Covito Program

7/28/2019 Covito Program

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Diagram or Composed Improvisaion F+Mby Covio

No Collective and Panoply Performance Laboratory Present:

TeMusic of Ellen C. Covito

May 24, 2012

Vaudeville Park

26 Bushwick Avenue,

Brooklyn, NY


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Te Music o Ellen C. Covio

Vaudeville Park, May 24, 2012, 8pm

Program

1. Composed Improvisation E(le eye) (2010)

Found Score:Mikrokosmos ("Six Unison Melodies") - Bla Bark

Akiva Zamcheck, Aliza Simons, Brian McCorkle, Caherine Provenzano, Gelsey Bell, Ivan Naranjo,

Maria Sankova, Masami omihisa, Sean Ali, ravis Jus, You Nakai

2. Composed Improvisation J (2009)

Composer: Esher Ne, Perormer: Brian McCorkle

3. Composed Improvisation B (2012)

Found Score:Prlude de La Pore Hroque du Ciel - Erik Saie

Masami omihisa, Caherine Provenzano

4. Composed Improvisation T (2011)



5a.Improvised Composition F (2011)

Choreographer/Dancer: Lindsey Drury, Corinne Cappelleti, Diana Crum,Kaia Gilge, LJ Leach

5b.Improvised Composition M (2011)

Composer: Aliza Simons, Brian McCorkle, Ivan Naranjo, Maria Sankova

Insrumenalis: Gelsey Bell, Masami omihisa, Sean Ali, ravis Jus

5c.Improvised Composition F(2011)

Same as 5a

Inermission

6. Composed Improvisation E(righ eye) (2010)



7. Composed Improvisation G(2009)

Found Score: Sebben, crudele -Anonio Cladara

Maria Sankova, Masami omihisa, ravis Jus

8. Composed Improvisation L (2010)

Found Score: Swing Low, Swee Chario- Wallace Willis

Brian McCorkle, Gelsey Bell, Maria Sankova, Masami omihisa,

9. Composed Improvisation S (2012)

Composer: Akiva Zamcheck

Perormer: Brian McCorkle

10. Composed Improvisation M(2010)

Found Score:Ne Me Quite Pas (If You Go Away)- Jacques Brel/Nina Simone




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Born in Buenos Aires in he year which saw he birh o he irs emale presiden in he

world, Ellen C. Covito grew up playing music amids he poliical urmoil (he noorious

diry war) ha ook over Argenina shorly aerwards. While sudying environmenal

sciences a he Universiy o Buenos Aires, Covio urned o music once again (or he hird

ime in her lie), and began composing as well as improvising, as a coninuaion o her

ineres in he mechanism underlying heories o ecology and eminism.

Covios early works consised in aemps o apply heoreical srucures and ideas

surrounding environmenal problems o music, which soon led her o explore he lineage

o wenieh cenury experimenal music rom a disinc perspecive. Covio realized

ha he undamenal issues o music were ormally no dieren rom hose o ecology (or

o eminism, or ha maer): he endless process o seing and erasing dichoomies, o

diereniaing wha belongs o one side (us) and no o he oher (hem), and o eacing

even ha dierence so ha we could have more and more. A mechanism ha obviously

resonaes wih he poliical violence ha surrounded her childhood.

In he recen years, Covios ocus has become clearer, and her acics more lucid. Her

works now specii cally aack he problema ic (oo easily dismissed bu acuall y no so

easily dismissible) dichoomy beween composiion and improvisaion. She does his by

inroducing disance beween he perormer and wha is perormed, while removing he

disance beween he ac o composiion and perormance.

(ellenccovio.com)

Of Specters and Spectacles

Ellen C. Covio

I do no eel here is much o add o You Nakai's insighul essay abou my work. Bu i here

is somehing abou i ha I eel slighly uncomorable wih, i is probably because o his: I

do no believe in hisoria (hisory/sory). I believe in srucures and I aim o devise evens

which unbalance and reconigure imposed sr ucures. his may be he dr iving orce ha

builds hisory, bu i is no hisory per se. I is myhical, and hence i is recurren.

Te basic uni o srucures is diereniaion, and hus he creaion o dichoomies. Tere is

no absolue way o geting rid o dichoomies (male/emale, composiion/improvisaion,

composer/perormer, aris/specaor), because, or one hing, hey do no really exis.

Bu we all know ha we all see, hear, and hink hrough hings ha do no really exis. Tese

lers o realiy haun us like ghoss, and haun us recurrenly despie our desperae atemps

a exorcism (a specaor is a specer!). And perhaps ou o aigue we choose o conound

hem wih realiy. Bu he only plausible way o dealing wih hem, as I see i, is o change

hem, and o keep changing hem o show ha hey can be changed.

