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		<title>The Pew Center for Arts &amp; Heritage : Blog</title>
		<link>http://www.pcah.us/blog/</link>
		<dc:language>en</dc:language>
		<dc:date>2014-01-17T17:30:06+00:00</dc:date>
		
		
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			<title>Unsettling the Score: Experiments in Notation, Part II</title>
			<link>http://www.pcah.us/blog/entry/unsettling-the-score-experiments-in-notation-part-ii/</link>
			<description><![CDATA[by David Gutkin Editor&rsquo;s Note: The following text aligns with the Center&rsquo;s interest in and investigation of the concept of "restaging"&mdash;applied here to mean the variable re-performances encouraged by certain forms of musical notation.&nbsp;Click here for part I of Gutkin&rsquo;s piece. Example 8: Page 134 from Cornelius Cardew&#39;s Treatise, 1963&ndash;67. At The Pew Center for Arts &amp; Heritage, in fall 2012, in front of a roomful of Philadelphia musicians, Eve Essex and I ran through the discussion of notation I described in part I. Afterwards, Eve led a workshop in which we performed Cornelius Cardew&rsquo;s mammoth graphic score, Treatise (1963&ndash;67). As a kind of warm-up, we chose Robert Ashley&rsquo;s 1967 score She Was a Visitor to perform with the participants. Ashley (b. 1930), onetime member of the ONCE Group and the Sonic Arts Union, is, in my mind, the greatest innovator in the field of avant-garde opera working in the...]]></description>
			<dc:date>2013-10-17T12:56:45+00:00</dc:date>
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			<title>Unsettling the Score: Experiments in Notation, Part I</title>
			<link>http://www.pcah.us/blog/entry/unsettling-the-score-experiments-in-notation-part-i/</link>
			<description><![CDATA[by David Gutkin Editor&#39;s Note: The following text aligns with the Center&rsquo;s interest in and investigation of the concept of "restaging"&mdash;applied here to mean the variable re-performances encouraged by certain forms of musical notation.&nbsp;Click here for part II of Gutkin&rsquo;s piece. Example 1: 12th-century Beneventan staff. I once led a lecture-workshop with artist Eve Essex titled, "Experimental Musical Notations." I didn&rsquo;t really like that title. It implicitly suggested the existence of some kind of stable, "conventional" notation against which "experimental notation" could be cast. While it is true that a form of five-line musical staff notation, still in use today, became increasingly standardized over the last few hundred years and widespread in the West (and beyond), this form is the result of a long history of modification, and it has never been truly static. So for our second lecture-workshop, at The Pew Center for Arts &amp; Heritage, Eve and I...]]></description>
			<dc:date>2013-09-19T16:51:04+00:00</dc:date>
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			<title>The Many Arms of Group Sound</title>
			<link>http://www.pcah.us/blog/entry/the-many-arms-of-group-sound/</link>
			<description><![CDATA[Music groups form for a variety of reasons but the group&rsquo;s sound grows out of an agreement, explicit or tacit, among the members about a collective musical strategy or direction, and an acceptable musical outcome. The ensemble evaluates the group sound by asking itself, "How far from or close to the decided mark does the music fall?" The Philadelphia experimental trio Many Arms has a cohesive sound that combines a diverse range of musical styles. When I heard the band perform at AUX recently with the Tokyo-based experimental musician Toshimaru Nakamura, I was surprised that the primary voice of the trio remained intact, even with the addition of someone with a very specific musical language. Many Arms still sounded like Many Arms. For the fan or determined listener, pulling apart the threads of the collective unit helps to understand what makes the group&rsquo;s sound unique, but it is often no...]]></description>
			<dc:date>2013-07-25T17:47:04+00:00</dc:date>
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			<title>Changing Expectations: An Interview with Andrea Clearfield</title>
			<link>http://www.pcah.us/blog/entry/changing-expectations-an-interview-with-andrea-clearfield1/</link>
