“Setting the standard of excellence for original live music for contemporary dance; and for not resting on her laurels but consistently raising the bar on her own achievements.”
“Adventurous and richly textured scores and musical environments in the works of such choreographers as DD Dorvillier, John Jasperse, Neil Greenberg, Jennifer Monson and others and for taking choreographer/composer collaborations to a new level of intimacy through her piercing aural insights.”
“For the roar of the crowd, the raw, rocking undertow and overflow of music and musicians ruthlessly closing in on the dance, in Jennifer Monson's Sender.”
Sound instigates, supports, ignores, relinquishes its position, wanders, cozies up to architecture, gesture, demonstration, emotion, articulation, language and meaning. DD's pieces, often in 3 parts, have demanded fluidity, imagination and risk, less is often more and its not necessarily sound and movement but some new hybrid creature. In this context, I have made soundtracks for films, built 25 speakers to hang low over the audience for a multi-channel installation in the dark, use antiquated drum machines and keyboards as well as recorded voices, bodies, crashing chairs, birds, violins, trombones and employed the use of convolution and time stretching. These scores are sometimes live and sometimes appear as pre-recorded tracks, and sometimes both.
When I first started working with Neil he had never used music or sound in any of his work. In Destiny Dance, there was a hint of wind and a few acoustic harp glissandos, practically an imagination of sound. For the first several years of our collaboration, most of the work I did for Neil involved creating re-mixes and manipulating pre-existing material. Neil has an acute awareness of the impact of a particularly well placed sound cue, as well as understanding the potency of silence. He uses sound as a lighting designer would use a ‘special’. A distinct sound event is placed in a particular moment, to create a desired special effect. In 2007 for Really Queer Dance With Harps, we decided to place 3 concert grand harps nearly center stage for a live score. We have continued to explore the use of live sound scores on stage with the dancers ever since.
Jennifer was my first movement collaborator in NYC. I have been deeply inspired by her ability to defy gravity in the most elegant and powerful ways from the first time I saw her danceWe made pieces together investigating the “dynamic interplay” between dance and sound in the mid- 80's and '90's. We are devoted to both improvisation and compositional/choreographic process. Most of the scores I made for Jennifer have been performed live with musicians sharing performance space with the dancers. In July 2011, in residence at The Art International Radio and Clocktower Gallery in NYC, we met for the first installment of a 3 year Film Project, in collaboration with videographer Ryutaro Mishima.
Movement and Sound with live scores. My scores for John feature the electric harp, extended techniques, metals, plastics, electronics and field recordings, in multi-channel diffusion.
The work I have done with Jennifer offered a platform to extend my role as composer, instrumentalist, and sound designer and reconsider or re-negotiate the position of sound in space, in relation to bodies in space. Although I have only worked on two pieces with Jennifer Lacey, they have had a profound impact on my ideas about movement and music. I began my explorations of sound as sculpture and music as gesture in connection to dance, in collaboration with Jenny.
In [voice tells]… I used 60 small speakers (w/no enclosures) scattered over the performance and audience space in a non-grid pattern, combined with live electric harp playing and a mix engineer just off the stage, responsible for moving sound around as if placing an object on one side of a table and then sliding it over to another, then above the table and then below it. This movement of sound material created a highly dynamic sonic space, allowing the listener to feel the gesture of moving sound.
In $ Shot, sitting behind a long table just to the side of a set bisected with fake wood paneling and a floor covered with large liquid filled plastic panels, I set about to manipulate organic and inorganic objects, which provides most of the sounds for the live score. I use an old sweepable wave generator, filters, delays, a ring modulator and a tambura. Most of the object sounds are close miced and heard without additional processing. The magic transformation occurs when these quiet sounds are activated through light touching, pressing, flapping, hitting, fluttering, rubbing, crunching, bunching up or scraping. The amplified manipulations are sent to 2 sets of stereo speakers. There is a sensuality to the sounds that is connected to the very gestures in which the sounds are produced. Here, as disengaged bodies of sound, they intimately mingle with the movements, gestures and images in the performance.
Olive Bieringa and Otto Ramstad
Investigations of science and nature in relation to body and movement provides a potent starting point for creating sound scores.
A generous collaborator, Emmanuelle and I often build our pieces long distance with visits back and forth between NYC and France. The score for Croisees was inspired by Beethoven's Grosse Fugue. For this piece, I wrote my first string quartet, which I eventually recorded for Tzadik as Persuasion; A piece for string quartet and live electronics. In Croisees the sound was processed live during the performance.
Amanda Miller and Tobin Rothlein
A score for voices, percussion, and strings re-imagining Stravinsky’s Pulcinella Suite. The score features: William Winant, Kristen Slipp and Gabrielle Herbst, Maggie Parkins and Jeff Gauthier.