ROOTS AND RHIZOMES: Seventy-Five Years of Percussion Music
Saturday, February 24, UCSD Studio A
Aiyun Huang plays Sean Griffin's "Tension Study II: Eagle Claw Wu Tsiao Chen Wins" for percussion and video
Roots and Rhizomes is a conference – a gathering of percussionists, composers, teachers and researchers, who will meet February 21-24, 2007 at the University of California, San Diego to consider the unique questions that face percussionists as contemporary percussion music comes of age. It has been 75 years since the Big Bang of the percussive universe, Edgard Varèse’s seminal Ionisation. Since then traditions have emerged, varied aesthetic sensibilities have been deployed, and new populations of composers, players and listeners have been engaged.
Tension Study II: Eagle Claw Wu Tsiao Chen Wins
This is the second piece in a series of music and video works that look at the difference between fixed filmic time and live performance. The original concept was to re-edit or re-stage violence and panic scenes from films into musical rhythmic structures. I wanted to take tense moments and spin them into video loops that instrumentalists could perform with, playing the rhythm of the edits, pondering film's normalizing effects on depictions of violence. This lead to a tension of a different kind however. What emerged was a tension between the dramatic time of the video edits and the real-time expressive realities of the performer.
Amplifying this tension, and the difference between composing moving images and musical rhythmic structures, became the subject of this new work composed especially for Aiyun Huang. Based on clips from Master of the Flying Guillotine (1976), this work is a tribute to the choreography of Jimmy Wang Yu and to Aiyun Huang. In this pivotal kung fu film, a different kind of narrative unfolds based in the physicality of the actors and the foley artists who punctuate their strikes. There is an aggressive play between gesture and editing that tells its own story and this is the subject of Tension Study II.
Aiyun Huang plays Sean Griffin's "Tension Study II: Eagle Claw Wu Tsiao Chen Wins" for percussion and video
Roots and Rhizomes is a conference – a gathering of percussionists, composers, teachers and researchers, who will meet February 21-24, 2007 at the University of California, San Diego to consider the unique questions that face percussionists as contemporary percussion music comes of age. It has been 75 years since the Big Bang of the percussive universe, Edgard Varèse’s seminal Ionisation. Since then traditions have emerged, varied aesthetic sensibilities have been deployed, and new populations of composers, players and listeners have been engaged.
Tension Study II: Eagle Claw Wu Tsiao Chen Wins
This is the second piece in a series of music and video works that look at the difference between fixed filmic time and live performance. The original concept was to re-edit or re-stage violence and panic scenes from films into musical rhythmic structures. I wanted to take tense moments and spin them into video loops that instrumentalists could perform with, playing the rhythm of the edits, pondering film's normalizing effects on depictions of violence. This lead to a tension of a different kind however. What emerged was a tension between the dramatic time of the video edits and the real-time expressive realities of the performer.
Amplifying this tension, and the difference between composing moving images and musical rhythmic structures, became the subject of this new work composed especially for Aiyun Huang. Based on clips from Master of the Flying Guillotine (1976), this work is a tribute to the choreography of Jimmy Wang Yu and to Aiyun Huang. In this pivotal kung fu film, a different kind of narrative unfolds based in the physicality of the actors and the foley artists who punctuate their strikes. There is an aggressive play between gesture and editing that tells its own story and this is the subject of Tension Study II.
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