Try to make it to at least one, y'hear?
Monday: Georgia State University Music Technology Group at Goat Farm
Geoff Massey- Dronology
Madeleine Conti- The Third Jesus
William Walker- Door Eleven
Alex Marse – Sycamore
Johnathan Turner - The Space Between One Stone and the Next
William Hollifield – Spin
Drew Woodward - Walking With Dinosaurs
Tae Hong Park - bass x sung
Wednesday: Chamber Cartel at In Tune Studios
Morton Feldman - Why Patterns?
Adam Scott Neal - Mirror Universes
Thursday: Bent Frequency and CORE at the High
Free outdoor performance, 1/2-price admission to High (open until 10pm)
Showing posts with label adam scott neal. Show all posts
Showing posts with label adam scott neal. Show all posts
Friday, April 20, 2012
Thursday, March 01, 2012
Terminus Ensemble Debut Concert
You are cordially invited to the debut concert of Terminus Ensemble, a new group focusing on contemporary music by Atlanta-based composers!
March 4, 2012: 3pm
Central Library, One Margaret Mitchell Square, Atlanta, GA 30303
FREE Admission
Featuring:
secret music for viola and vibraphone by Nickitas Demos
Circular Arguments for clarinet and cello by Sarah Hersh
Piano Etudes by Jason Freeman
Mirror Universes 6 for percussion duo by Adam Scott Neal
Inventio Fortunata for solo flute by Drew Dolan
Between the Walls for flute, clarinet, cello, and piano by Brent Milam
performed by:
Isaac Anderson, percussion
Ipek Brooks, piano
Mike Brooks, viola
Nicole Randall Chamberlain, flute
Katie Curran, clarinet
Erin Ellis, cello
Olivia Kieffer, percussion
This is a FREE show - we look forward to seeing you there!
facebook event page
our website
Wednesday, March 09, 2011
Adam Scott Neal & Friends - CD Release Show - 3/19/11
I am releasing a short album/EP titled FULL CIRCLE, which features my hip-hop/electronic tracks overlayed with solos written by Atlanta composer-performers Nicole Randall Chamberlain, Margie Deeb, Darren Nelsen, Jason Passmore, and Jason Pellett. This event will feature an eclectic mix of performances culminating with the first public listening of this genre-bending experiment. I hope you all can join us!
KAVARNA
707 E Lake Dr, Decatur
Saturday, March 19, 2011 - 9PM
FREE!
on the bill:
Stuart Gerber and Craig Dongoski will present a portion of their new multidisciplinary collaboration "Surface Resonance"
Morningside Chamber Musicians will play a few pieces for woodwind trio, including Tim Jansa's "Morning Sides"
Darren Nelsen will be rocking out with his prog/fusion band GRAVITY MACHINE
These will be brief 20ish-minute sets before the listening party (album clocks in just under 30 minutes).
Bring your homies!
KAVARNA
707 E Lake Dr, Decatur
Saturday, March 19, 2011 - 9PM
FREE!
on the bill:
Stuart Gerber and Craig Dongoski will present a portion of their new multidisciplinary collaboration "Surface Resonance"
Morningside Chamber Musicians will play a few pieces for woodwind trio, including Tim Jansa's "Morning Sides"
Darren Nelsen will be rocking out with his prog/fusion band GRAVITY MACHINE
These will be brief 20ish-minute sets before the listening party (album clocks in just under 30 minutes).
Bring your homies!
Friday, October 22, 2010
Cerberus Percussion Group @ Red Light Cafe 11/19/10
Hi everyone -
Cerberus Percussion Group is playing the Red Light Cafe at 9PM on Friday, 11/19/10. Alt-country/folk acts EB Reece (GSU student!) and Adam Klein open at 7:30 and 8:00, respectively.
On the program:
Catfish - Mark Applebaum
Pachamama - Adam Scott Neal
The Frame Problem - James Romig
Attica - Frederic Rzewski
Admission is $7, but supporting contemporary music is priceless.
Feel free to RSVP via facebook here.
