Recorded at 3:00AM when I couldn't sleep. Sixteen tracks, all one go a piece, mistakes be darned. Used octave drop for bass and baritone parts, all other parts left as-is.

Creep - A Cappella

Episode 10 of ADJ•ective New Music's podcast, Lexical Tones. Rob McClure interviews Kayleigh Butcher and Elizabeth Pearse, two members of Quince Contemporary Vocal Ensemble.

Visit www.adjectivenewmusic.com for more information about ADJ•ective New Music, the ADJ•ective Composers' Collective, and Lexical Tones.

Learn more about Quince at http://www.quince-ensemble.com/

Lexical Tones

10 - Quince Contemporary Vocal Ensemble

"power is everywhere" is an assemblage of various writings/talks by Foucault. The singer is observer, actor, and deliverer of the message. She is not there to simply sing the text – she is there to instigate the way the music unfolds by way of what the words tell us. She is powerful, taking note of what happens and how to move forward. She is everywhere all the time. My piece is influenced by opera, song cycles, theater, and might even be considered a surreal singspiel.

Left Coast Ensemble, with Nikki Einfeld (soprano)
video: https://youtu.be/75lAqvPOLjQ

TEXTS (indicates omitted words)
Power (is everywhere.)

We must cease once and for all to describe the effects of power in negative terms: it "excludes," it "represses," it "censors," it "abstracts," it "masks," it "conceals." In fact power produces; it produces reality; it produces domains of objects and rituals of truth. The individual and the knowledge that may be gained of him belong to this production.

Discourses are not once and for all subservient to power or raised up against it... We must make allowances for the complex and unstable process whereby a discourse can be both an instrument and an effect of power, but also a hindrance, a stumbling point of resistance and a starting point for an opposing strategy. Discourse transmits and produces power; it reinforces it, but also undermines and exposes it, renders it fragile and makes it possible to thwart.

Freedom of conscience entails more dangers than authority and despotism. In its function, the power to punish is not essentially different from that of curing or educating. Madness is the absolute break with the work of art; it forms the constitutive moment of abolition, which dissolves in time the truth of the work of art.
 
Justice must always question itself, just as society can exist only by means of the work it does on itself and on its institutions. The judges of normality (are present everywhere.) We are in the society of the great teacher-judge, the doctor-judge, the educator-judge, the social worker-judge.
 
The lyricism of marginality may find inspiration in the image of the outlaw, the great social nomad, who prowls on the confines of a docile, frightened order. What strikes me is the fact that in our society, art has become something, which is only related to objects, and not to individuals, or to life. As the archaeology of our thought easily shows, man is an invention of recent date. And one, perhaps, nearing its end.
 
But there exists a system of power which blocks, prohibits, and invalidates this discourse and this knowledge, a power not only found in the manifest authority of censorship, but one that profoundly and subtly penetrates an entire societal network. (Intellectuals are themselves agents of this system of power - the idea of their responsibility for "consciousness" and discourse forms part of the system.) The intellectual's role is no longer to place himself "somewhat ahead and to the side" in order to express the stifled truth of the collectivity; rather, it is to struggle against the forms of power that transform him into its object and instrument in the sphere of "knowledge," "truth," "consciousness," and "discourse."

Truth is a thing of this world: it is produced only by virtue of multiple forms of constraint. And it induces regular effects of power. Each society has its regime of truth, its “general politics” of truth: that is, the types of discourse which it accepts and makes function as true; the mechanisms and instances which enable one to distinguish true and false statements, the means by which each is sanctioned; the techniques and procedures accorded value in the acquisition of truth; the status of those who are charged with saying what counts as true.

Power exists only when it is put into action; it does not require your consent.

If no one knows who you are, can you be forgotten? If memory is power, are those who are forgotten powerless? The powerless are everywhere.

power is everywhere, an observed distraction for soprano & ensemble on texts of Foucault (2017)

This setting of the Magnificat and Ave Maria for Bulgarian Girls Choir and SATB chorus was commissioned by Karen Clute in honor of strong teenage girls everywhere. This is the premiere performance by the Elm City Girls Choir and Yale Schola Cantorum, conducted by David Hill. Recorded by Mateusz Zechowski.

