature 8 hours of rare performances by some of the most innovative musicians of our time side-by-side with some of today’s most pioneering young artists. Bang on a Can Marathon 30th anniversary weiterlesen

Alternate Takes New popular music book series

New popular music book series from Bloomsbury
Alternate Takes: Critical Responses to Popular Music is a series that aims to examine popular music from critical perspectives that challenge the
accepted ways of thinking about areas such as popular music history, popular music analysis, the music industry, and the popular music canon.
The series ultimately aims to have readers listen to – and think about – popular music in new ways.
The series is edited Matt Brennan and Simon Frith along with editorial board members Daphne Brooks, Susan Fast, Sarah Hill, Marcus O’Dair, Ann
Powers, Tracey Thorn, Oliver Wang, and Eric Weisbard.
The editors of Alternate Takes are currently seeking proposals from prospective authors for forthcoming books in the series. Alternate Takes New popular music book series weiterlesen

Journal of New Music Research Interactive Composition

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Journal of New Music Research Interactive Composition
Journal of New Music Research, Volume 46, Issue 1, March 2017

http://www.tandfonline.com/toc/nnmr20/46/1
Interactive Composition
Interactive Composition: New Steps in Computer Music Research
Jean Bresson & Joel Chadabe
Interaction has always been a factor of performance. Every musical instrument reacts to a performance gesture at an audio level in producing a sound—colored not only by the instrument itself but also by the space in which it is performed—with which the performer interacts. In recent years, we have noted a growing interest in interaction also on a compositional level, spurred to a certain extent by a general musical interest in free improvisation. From that perspective, the idea of composing at the same time as performing, ‘thinking on my feet’ as improvising musician Leroy Jenkins said many years ago, poses questions of what information a score might contain and to what extent it drives the performer. Journal of New Music Research Interactive Composition weiterlesen