The Tune In Festival
11/6/21, 2:00 AM
The return of The Tune In Festival will feature more than 30 artists and ensembles over four days, coming together to pay respect to the time-honored tradition of music and poetry as sources of resilience, protest and inspiration. Curated by performance poet J. Ivy and pianist Lisa Kaplan in close collaboration with CAP UCLA Creative Advisor Kristy Edmunds.
For the festival, Jennifer created a music flm for experimental violin duo The Furies. Confronting humanity's impact on the climate and our place in the universe, The Furies's piece for the Tune In Festival is a meditation on the arc of history, from the primal dawn of civilization to an uncertain future.
Day 2: Friday, November 5 at 7PM PT
Eighth Blackbird: Singing in the Dead of Night by Julia Wolfe
The Furies: Did He Promise You Tomorrow
Watch for FREE at https://cap.ucla.edu/calendar/details/tifday2
Time & Location
May 09, 2015, 9:00 AM – 8:00 PM
UCSC Music Center, UCSC Music center, Santa Cruz, CA 95064, USA
Eureka! is a one-day conference organized by music graduate students that will take place at the University of California, Santa Cruz on May 9, 2015. The conference aims to create an unprecedented environment to showcase the diverse work created in Californian graduate music institutions, and forge lasting connections between graduate scholars within the state. Eureka! will conclude with a keynote address and discussion by composer Sean Friar and a session with ensemble-in-residence, Amaranth String Quartet.
Jennifer Bewerse will present Liveness: Concert Music Outside the Economy of Repetition, a lecture recital at 10:30am in room 131.
The nineteenth and twentieth century redefined music as a musical object, emphasizing the score and situating performance as a repeatable object transparent to the score. The dominance of audio/video recordings in the music economy is a natural progression of this object-based value system and is further reflected in the current trend to document all live performances. But, reflexively translating live performance into a recorded medium privileges static structures and erases performing bodies. Helmut Lachenmann’s Pression and Tom Johnson’s Failing represent works resistant to this economy of repetition by engaging with indeterminacy and embodiment. Critically examining these characteristics is crucial to performance practice in order to maintain a diverse repertoire that enacts varied viewpoints through their appropriate mediums.
For more information, visit eurekagraduatemusicconference.sites.ucsc.edu