A terrific professional recording of the complete piece can be purchased from Hyperion: https://tinyurl.com/2435aae9  or Amazon: https://tinyurl.com/yxvxkmjp

Texts:
Magnificat anima mea Dominum
Et exultavit spiritus meus in Deo salutari meo.
Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est, et sanctum nomen eius.
Et misericordia eius a progenie in progenies timentibus eum.
Fecit potentiam in brachio suo, dispersit superbos mente cordis sui.
Deposuit potentes de sede et exaltavit humiles.

Esurientes implevit bonis et divites dimisit inanes.
Suscepit Israel puerum suum recordatus misericordiæ suæ,
Sicut locutus est ad patres nostros, Abraham et semini eius in sæcula. Amen.

Ave Maria, gratia plena, Dominus tecum.
Benedicta tu in mulieribus,
et benedictus fructus ventris tui, Iesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.

My soul doth magnify the Lord.
And my spirit hath rejoiced in God my Saviour.
Because he hath regarded the humility of his handmaid: for behold from henceforth all generations shall call me blessed.
Because he that is mighty hath done great things to me: and holy is his name.
And his mercy is from generation unto generations, to them that fear him.
He hath shewed might in his arm: he hath scattered the proud in the conceit of their heart.
He hath put down the mighty from their seat and hath exalted the humble.
He hath filled the hungry with good things: and the rich he hath sent empty away.
He hath received Israel his servant, being mindful of his mercy.
As he spoke to our fathers: to Abraham and to his seed for ever. Amen.

Hail Mary, full of grace, the Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and in the hour of our death. Amen.

Magnificat (Excerpt)

Blue Glacier Decoy performed by LSU Chamber Winds, Julia Tatum, conductor.

For more information, please visit https://www.jenniferjolley.com/blue-glacier-decoy

Blue Glacier Decoy

Diane Seuss is a poet, a thinker, a seer, a sayer - an oracle of sorts. Her collection Four-Legged Girl is a complete game changer in the way it:
-tells stories, 
-captures the way we remember, reinvent, forget, 
-manages to shock and touch and move us,
-catches us off guard and draws us only further in.

It Wasn't A Dream is a collection of six settings of Seuss's poems from her collection. It is for soprano, tenor and piano four-hands. I composed it for the Brooklyn Art Song Society in 2018. Here is the fifth setting, which is the final portion of the title poem. Thanks to soprano Charlotte Mundy, tenor Andrew Fuchs, and pianists Miori Sugiyama and Michael Brofman.

IV - I can't stop thinking of that New York skirt,  turquoise sequins from It Wasn't A Dream (2018)

Start learning Korean today with TalkToMeInKorean's easy-to-follow audio lessons. The lessons are also accompanied by PDF lesson notes at http://talktomeinkorean.com 

Get the Books

TTMIK Level 1 Lesson 1 - Hello, Thank you

Pandemic Mini Jam

Keeping myself occupied - iPad, GarageBand and 4 instances of Moog Model D

Jonathan Nangle's Album

Pandemic Mini Jam

lead vocal & ukulele: Heather Warren-Crow
vocal noises: Jesper Warren-Crow
percussion, backing vocals, production: Seth Warren-Crow
song written by: Elliot Smith

BetweenTheBars TheQuaranteens Mix(3 - 29)

This piece is dedicated to my wife Becky, without whom I could not make it through 2020 or any other year.  The second movement commemorates our 20th anniversary, and is loosely modeled on a string quartet movement by Borodin that was a gift to his wife on their 20th anniversary.  All four parts are performed here by the one-man string quartet Jeff Issokson.

I. Unrest
II. Anniversary
III. Pandemic

Quartet 2020

Nebal Maysaud
with musicologist Imani Mosley

 It has been a little over a year since the publication of Nebal Maysaud’s “It’s Time To Let Classical Music Die,” which is the most widely-read article in the history of NewMusicBox. One year later, Nebal reexamines these ideas in a candid conversation with musicologist Imani Mosley, where they discuss how to nurture a more inclusive, diverse, and equitable creative community.

audio production: Brigid Pierce

Nebal Maysaud: Rumored "Death" of Classical Music Has Been Greatly Exaggerated

Composer, cat lady. Probably in reverse order of importance.

Blue Glacier Decoy

jenniferjolley

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