1. I just learned that a print from my recent composition You Burn Us was excepted into a juried art exhibition at the Charles Allis Art Museum in Milwaukee. The show is a survey of contemporary Wisconsin art, curated by Laurie Winters, Executive Director | CEO of the Museum of Wisconsin Art.

    FORWARD 2014: A SURVEY OF WISCONSIN ART NOW
    March 7 – June 29, 2014

    for more info on the show:
    http://www.charlesallis.org/FORWARD2014_000.html

     

  2. A live realization of my new visual and poetic score You Burn Us by Cicadas of the Sea - Adrianne Pope (violin), Chris Sies (percussion) and Ben Willis (bass).  


     
  3. Performing Loose Pages with Alison Knowles at Milwaukee Art Museum - a magical evening and highlight of my performance career!  

    Thank you Paul Mitchell for the beautiful photos.

     
  4. You Burn Us (2013) Amanda Schoofs

    A visual and poetic score for piano, percussion, voice, and strings (including nontraditional, found, and handmade instruments)

    To be performed as a solo, or in any chamber ensemble configuration.  

    Commissioned by New Keys for their 10th anniversary celebration. Dedicated to Kanoko Nishi-Smith (piano/voice), Theresa Wong (cello/voice), and Jason Hoopes (contrabass/voice) who premiered You Burn Us on November 22, 2013 at Center for New Music, San Francisco, California.  

    Performance Notes: You Burn Us is a series of visual and poetic scores meant to provoke or awaken a volition within the performer, which might not otherwise surface. Presented as a portfolio of nineteen doubled sided cards, it is a series of thirty-eight scores at 10” x 7” each.  Through experimenting with painting, writing, printmaking, xerography, typography, and digital practices the work pushes ideas of theme, repetition, and variation to their extremes.

    The formal structure is appropriated from John Cage’s Songbooks.  It can be performed in whole or in part; as a solo, or in any ensemble variation. Musicians are encouraged to choose scores that resonate with them, and can perform as many or as few of the scores as they would like.  The scores can be performed in any order; can be played one after another, or simultaneously; and can be repeated.  The duration is free, and can be predetermined, or decided spontaneously in performance.  The length of time that the musicians perform each score is indeterminate, and should vary.  The performers may begin and end anywhere on the page (scores do not need to be read traditionally from left to right, top to bottom).  The poetic scores are provocative fragments that can be interpreted literally, conceptually, instrumentally, or vocally.  They are meditations on sound and performance, inspired by my experiences with improvisation, and listening.  A few fragments of my poems are quoted from the poets Jorie Grahm, Paul Mitchell, and Sappho. 

    Program Notes: You Burn Us is a visual and poetic representation of sound that deconstructs traditional forms of musical notation, and develops new representations in order to achieve equilibrium between composition and spontaneity in performance. Traditional printing and dissemination of my painted graphic scores has led to a host of irregularities during production.  The corruption and degradation of a score through xerography is ignored in conventionally notated works, but in a visual score all irregularities change the musical interpretation of the piece. I first began encountering this in 2006 when I was scanning and photocoping large chromatic paintings in order to give performers a more functional score to practice and perform from.  I realized that the variations in color, loss of information, and the addition of digital noise through replication presented new information for the performer to interrupt.  Since then, I have been equally fascinated and frustrated with the noise and irregularties that result in the printing process.  You Burn Us exploits the process of translation within the multiple, and explores the variations of noise, loss of information, and destruction of the image that occur within the printing process.  By using common copy machines, scanning, and digital manipulation of previously hand worked materials the resulting scores create a conceptual investigation of modes of production and their effects on the transfer and interpretation of information. 

    copyright  art |ärt| verb  2013

     
  5. My new work For Laura premies this weekend in Milwaukee by incredible musicians, David Collins (Tenor Saxophone), Steve Schlei (TC-11/ipad), and Trevor Saint (glockenspiel), who will be playing with Danceworks Performance Company, as they realize Laura Murphy’s choreographic improv structure, An Inherent Presence.  