For me, he uncion o ar lies precisely in his necessarily localized and enaive

securemen o poenials and possibiliies or changes. Oherwise any given work o

ar would seem oo ragile, oo ransien and hus uerly impoen in he ace o radical

esablishmens and implemenaion o esablishmens via echnological, economical and/or

poliical channels. Bu i is he very enaive and impoen characer o arworks ha allow

hem o reurn wihou any care o hisory. In oher words, ar serves is purpose, precisely

because we don conound i wih he so-called realiy or lie. So we gh ghoss wih ghoss.

he works ha w ill be presened onigh by he ousanding musicians, composers,

choreographers and dancers o New York Ciy ry o do only ha. I have nohing bu

graiude and respec or hese perormers. Tank you.

(ranslaed by You Nakai)


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On Accessingthe Music of Ellen C. Covito

You Nakai

1

As she hersel has proclaimed a leas on one occasion (*1),Ellen C. Covio is no heirs composer o explore he poenials o he seemingly oxymoronic erm composed

improvisaion. John Cage reconciled wih his long hared owards improvisaion lae

in his lie, engaging in a series o composiions o which he bore he very word ha had

roubled him hroughou his career. Tese pieces, he composer explained, circumvened

he general danger ha lurks in improvisaionha o alling back o ones boring habis

and subjecive asesby aking recourse o eiher o he ollowing wo acics: 1) he use

o indeerminae insrumens in which he causal relaionship beween heir manipulaion

and he resulan sound is unknown and hus unconrollable; 2) he use o variable ime-

brackes which are exible in erms o heir beginnings and endings, as wel l as he exac

iming or he occurrence o sounds inside hem. Te ormer approach creaed pieces such

as Child of Tree (Improvisaion 1) (1975) or Inles (Improvisaion 2) (1977)in he mid-

1970s; he later resuled in a series o works collecively eniled c Composed Improvisaion

(1987-90) owards he end o he ollowing decade (and all he so-called number pieces

acually, hough hese were never reerred o as improvisaion per se).

2

Neverheless, as mos hings concerning Cage, his resoluion wih improvisaion had

an unacknowledged preceden. Already in he lae 1950s, Chrisian Wol, upon acing a

shorage o rehearsal ime beore a concer, began inroducing a cerain degree o reedom

ino he sysem o ime brackes he had previously learned rom Cage: Wha we did was

a kind o improvisaionhe score deal only wih spaces o ime and groups o noes

rom which we could selec. (*2) In he program noe orDuo for Pianiss I(1957), he rs

piece composed in his manner, Wol described his approach wih a peculiar wording:

an experimen in composed improvisaion. (*3) In he subsequen years, Wol would

pursue he logical exension o hese iniial experimens, developing an inricae sysem

which employed sonic cues heard (and/or misheard) by perormers during perormance.

Tus, he brackes are no jus variable, bu hey remain indeerminae unil he acual

perormance. One prime moive o move in his direcion, Wol explained, was he ac

ha David udor always prepared deerminae scores rom any given indeerminae

graphic score, successully relinquishing all indeerminacy by he ime he perormed i on

he piano. Around he same ime, however, udor had begun o ackle he same problemon his own: implemening elecronic ampliicaion o his piano o aain a sae where

you could only hope o inuence (*4) he insrumen. In boh cases, hen, indeerminacy

is obained in he phase o perormance via he inervenion o an exernal elemen ha

canno be ully composed beorehand. For Wol, i is he ucuaing sonic cue ha serves

as a real-ime score; or udor, i is he indeerminae insrumen (given his parallel

relaionship, i is no surprise o discover ha he only non-elecronic piece in he reperoire

o Composers Inside Elecronics, a group ormed by udor in he 1970s, was Wols

Changing he Sysem (1972)).

3Access ed via hese hiso rica l preced ens, he disi ncne ss o Covi os Composed

Improvisaions becomes readily apparen: while preserving he deerminacy o boh he

insrumen and he score, i is he access o hem ha her works render indeerminae. Tus,

or insance, in Composed Improvisaion L (2010), he necessiy o ligh o see he score, as

well as he insrumen, is subvered hrough he use o a glow-in-he-dark score; Composed

Improvisaion G (2011) disors he physical ariculaion o he score pages, whereas in

Composed Improvisaion T(2009), he generally presumed singulariy and saiciy o a

score is nullied; Composed Improvisaion E andM(2010) boh play around wih he scale

o he score and o he individual noes respecively, puting ino quesion he appropriae


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disance or perceiving a score (an imporan precursor piece which implemens he same

principle o insrumens, is oshi Ichiyanagis Disance (1961)); Composed Improvisaion

J(2009) exends he same problemaics o ime, by exploiing he lack o emporal buer

generally presupposed in he ac o sigh-reading.

