Date(s) - April 05, 2014
11:00 am - 1:00 pm
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Instructor: Vic Rawlings
Workshop fee: $15
Learn to listen and respond to sound and music in ways that may be new to you!
This workshop invites your active participation – it is not a lecture. Participants will engage in a series of structured exercises and generate sound and music as a group, in real time.
ALL participants are welcome, including those who do not consider themselves musicians. No musical background or technical skill is required. You are equally welcome with no experience improvising or if you are an experienced improvisor. ANY instrument is welcome, including voice. This includes objects not commonly seen as musical instruments as well as conventional musical instruments. If you do not have an instrument, one can be provided for you. If you need amplification, please bring your own, as we don’t have enough to supply everyone.
We will work directly with sound, beyond the standard use of rhythm, melody and harmony. We will explore free improvisation as an ensemble in this context. This is a hands-on, sound-making workshop, and thus we will not be spending time discussing music theory or music history or referencing jazz or any other widely recognized musical style.
Please do your best to arrive at the specified time! Once the workshop has begun, we will not be able to accommodate latecomers.
[Note: We will not turn away anyone due to financial constraints! To make alternative arrangements, please contact Alison Colman at firstname.lastname@example.org]
About the instructor: Vic Rawlings (cello/electronics) employs a still and unstable sound language ranging from visceral excess to extreme austerity. He uses an amplified cello augmented with extensive and invasive preparations of his design, adapted from Baroqueera designs. He has developed a vocabulary of extended techniques, approaching neartotal abstraction from the cello. As an entirely separate instrument, he uses and continually develops a modular electronic instrument with a highly unstable interface, acoustically realized by an array of exposed speaker elements.
Rawlings primarily presents improvised music in the predictable settings and durations. Exceptions to this are installationlength performances and a series of performances in standard music venues that suspend concepts of site and content. He has composed and recorded soundtracks for internationally distributed films by Catherine Pancake, Jeffrey Daniel Silva, and Alla Kovgan, as well as composing and performing live scores for theater and dance.
To learn more, please visit Vic’s website: vicrawlings.com