			<description><![CDATA[This spring, on the occasion of the Center&rsquo;s &ldquo;New Spaces/New Formats&rdquo; work group, Music Director Bill Adair sat down with Andrea Clearfield&mdash;a working musician, composer, curator, and member of the group&mdash;to discuss how making and listening to music is changing. On the topic of changing curatorial models, Clearfield, who has been holding monthly performances in her loft for the past 27 years, had this to say: This is a multisensory world now. People really respond to diverse programs. They may have come to experience something that they are familiar with and they are hearing and seeing things that are new and I think that that is part of our culture: We are craving the new. Listen here to an excerpt of Adair and Clearfield&rsquo;s conversation: Stay tuned for more details about the &ldquo;New Spaces/New Formats&rdquo; pilot project at Christ Church/Neighborhood House in Philadelphia during the last week of September 2013.&nbsp;...]]></description>
			<dc:date>2013-06-19T12:20:41+00:00</dc:date>
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			<title>Talking with Data Garden: Co&#45;composing with Plants</title>
			<link>http://www.pcah.us/blog/entry/talking-with-data-garden-co-composing-with-plants/</link>
			<description><![CDATA[Data Garden received a research grant in 2012 from The Pew Center for Arts &amp; Heritage to explore relationships among music, plants, and technology. Co-founders Alex Tyson and Joe Patitucci answered some of our questions about co-composing with plants. What is Data Garden? Joe Patitucci: Data Garden is an arts organization and record label making advances in digital music technology and distribution. We encourage the discovery of new electronic music by examining its history, as well as advances in science that made electronic music possible, and by creating spaces (physical and digital) where the electronic music community can engage in dialogue. What fuels your thinking about music and composition, particularly as it relates to your collaborations with plants? Alex Tyson: In 2003, I discovered an album of plant-generated music by media artist Mileece Petre, titled Formations. The artist on that record used custom interfaces to interpret signals that were amplified...]]></description>
			<dc:date>2013-06-10T13:47:02+00:00</dc:date>
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			<title>The Crossing: Preconcert Program for &#8220;The Gulf (between you and me)&#8221;</title>
			<link>http://www.pcah.us/blog/entry/the-crossing-preconcert-program-for-the-gulf-between-you-and-me/</link>
			<description><![CDATA[Donald Nally, conductor of Philadelphia professional chamber choir The Crossing, discusses how the disastrous Deepwater Horizon oil spill in the Gulf of Mexico moved him to commission works by three very diverse composers: &ldquo;I began to think that it could be a very beautiful thing to commission works that essentially used human relationships as a metaphor for our relationship with the Earth. Human beings that are in relationships soon lose their ability to listen to each other [&hellip;] I feel that is the relationship we have with the Earth: It keeps telling us all these very obvious things and we&rsquo;re not listening to it.&rdquo; This commissioned project, The Gulf (between you and me), includes choral compositions by experimental Philadelphia-based composer Gene Coleman that draw on Japanese influences, improvisation, and extended techniques; a new work by Santa Fe composer Chris Jonas with accompanying graphics created by Philadelphia visual artist Dan Cole,...]]></description>
			<dc:date>2013-06-03T12:08:42+00:00</dc:date>
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			<title>American Impresario: Claire Chase</title>
			<link>http://www.pcah.us/blog/entry/american-impresario-claire-chase/</link>
			<description><![CDATA[The Pew Center for Arts &amp; Heritage is pleased to present a series of articles under the banner American Impresario. The series explores the careers and contributions of leading U.S. music curators whose creative work has profoundly influenced the field by giving listeners new ways to experience and understand music. The fifth and final article in the American Impresario series features Claire Chase,&nbsp;flutist and founding director of the International Contemporary Ensemble (ICE). ICE has been described by the New York Times as &ldquo;one of the most adventurous and accomplished groups in new music.&rdquo; The ensemble includes approximately 30 conservatory-trained musicians, including Chase, devoted to advancing new music and playing an expansive repertoire and range of styles. As artistic director of ICE, Chase has overseen the premieres of more than 650 new works since 2001, as well as 10 album releases and a thriving education program for public school children. In...]]></description>
