BEGIN:VCALENDAR VERSION:2.0 PRODID:-//132.216.98.100//NONSGML kigkonsult.se iCalcreator 2.20.4// BEGIN:VEVENT UID:20260602T074520EDT-6557xXBzWo@132.216.98.100 DTSTAMP:20260602T114520Z DESCRIPTION:Historically Informed Performance Practice in John Cage's Cartr idge Music (1960)\n\n \n\nAbstract: \n\n\n \n \n \n \n This research project se eks to show how the Historically Informed Performance movement (HIP) has p roduced ideas that are relevant to the performance of electroacoustic musi c. Using Cartridge Music (1960) by John Cage as a case study\, I will show how many aspects of HIP such as the use of obsolete technologies (instrum ents)\, research on performance practice in early realizations\, and histo rical/cultural context can be used to produce a simultaneously informed an d radically new realization of the score.  Cartridge Music is graphic and text-based score which is defined by an electronic set-up which the perfor mer must find sound sources for. Sounds must be amplified with phonograph cartridges and contact microphones\, and altered with minimal processing: volume changes\, tone changes\, and repetitive patterns like tape loops. T he ambiguity surrounding all these sonic modulations leave open the possib ility for managing all this processing using recent technology such as com puter software\, but I believe that the challenge of using older devices\, like a tape machine for example\, offers possibilities for exploration no t possible with digital resources. Cage’s instructions are deliberately cr yptic\, making research necessary. Creating a realization using ideas from HIP requires direct experimentation with devices like tape machines and p honograph cartridges\, as well as research on how the piece was originally interpreted\, and the context in which it was created.\n\n \n \n \n  \n \n \n \n \n \n \n \n \n\n  \n\n Biography:\n\n \n Stuart Jackson is a percussionist and uil leann piper from Virginia. Like most interpreters of new music\, he has pr emiered many works from living composers\, but specializes in rethinking a pproaches to the realization of existing works for percussion from the 20t h century and reviving those that have been lost or forgotten. He has perf ormed in spaces such as the King’s Theatre\, Pioneer Works\, Roulette\, We sleyan University\, the Irish Historical Society\, Cummings Art Center\, S BC Gallery\, Salle Claude Champagne\, Musée d’Art Contemporain de Montréal \, and many others.\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n He is c urrently pursuing a doctorate in percussion performance at 91ºÚÁÏÍø Universi ty\, where he has received a Tomlinson fellowship and an FRQSC award for h is research on percussion works by Pierre Boulez and David Tudor. He is cu rrently a student of Fabrice Marandola.\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n DTSTART:20230210T213000Z DTEND:20230210T230000Z LOCATION:C-201\, Strathcona Music Building\, CA\, QC\, Montreal\, H3A 1E3\, 555 rue Sherbrooke Ouest SUMMARY:Doctoral Colloquium (music) | Stuart Jackson URL:/music/channels/event/doctoral-colloquium-music-st uart-jackson-346020 END:VEVENT END:VCALENDAR