4

Grasped rom a slighly dieren angle, Covios indeerminacy can be seen as being

locaed wihin he physical condiions ha govern hevisual inelligibiliy

o music noaion(and insrumen, albei o a lesser exen). Curiously, his paraphrase brings Covios

Composed Improvisaions closer back o Cageno o his laer improvisaional pieces,

bu o his much earlier p ursui o graphic scores beginning in he 19 50s. For he basis o

Cagean graphic noaion was a simple, ye radical, recogniion: as a graphic composed o

poins and lines, any noaion is indeerminae o begin wih (and herein lies he crucial

dierence beween his and oher composerssuch as Moron Feldmansapproach).

Deerminacy, in oher words, is never an atribue o a given score; i is raher a correlaive

o he convenion ha governs he ranslaion rom he graphics on paper o he noes o

be per ormed (hough Cage himsel oo oen conounded his undamenal insigh wih

a acile eishizaion o he graphic; and ohers, o course, ollowed sui.) Tus Cage could

reue wih a simple argumen he blind belie in an singular relaionship beween he score

and sound, shared among so many o his conemporary composers: I i is on paper, hen i

is graphic. (*5)

In oher words, a (graphic) score or Cage could be hough o as a gian indeerminae

machinery (which includes he perormer) ha obuscaes any deerminae causaliy

beween is inpu and oupu. Bu unoru naely, his indeermi nacy exiss only or he

composer. As he perormer inside he machinery, udor spen days and weeks making

deerminae perormance scores ou o Cages indeerminae graphic noaions. he

composers soluion succeeds in eradicaing he scores predeermined conrol over he

perormance, bu i does so only by relegaing he same conrol o his perormers.

5

Raher han esablishing a deinie answer, Cagean indeerminacy remains hereore

merely a way o procrasinae he problem o conrol, leaving i o be solved in he ime

o perormance. udor and Wols sruggles o overcome his issue have already been

depiced. Covios soluion, however, akes place righ in beween ha o Cage and udor/

Wol. On he one hand, she preserves Cages idea o rendering he very reading o he score

(he composiion) indeerminae, bu on he oher, she enacs his very indeerminacy

in he real-ime o perormance (as improvisaion). Wha diereniaes her sraegy rom

counless oher employmens o graphic noaion is he shi rom readabiliy o visibiliy hashe applies o he Cagean model when ranserring i o he phase o perormance. Te score

is presen a he perormance, bu no longer uncions as a deerminae conrolling device

over he sounds o be producedand no because wha is writen remains ambiguous and

merely suggesive (an elusiveness which ends o be barered quickly wih a eish or he

graphic), bu because he physical condiions which allow a score o be seen in he rs place

is alered. Te quesion hus becomes ocused on how hings are read, and no wha. Hence,

he noion o a ound scorehe score need no be invened; i merely sufces or i o be

ound.

6As or he wo par Improvised Composiion F+M(2011), Covios ocus seems o have

swiched rom he perormer and he ac o reading a score o he composer and he ac o

wriing a score. I is sill possible o observeraher enaciouslya resonance wih Cages

000 (433 No.2) (1961) where he composer chose as he insruced disciplined acion,

he wriing o he same insrucions or he piece wih conac microphones aached o

his pen a he premiere. hus, he ac o composiion is isel saged as perormance. Bu

he dierences are also obvious, or Covio preserves he basic disincion beween he

uncional roles o he composer and perormer: he ormer wries wha he later renders

ino music. Boh wha is writen and he process o is rendiion remain deerminae. Te

only inervenion here is again on he level o accessibiliy. Te singular and predeermined


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Scores

access o perormers is cancelled by he pluralizaion o he composers/choreographers

(who eiher rush o provide heir scores o he perormers on a rs come, rs served basis

inImprovised Composiion M, or mus rely on a unconrmed pairing wih a given dancer in

Improvised Composiion F).

