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Tuesdays @MONK Space: Eyes Forward Featuring The Furies & Jordan Curcuruto
Tuesdays @MONK Space: Eyes Forward Featuring The Furies & Jordan Curcuruto
5/29/23, 2:00 AM
Monk Space
4414 W 2nd St, Los Angeles, CA 90004, USA

In its second installment of its Emerging Artist Series, T@MS presents violin duo The Furies (Maiani da Silva and Kate Outterbridge) and percussionist and composer Jordan Curcuruto. Featured pieces include new works by Nina Shekhar, Jordan Curcuruto, and Jennifer Bewerse.


Jordan Curcuruto, percussion

  • Kurt Schwitters: Ursonate (1932)
  • Jordan Curcuruto: Munus (2020)
  • Christopher Adler: Zaum Box (2016)
  • Jordan Curcuruto: You babble a lot... (2023)

The Furies violin duo

  • Eve Beglarian: Did He Promise You Tomorrow (2017)
  • Jennifer Bewerse: Bloom (2020)
  • Nina Shekhar: Dark Red Sky (2020)
  • Anna Clyne: The Violin (2009)
  • Dolly Parton: Wildflowers (1987)

Eureka! Musical Minds Conference

Registration is Closed
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Eureka! Musical Minds Conference
Eureka! Musical Minds Conference

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.


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