An important aspect of my concerts is education about contemporary classical music. I focus especially on contemporary musical techniques, how they are worked out in my improvisations, and the relevance of contemporary classical music to today’s society.
Mysteria Lecture and Improvisations-Yarmouth Contemporary Music Festival 2011, Yarmouth, Maine.
A main focus is the role of improvisation in contemporary classical music. I talk about the importance of stylization in musical composition and in contemporary classical improvisation (which I often refer to as “compositional improvisation”). As opposed to free improvisation–which constitutes the bulk of contemporary classical improv–stylized improv more resembles what is normally done in jazz improvisation–that is, artists will improvise “in their style”, rather than focusing on incorporating a very wide range of techniques, something that is more common in ‘free” improvisation. I speak of the importance of stylization in improvisation, as most of what is generally valued in jazz improv is that stylization. My desire is to bring more of this to classical improv, with one goal being greater cultural relevance for contemporary classical music.
As a guest performer/lecturer in theory/improvisation/composition I hope to communicate to audiences both amateur and professional how modern music theory (especially set theory) can come alive, not only as written composition but in “real-time” composition, ie, compositional improvisation. I am investigating the feasibility of guest lecturing at a variety of venues: universities, concert halls, etc. I have already received interest in the idea from academics and professionals in the arts.
Annotated Compositional Improv Nov 6, 2013 — a live performance streamed into Second Life, with ongoing annotations describing technical and aesthetic aspects of my playing,