Nantai by Christopher Rountree | Oct 24, 2018 | |
The Commitment Booth invites people to think deeply about sound and decide for themselves: Where does music live? What’s it’s nature? And where do I commit to finding it in my life? Appearing at Walt Disney Concert Hall in downtown LA throughout 2018-19, the event begins two hours prior to the start of numerous LA Phil concerts Materials: the booth natural color sanded plywood and peach color sheer cotton pipe and drape, laptop, backup hard drive, video camera (Cannon 5D), shotgun microphone, cabling, mic stand, camera stand, two way mirror fitted in a florid golden frame, simple internal lighting, one chair, signage the table 10,000 copies of the the score / contract: heavy paper with risograph print, pens, designed plywood clipboards, ancient green filing cabinets, three types of enamel buttons (3,300 X green, 3,300 yellow, 3,300 grey), two chairs, wood table,...
http://circleplastics.co.uk/fome/ by Christopher Rountree | May 28, 2016 | |
Performances: Jennifer Koh, on the New York Philharmonic Biennial – May 31, 2016 at National Sawdust to see the score: ISSUU // but currently not available for performance The score is in two parts: Text and Notes and Rhythms — both parts make the whole of the piece. The Text / The Scenario From the performer’s perspective: either this is a retelling of a story you heard, or it’s a reading of an object you picked up off the street. This text is the bulk of the piece. Leave words out, repeat things, add things? Or if speaking is too uncomfortable, use an overhead projector (not an ugly one) to project this, a line at a time. The Notes and Rhythms Just notes really, at your own pace (hopefully quite a slow pace). Like something that drifted in off the radio. You’re remembering it now. Improvisatory. No longer than 3 minutes. The Ideas At its core, this is an oral history project. It’s a story, and some underscoring. You’re retelling the story, as you remember it (maybe you actually drift from the text), and remembering some sound you heard too. The perspective is either: as someone else told you in their retelling of the story, or as you experienced this story through living it. Audio Score Since it’s an oral history project. included are two audio scores: (text) and (notes and rhythms). As an option you could just recreate those, and leave the printed/paper materials out all...
by Christopher Rountree | Oct 30, 2015 | |
Tell 36 – 39 memories. I just woke up having dreamt a performance of a non-existent Julia Wolfe piece. The circumstances for the concert were unclear, but what was clear, was that the concert was totally under-rehearsed, we all hadn’t even looked at the scores yet. She told us to just get started whenever we felt ready to perform one of the pieces. I picked up this one piece: “Reality, for one person.” The instructions: “Tell 36 – 39 memories.” So I walked over to the microphone, it was broken, so I turned it off. The audience was too wide and spread out horizontally along a close wall. They were bathed in light through a bunch of huge square-shaped windows. I used a big voice. And began: I don’t remember being born, but I do remember being put in warm water after being...
by Christopher Rountree | Jul 26, 2014 | |
comissioned by REDCAT as part of Allora & Calzadilla’s project “Apotome” premiered June 28, 2014 by Adrian Dunker and wild Up for a PDF of the score:...
by treysea | Jul 2, 2012 | |
with Archie Carey and Chris Kallmyer commissioned by the Hammer Museum