			<dc:date>2013-04-04T13:50:13+00:00</dc:date>
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			<title>Crossroads: Preconcert Program for the 24 hour &#8220;Raga Samay Festival&#8221;</title>
			<link>http://www.pcah.us/blog/entry/crossroads-preconcert-program-for-the-24-hour-raga-samay-festival/</link>
			<description><![CDATA["It&#39;s not a marathon. Some people will come for the entire 24 hours...and some people will come and go... There are plenty of opportunities for rests and breaks," says Daniel Flaumenhaft, director of Crossroads Music. In this Preconcert piece, Flaumenhaft discusses the significance and logistics of the upcoming 24-hour Raga Samay Festival with host Rodney Whittenberg. On April 6 and 7, 2013, 10 soloists from India and the United States will perform 15 consecutive concerts, each improvised within a raga&mdash;a&nbsp;composed melodic and rhythmic system that serves as a framework for improvisation&mdash;traditionally reserved for that time of day or night. This gives audiences a unique opportunity to listen to music that was specifically composed for a certain time of day. The event will be the first 24-hour concert of Hindustani (North Indian) classical music to take place in the Western Hemisphere in decades. The festival will include vocal solo performances accompanied...]]></description>
			<dc:date>2013-04-01T18:54:55+00:00</dc:date>
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			<title>The Academy of Vocal Arts: Preconcert Program for &#8220;Don Quichotte&#8221;</title>
			<link>http://www.pcah.us/blog/entry/the-academy-of-vocal-arts-preconcert-program-for-don-quichotte/</link>
			<description><![CDATA["It&rsquo;s something really special and very difficult to do,&rdquo; says Tito Capobianco, the noted stage director behind the Academy of Vocal Arts&rsquo; (AVA) upcoming production of Jules Massenet&rsquo;s Don Quichotte. &ldquo;We are doing an opera to honor [&hellip;] the sublime man, Don Quichotte. [The] music is in response to the [&hellip;] individual and the desire to sing to another human being.&rdquo; &nbsp; This production of Don Quichotte is the first in AVA&rsquo;s storied history&mdash;a lyrical ode to the chivalrous idealist Don Quixote, in which Cervantes&rsquo; tale meets the music of Massenet, complete with windmills, Spanish serenades, and a profoundly poignant finale. Award&#8208;winning AVA resident artists will be joined by Turkish bass and alumnus Burak Bilgili (&#39;04), who will return to sing the title role. Listen as Preconcert host Rodney Whittenberg discusses the significance of this restaging with Capobianco and AVA Artistic Director Kevin McDowell. This installment of Preconcert is produced...]]></description>
			<dc:date>2013-03-02T19:54:51+00:00</dc:date>
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			<title>Opera Philadelphia: Preconcert Program for &#8220;Silent Night&#8221;</title>
			<link>http://www.pcah.us/blog/entry/opera-philadelphia-preconcert-program-for-silent-night/</link>
			<description><![CDATA[&ldquo;The main character is what interests me the most about [Silent Night] because he is an opera singer,&rdquo; says baritone William Burden. &ldquo;So although I&rsquo;m not playing myself in any way, this character is allowed to feel extreme emotions under really unique, challenging, remarkable circumstances, and that is very fulfilling for the actor in me.&rdquo; Silent Night, the Pulitzer Prize-winning opera from American composer Kevin Puts and librettist Mark Campbell, makes its East coast debut on February 8 at the Academy of Music, produced by Opera Philadelphia. Listen here as Preconcert host Rodney Whittenberg chats with several key contributors to the work, including Burden, Puts, Opera Philadelphia&rsquo;s David Devan, and soprano Kelly Kaduce. This installment of Preconcert is produced by The Pew Center for Arts &amp; Heritage&#39;s music program, to highlight current grantees. Silent Night has been supported by The Pew Center for Arts &amp; Heritage and runs in five...]]></description>
			<dc:date>2013-02-05T19:55:14+00:00</dc:date>
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