An exploration into finding connections between non-musical subjects and music to deepen our sense of interpretation.

nahresol.com

Mike shares his approach and philosophy behind programming algorithmic “instruments” (in the open-source software SuperCollider) for use improvisationally, compositionally, and in installations.

mccrmck.com

Using kinetic objects items to uncover new musical expressions. Extracting sound from non-aural gestures, and animating the inanimate. Group improvisation using my in progress ""laser-interface"" to narrate and guide musical ideas.

davysumner.com

An exploration of the Creative Act via improvisation, based on the 22 Major Arcana of the Tarot of Marseille.

jacquesburtin.com

A workshop on a specific graphic notation language I have been developing over the last couple of years. The notation deals with aspects of sound/collaboration such as density, presence, and color, instead of more tradition western elements like rhythm and pitch. I'll bring a set of scores and teach the notation to everyone, then we can play them together!

sarahbellereid.com

A workshop sharing techniques and thoughts on how to compose music that supports the story of the lyrics, whether concurrently composing lyrics or setting an existing text. Various topics will be covered, including where to start, how to deduce what is important to preserve from the mood of an existing text, when to support the lyrics musically and when to let the music contrast with the message, and how to take ideas from works we already love. This workshop will not hold specific to any one genre, but explore what we can learn from anything we love.

marikagalea.com

Using bells in music does not seem to be a new idea as it has a long history from Medieval times to present, not to mention their application in different cultures from ancient times, and the entire repertoire of superstitions and spiritual beliefs about them. In my project, however, I am working with imperfect bells: cowbells, sheep bells, rustic bells, etc. It is their imperfection which interests me. They are among the most commonly disregarded acoustic components of human’s culture, whether as musical instruments or practical or ceremonial sound objects. My workshop is a part of my research-creation project called “soundscapes in the mist” which is based on the spectral properties of bells and their power to define space and to mark the auditory landscape. My music has several elements of indeterminacy which allows the performers to make decisions and modify the final output within a rigid structure.

roozbehtabandeh.com

Using mindfulness, instinct and deep inward & local listening to guide our ears to alternate tuning rather than plugging into our engrained equal temperament.

kathryn-shuman.com

Introducing very basic elements of spectromorphological listening in order to create a collaborative performance score from the sounds of Westben's natural environment. By practicing reduced listening practices (listening without concern for the CAUSE of a sound) and applying simple graphical representations of observed sound, participants will create a sonic map of several locations, ultimately using this map as a score for performance with a mix of their own instruments and/or objects found in the surrounding environment.

soundcloud.com/ryangastonmusic

Mindfulness exercises for creative practice, a series of individual and collective practices that can be done to encourage awareness, intention, and beginner's mind.

mollyjonesmusic.com

I’ll offer suggestions on how ensembles that embrace each member's unique musical and life background is one way of counteracting the Meaning Crisis of our times. In complement to that philosophical framework, I'll be giving some non-genre-specific materials, games and listening activities aimed at improvising composers.

benfinleymusic.com