7

Maybe here is somehing ha Covios Impro vis ed Comp osi ions and Composed

Improvisaionsboh leave ou o sigh. Te peror mers reading process o he score is reaed

as a given when he wriing process is pu ino quesion, and he process o obaining

scores (wheher composing or ranscribing hem) never becomes par o he perormance

when he ocus is on he visib iliy o he ready-made noaion. Improvise d C omposii on

hus assumes ha insrumenaliss can always sigh-read; Composed Improvisaion, ha

scores are always ound. For his reason, i is ineresing o noice ha he mos recen

o her composiions, Improv ised Compo sii on S and R (2012) seem o be aemps o

deal wih his issue. he ormer by an uncanny seing o equaliy beween he process

o wriing a score and perorming i (in addiion o he usual removal o accessibiliy);

he laer by demanding a radical annulmen o he very procedure required o wrie

he score (which is none oher han he process o rehearsal) in order o perorm i.

Sure, he resuls migh be less visibly eneraining in hese works, bu more seems o be

kep in sigh. (And ha leaves us pondering abou he only remaining level in Covios

work s ha never seems o be quesi oned nor rela iviz ed: her lingui sic insr ucio ns.)

*1 Ellen C. Covio, Los Umwelen de Msicas, in Conra Paraguas: Revisa deMsica Proesa 24, 2009.

*2 Chrisian Wol, aking Chances: From a conversaion wih Vicor Schoneld, in Cues: Wriings & Conversaions.

Cologne: Musikexe, 1998, 72.

*3 Wol, Program Noe or Duo or Pianiss I (1957), in Cues, 488.

*4 Quoed in Ray Wilding-Whie, David udor: 10 seleced realizaions o graphic scores and relaed perormance

(1973), Los Angeles: David udor Papers, Gety Research Insiue, Box 19, Folder 2.

*5 John Cage, Silence: Lecures and Wriings. Hanover:Wesleyan Universiy Press, 1961, 177.


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Composed Improvisation E (2010)

For any number o perormers, bu no less han our. Wrie a score in he orm o an eye-

char, so ha he size o noes gradually decrease as hey proceed. Use he Snellen char

as model, and arrange hem in eleven verical rows. Te exac number o noes in each

row may no ollow he Snellen char, bu should increase as heir size decreases. Te

size o he noes should ollow he Snellen char bu wih he ollowing modicaions:he sandard opoype size should be verically divided o accommodae hree noes

(our saves). he ih sa should be added keeping he same inerval. So a noe on

he opmos row (20/200) should be sized 29.6mm (88.7 mm/3) all, he eigh row

(20/20) should be sized 2.96 mm all, and so on. Te inervals beween he rows should

be arranged o accommodae he noe sems and he use o ledger lines. W hen writen

insrucion is used, he size o a leter should ollow he Snellen char. Te green and red

blocks usually insered respecively aer he sixh, and eighh rows, in he Snellen char,

may or may no be used. A he perormance, all he perormers sand weny ee away

rom he score and perorm, mainaining a unison. Each perormer drops ou w hen s/he

can read no more. Te piece ends when he las perormer drops ou.

Composed Improvisation L (2010)

For any number o perormers, bu no more han our. I more han wo perormers

paricipae, hey should be posiioned as ar away as possible rom each oher. he

perormer selecs an insrumen ha s/he eiher doesn know how o play, or can only

play poorly. S/he pracices his insrumen unil s/he is able o perorm i sigh-reading

rom a given score (preerably an inroducory exbook or he chosen insrumen),

bu only very erraically. Wh en his sae is aained, pracice no more. he peror mer

wri es a score, or ransc ribe s a ound score, using a lumino us (glow -in- he-d ark)

marker. I possible, he ound score should be aken rom an unpraciced secion o

he inroducory exbook. In he perormance, he lighing o he venue is se as dark

as possible making he reading o he score possible, bu reducing he visibiliy o he

insrumen.

Composed Improvisation J (2009)

An ex ploraion o h e pr imordial conac be ween he score as ex a nd per ormer as

viewer/reader. Wrie a musical score which enails no only musical noes bu also jokes.

Compose he relaionship beween he noes and jokes conrapunally. Te perormer

perorms rom sighreading. In addiion o perorming he noes correcly, he reads all

he jokes, which may rigger uninenional sonic (or expressive) responses, or no.

Composed Improvisation T (2009)

Version A:

Gaher as many perormers as possible. All perormers wear a -shir wih ragmens

o scores prined. Te score can be newly composed, or can be a "ound score." No cle

signs should be used o provide ma ximum exibiliy or he available insrumens. Tere

are wo special -shirs wih barlines or he beginning and ending o he piece. Each

perormer sars playing aer s/he sees he -shir wih he beginning barline. During

he perormance, he perormers consanly move around and play whaever ragmen o

score (on he -shirs o oher perormers) ha hey see. Tey each sop playing when

hey see he -shir wih he nal barline. Te perormer wih he nal barline -shir

may choose o hide rom he oher perormers or as long as s/he sees .

