Uploaded July 2020 | Updated September 2026, 1 week ago
Lauren Redhead and Alistair Zaldua perform Sophie Stone's 'Far Infrared' (2019) at Electric Spring 2020
electricspring.co.uk
http://laurenredhead.eu/
alistair-zaldua.de
sophiestonecomposer.com
Far infrared is an open instrumentation and duration ensemble piece which com- bines Western, space-time and word notation. The score describes the types of sounds that the performer interprets, and these involve overlapping and generally quiet sustained sounds with subtle and slow changes of pitch and timbre, as well as moments of silence.
Lauren Redhead and Alistair Zaldua perform Sophie Stone's 'Far Infrared' (2019) at Electric Spring 2020
electricspring.co.uk
http://laurenredhead.eu/
alistair-zaldua.de
sophiestonecomposer.com
Far infrared is an open instrumentation and duration ensemble piece which com- bines Western, space-time and word notation. The score describes the types of sounds that the performer interprets, and these involve overlapping and generally quiet sustained sounds with subtle and slow changes of pitch and timbre, as well as moments of silence.
![Tim Rutherford-Johnson: Modern Composition and Culture since 1989 [24.11.2017]](https://i.ytimg.com/vi/hU0C1K96mv8/mqdefault.jpg "Tim Rutherford-Johnson: Modern Composition and Culture since 1989 [24.11.2017]
Music journalist and critic Tim Rutherford-Johnson discusses his acclaimed book Music After The Fall: Modern Composition and Culture Since 1989. Music after the Fall is the first book to survey contemporary Western art music within the transformed political, cultural, and technological environment of the post–Cold War era. In this book, Tim Rutherford-Johnson considers musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing connections with the other arts, in particular visual art and architecture, he expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall.
Each chapter is a critical consideration of a wide range of composers, performers, works, and institutions, and develops a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from electroacoustic music studios in South America to ruined pianos in the Australian outback. Rutherford-Johnson puts forth a new approach to the study of contemporary music that relies less on taxonomies of style and technique than on the comparison of different responses to common themes of permission, fluidity, excess, and loss.
Presented as part of hcmf// 2017.
https://johnsonsrambler.wordpress.com/
https://www.ucpress.edu/book.php?isbn=9780520283152
http://www.cerenem.org/")
