Vanessa Tomlinson and Toby Wren, Editors

Here and Now

Here and Now is a snapshot of the artistic process, taken from a particular time and place; musicians based in Brisbane, Australia in 2013-14.
It is not a singular story, but an entry point into the multiple ways we can approach the making of music. If we added 10 more authors, we would have 10 more approaches. What is in common here, is the dedication to sound and music as a way of interacting with the world – providing windows of deeply considered process, transformation, interaction, isolation and collaboration.
Also in common is a two-part process – making the music, then interpreting this process through words, highlighting the thinking behind the music. From performing the cadenzas in a Beethoven Piano Concerto to making jazz compositions based on Carnatic rhythmic structures, from a long-term investigation of prepared piano to building new listening environments, these are stories that reflect our place and time, here and now.
Vanessa Tomlinson describes The Listening Museum, “a 2-hour site-specific investigation of sound in a multi-layered participatory journey through space and time …”
Danielle Bentley, in Restrung: Sounds unbound, writes “Imagine a music festival as an immersive artwork,” as, she adds, “A creatively constructed exploration of musical terrains, multisensorial and liminal experiences …”
Stephen Emmerson shares his thoughts On devising new cadenzas for Beethoven’s Fourth Piano Concerto. He writes: “One returns to such a work not to repeat one’s interpretation but to deepen it … Writing new cadenzas for it was an integral part of this process.”

For the cadenza
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Erik Griswold, in Prepared to explore, writes “I’ve been searching out the music of the prepared piano, ‘sounding the instrument’ in cascading textural improvisations, trying to create music which is borne completely of the medium …”

Listen to the prepared piano
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Jessica Aszodi, in Vocal entanglements, tells us “I am a singer … For two months in 2013, I was a fellow of the Tanglewood Music Center in Massachusetts, USA, where I performed in a number of projects …”

Listen to Destination Moon
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Stephen Emmerson, on Re-imagining Bach’s Goldberg Variations, writes, “Though the project has been unfolding for several years, I expect it will continue to develop well into the future …”
Louise Denson, in Music at the end of my street, comes to realize that “The coalescence of time, space, contemplation and habit that I experience every time I go for a walk, creates the music in my life.”
Kim Cunio discusses Bearing witness and music composition. “Informed by this sensibility,” he points out, “bearing witness in music research is something that can be framed into two simple questions …”
Leah Barclay, in Sounding Zameen, writes that “Zameen is a Hindi word meaning ‘land’. It is a word that has become synonymous with the damming of the Narmada River in North India. To date over 30 million people have been internally displaced …”

Listen to Namada Prelude
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Toby Wren writes in Rich and Famous that the title “Rich and Famous is a composition, improvisation, and performance project that fuses elements of Carnatic music (South Indian classical) with contemporary jazz harmony and instrumentation.”

Listen to Rich and Famous
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