Program Notes:
Catfish (2003) - Intense, but always with a sick Californian sense of humor, Catfish is a vexing and delightful listening experience. -John Zorn
Pachamama (2009) is a piece for percussion trio. Each player has a 'melodic' instrument (conch shell, ocarina, melodica), some kind of drum (up to them), another 'rhythmic' percussion instrument (shaker, stones, log drum) and an 'atmospheric' instrument (frog guiro, box of pebbles, paper and plastic bags).The form is based on a 9x9 magic square. The number in each square determined the number of measures (in 4/4) that each instrument, dynamic, or rhythmic pattern would last. It will sound a lot less arbitrary than that description. What to listen for, in a nutshell - different instruments will come and go. They will gradually fall into a groove, the groove may become less apparent, then appear again. If you listen closely, you may notice that each player is actually in his own meter. -Adam Scott Neal
The Frame Problem (2003) The title refers to a primary difficulty in designing robots and computer programs with "artificial intelligence." Human brains have a remarkable ability to "frame" information: in an instant, we are able to observe and organize an enormous amount of data, sorting and categorizing what is relevant and what is not. When listening to music, one of the primary hierarchical "frames" we create is that of meter. In this percussion trio, multiple distinct meters occur concurrently—in different lines, at constantly shifting dynamic levels, and in different timbral aggregations—providing human listeners with the opportunity to resolve multiple overlapping “frames” simultaneously. Robots in the audience will probably just be confused. -James Romig
Attica (1972), the earliest work on tonight’s program, is also one of Rzewski’s earliest compositions to feature an overtly political message. A lush repetitive tonal sequence is punctuated by a narrator’s intoned text, gradually expanding one word at a time; the sequenced is derived from a statement made by Richard X. Clark, one of the organizers of the 1971 Attica prison uprising, upon his release in February 1972: “Attica is in front of me.” Although Attica is being presented on its own this evening, it was originally conceived as a companion piece to the more visceral Coming Together, whose narration is based on the words of a less fortunate Attica inmate, radical antiwar activist Sam Melville (“Mad Bomber” Melville), who was killed by police during the uprising. -Kyle Gann
Cerberus Percussion Group is playing the Red Light Cafe at 9PM on Friday, 11/19/10. Alt-country/folk acts EB Reece (GSU student!) and Adam Klein open at 7:30 and 8:00, respectively.
On the program:
Catfish - Mark Applebaum
Pachamama - Adam Scott Neal
The Frame Problem - James Romig
Attica - Frederic Rzewski
Admission is $7, but supporting contemporary music is priceless.
Feel free to RSVP via facebook here.
Program Notes:
Catfish (2003) - Intense, but always with a sick Californian sense of humor, Catfish is a vexing and delightful listening experience. -John Zorn
Pachamama (2009) is a piece for percussion trio. Each player has a 'melodic' instrument (conch shell, ocarina, melodica), some kind of drum (up to them), another 'rhythmic' percussion instrument (shaker, stones, log drum) and an 'atmospheric' instrument (frog guiro, box of pebbles, paper and plastic bags).The form is based on a 9x9 magic square. The number in each square determined the number of measures (in 4/4) that each instrument, dynamic, or rhythmic pattern would last. It will sound a lot less arbitrary than that description. What to listen for, in a nutshell - different instruments will come and go. They will gradually fall into a groove, the groove may become less apparent, then appear again. If you listen closely, you may notice that each player is actually in his own meter. -Adam Scott Neal
The Frame Problem (2003) The title refers to a primary difficulty in designing robots and computer programs with "artificial intelligence." Human brains have a remarkable ability to "frame" information: in an instant, we are able to observe and organize an enormous amount of data, sorting and categorizing what is relevant and what is not. When listening to music, one of the primary hierarchical "frames" we create is that of meter. In this percussion trio, multiple distinct meters occur concurrently—in different lines, at constantly shifting dynamic levels, and in different timbral aggregations—providing human listeners with the opportunity to resolve multiple overlapping “frames” simultaneously. Robots in the audience will probably just be confused. -James Romig
Attica (1972), the earliest work on tonight’s program, is also one of Rzewski’s earliest compositions to feature an overtly political message. A lush repetitive tonal sequence is punctuated by a narrator’s intoned text, gradually expanding one word at a time; the sequenced is derived from a statement made by Richard X. Clark, one of the organizers of the 1971 Attica prison uprising, upon his release in February 1972: “Attica is in front of me.” Although Attica is being presented on its own this evening, it was originally conceived as a companion piece to the more visceral Coming Together, whose narration is based on the words of a less fortunate Attica inmate, radical antiwar activist Sam Melville (“Mad Bomber” Melville), who was killed by police during the uprising. -Kyle Gann
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