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The Harn Museum Composers-in-Residence program, led by Ivy Chen, is a cross-boundary program where UF graduate composition students from the School of Music choose an object from the museum collection and, through object study with curators and independent research, create new music works performed in the galleries.
Harn Composer-in-Residence 2019-2020
World premiere: Saturday, April 11, 2020
Inspired by the themes and works in Tempus Fugit, Jordan Alexander Key will explore the concept of time in music for his Composer-in-Residence project this year. He is also presenting a series of Museum Nights talks related to his interest in mathematics and music.
Time Suspended: Transforming Still Images
Sunday, November 17, 2 - 3 pm
Harn Artists-in-Residence inspired by works in Global Perspectives responded with original musical composition, choreography, poetry and prose and infuse the galleries with movement and sound. Jordan’s black MIDI composition was a response to Muda Tomohiro’s inkjet print mounted as a hanging scroll Mizu no Bo [M-08], 2012. Black MIDI is a compositional process using MIDI sound files to create a piece that contains an extremely large number of notes (in the millions to even trillions) that is so dense that if it was written in traditional music notation it would appear to be a mass of black ink.
Nachi no Taki (那智滝), On the Inkjet Scrolls of Tomohiro Muda attempts to sonify the artistic conversation between tradition and modernity present in the work of Tomohiro Muda. This work uses sounds that are fundamentally acoustic and “human" generated as well as sounds that are fundamentally digital and "computer" generated, juxtaposing the "real" and "unreal," the "possible" and "impossible," the "human" and the "super-human" to comment on our present position in the creation of art, a position that grapples regularly between "tradition" and the future.
Harn Composer-in-Residence 2018-2019
Garden Soundscape (2019)
World premiere: Saturday, April 20, 2019
In conjunction with the exhibition Inside Outside: Outside Inside– A Century of East Asian Landscapes 1900s-2000s, Diogo Carvalho composed a quartet for flute, clarinet, violin and cello inspired by the Harn's Asian Rock Garden. Garden Soundscape is organized following a design developed by Martin McKellar specifically for this project, drawing inspiration from symbolic elements related to traditional rock gardens such as water, rocks, plants and gravel. The compositional structure follows a walk through the garden starting at the northwest corner.
This program was funded by the Cofrin Curator of Asian Art Endowment and UF International Center, with support from College of the Arts and Fine Arts College Council, UF Student Government, and co-sponsorship by UF Center for the Humanities and the Public Sphere (Rothman Endowment).
An article by Martin McKeller on this project will be in The Journal of the North American Japanese Garden Association (NAJGA) in fall 2019.
As part of Diogo’s residency he presented Convergence: Music & Art, an afternoon of original works incorporating music, dance, poetry and audience participation in connection with the exhibition Divergent Convergence: The Arts of Creativity, Discovery & Inquiry.
He also composed a song cycle Ink Stone (2019) using text by Harn Poets-in-Residence Debora Greger and Danny Duffy that was premiered by Fonema Consort on March 29, 2019 in the Friends of Music Room, University of Florida.
Harn Composer-in-Residence Summer 2018
Pictures at the Micro-Exhibition (2018)
World premiere: Sunday, October 14, 2018
Inspired by a miniature album of paintings by Japanese artist Watanabe Shötei (1851 – 1918) included in the Show Me the Mini exhibition (March 21, 2017 - November 25, 2018), this composition transforms the visual elements in the paintings (line, form, color, impressions from nature) to musical elements (rhythm, meter, pitch, scale, melody). Composed for alto saxophone, the piece builds on natural harmonics and Japanese, microtonal pentatonic scales, as well as Mussorgsky’s Pictures at an Exhibition (1874).
This performance was funded by the Cofrin Curator of Asian Art Endowment with support from College of the Arts and School of Music, and co-sponsored by UF Center for the Humanities and the Public Sphere (Rothman Endowment).
Harn Composer-in-Residence 2017-2018
plis de temps (2017-18)
World premiere: Thursday, March 8, 2018 and
Composed specifically for the Central Gallery of the David A. Cofrin Asian Art Wing at the Harn, plis de temps or “time folds” takes as a point of departure the ceramic sculpture Pli Selon Pli by Akiyama Yō, on view in the gallery.
In Robert Seaback’s musical composition plis de temps, sound is conceptualized as a physical material that is susceptible to physical ruptures akin to those found in Akiyama’s sculptures. Through various digital processes, sound sources recorded by the composer (which include ocean waves, thunderstorms, and various instruments) are deconstructed and reassembled. In this way, sound becomes a malleable material substance which carries links to its own material origins despite various distortions and mutations. Plis de temps is a continuous succession of sonic textures that evoke the sounds of materials and the materiality of sound.
Read the Art Daily feature here.
Click above image to view performance excerpts on Robert Seaback's website.