    The show:  November 15-17 and 21-24, 2013 
    Danceworks Performance Company’s INTERSECT
    Danceworks Studio Theatre, 1661 N. Water Street, Milwaukee, WI


    For Laura (2013) A visual/poetic score for musicians and dancers

    For Laura is an exploitation of equilibrium through a balancing of extremes. The series of twelve cards (4”x6”) explores brutal inharmonic aggression stabilized by exquisite, forbidden beauty; pure sustained pitch embedded with grating, metallic noise; and alluring, intimate phrases interwoven with raucous, glitch-fucked symmetry. 

    Both provocative and instructive the scores deliberately evoke distinct musical and movement qualities. The poetic directives were created to be equally explicit and ambiguous. For Laura has a unique mobile structure that actuates diverse performance possibilities. It invites musicians and dancers to embrace spontaneity in performance, while demanding an intensely personal and intimate exploration of movement and sound. 

    For Laura, can be performed at any duration, by any combination of two or more musicians and dancers. I created For Laura with the intention of performances taking shape as either a medium length musical composition, or an evening length music and dance performance. 

    The Structure: Musicians and dancers are encouraged to choose cards in combinations of 2, 4, 6, or 9. They should explore the possibilities of different card combinations. All performers can choose to play from the same cards, or from different cards, but it is ideal that in a given piece each performer shares at least one card, for continuity of idea. Cards should be placed on a flat surface in a juxtaposing matrix, giving the performer the opportunity to discover longer continuities of line and mark between two of more cards creating a larger framework of gestures and ideas. 

    The performers should let their eyes move throughout the matrix, performing the scores in any order; playing them linearly or simultaneously; with or without repeation. The length of time that the musicians and dancers perform each score is indeterminate, and should vary. 
     

  6. Skøefst - The third video from our Cadmium Dust release concert.  My favorite improvisation from the night, in part because of the phenomenal acoustics of the space.   Recorded live at INOVA, September 10, 2013.

    (Source: skoefst)

     
     

  7. unrulymusic:

    The complete Misdemeanors album by Minor Vices is now available for free streaming and download from http://universalreptile.bandcamp.com.

    Minor Vices:Christopher Burns, electric guitar; David Collins, tenor saxophone; Adam Murphy, clarinets; Trevor Saint, glockenspiel; Kevin Schlei, tabla/percussion; Amanda Schoofs, voice; Seth Warren-Crow, percussion/electronics

     
  8. Skøefst Cadmium Dust release show at INOVA in Milwaukee, September 10, 2013. The animation projected onto the trio is digital interpretation of the hand-painted CD packaging. More information about the record is available at universalreptile.bandcamp.com.

    (Source: skoefst, via unrulymusic)

     
     

  9. Misdemeanors Album Release!

    unrulymusic:

    Here’s another glimpse of Misdemeanors, from a quieter moment: “Forgery” (track 6). This movement features a quintet of Adam Murphy (clarinet), Amanda Schoofs (voice), David Collins (saxophone), Seth Warren-Crow (percussion), and Trevor Saint (glockenspiel). The twenty-six movements of the complete work will be available Sunday night from universalreptile.bandcamp.com for free streaming and download.

     

  10. unrulymusic:

    It’s difficult to choose just one of the twenty-six movements of Misdemeanors for a preview. Here’s one of the more energetic miniatures, “Machinations” (track 13). The performers are Amanda Schoofs (voice), Christopher Burns (electric guitar), David Collins (tenor saxophone), and Seth Warren-Crow (drumkit); Adam Murphy (clarinets), Trevor Saint (glockenspiel), and Kevin Schlei (percussion) lay out for this particular movement, but feature elsewhere on the recording. The complete album will be available Sunday night, October 27, 2013, from universalreptile.bandcamp.com.