Version B:

Same as A, bu he enire perormance happens in oal darkness. Each perormer carries

a ashligh or a candle, or wears a headligh.

Version C:

A ve rsion or dancers and musicians. he d ancers wear he -shirs and dance. he

musicians si around he dancers and perorm he visible score on he dancer's -shirs.

Te same insrucion or he beginning and ending as A applies.

A a concer, exra -shirs may be sold or he audiences o purchase and wear.


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Improvised Composition F+M (2011)

he irs piece was perormed as dance, and he second as music (he oal number o

perormers were eigh in each a he premiere), bu genre designaions are no essenialhe

dierence is beween wo modes o conveying wha is composed: verbal/gesural insrucions

(a eminine mode) and writen scores (a masculine mode). In ac, he rs can also be arranged

o be perormed as music, and he second as dance (or any oher genre where issues o

perormance and composiion is relevan, such as heaer). Bu yes, he dichoomy persiss.

F:A pi ec e o r eq ua l num be r o ch or eo gr aph er- dan cer s and dan cer s. Al l dan cer s and

choreographer-dancers appear on sage; he laer is also ree o move around. Each

choreographer-dancer chooses one dancer o pair wih, which once decided, may no change.

he choreographer-dancers choreographs in real-ime, and ransmis he movemen verbally

or gesurally o his/her dancer hroughou he perormance. he pairing is, however, never

discussed neiher among he choreographers, nor wih he dancers hemselves. So any dancer

may poenially reac o any insrucion rom any choreographer. Conac Improvisaion will, a

las, be ineresing. Te ending is also insruced by he choreographer-dancer.

M:

A piece or equa l numbe r o compo ser- per orme rs and per orm ers. All per orm ers and

composer-perormers appear on sage; he laer si on ables. he composer-perormers

compose in real-ime. As soon as he/she inishes a ragmen o any lengh, i is passed o a

perormer (or perormers) who immediaely perorm(s) i. Te perormer plays he ragmen

unil he end, or unil anoher ragmen is passed on o him/her. I no new ragmen appears by

he end o he given ragmen, he perormer repeas he same par again, unil a new ragmen

is given. Te composer-perormers may no collaborae. Te perormance proceeds on a rs-

come, irs-served basis, so he composer who wries his/her ragmen mos quickly, and o

he mos number o perormers, ges o be perormed he mos. However, reasons o decide

oherwise may exis: a) one wans o have his/her ragmen repeaed ( la minimal music) over

and over again, b) one likes wha he oher composer composed and decides o lisen, or c)

one preers o work on a single perormer raher han dealing wih he whole group. How hese

desires and ineress dier and are adjused or no beween he composer-perormers should

no be decided in advance. Te ending is also composed by he composer-perormer.

Composed Improvisation M (2010)

For as many number o perormers as possible. o be perormed in a venue wih no

risers, nor separae sage space. Prepare a score ha is he same size as he oor o he

concer venue (so he score mus be build specically or each new venue). Use paper

or abric. In case o paper, le he movemen o he audience upon i cause ears and

rips. Te score can be newly composed, or a ound score can be used. Wrie he rs

secion (in he case o a ound score, he rs page) on one side o he score. Fold he

score in hal, and wrie he second secion. Fold he score again in hal, and wrie he

hird secion, and so on. Te size o he noes should be modied accordingly in relaion

o he size o he given space. Te perormance sars wih he score covering he oor

o he venue. Te perormers mus nd a posiion/locaion rom which hey can read

he enire score. Each perormer may sar playing as soon as s/he secures an adequae

posiion. When all he perormers nish playing he secion, he score is olded in hal,

and he perormers reposiion hemselves accordingly (so a he beginning hey mus be

as ar away as possible, somehow posiioning hemselves on a higher place by piling up

chairs or climbing on pillars, ec; owards he end hey mus be as close o he score as

possible unil hey squash hemselves). Te piece ends when he score can be olded no

urher. Duraion is no specied bu he perormers should never dilly-dally.

Composed Improvisation G (2011)

Wrie or nd a noaed score o a l eas hree pages, preerably longer. Te perormer(s) may

choose o rehearse or no. Sick all he pages o he score ogeher wih glue or any oher

adhesive beore he concer. A he concer, he perormer mus proceed by ripping each page

open, and playing whaever noe(s) ha show up. he perormer may choose o collaborae

wih a page urner.


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Composed Improvisation R(2012) *no perormed onigh

For a solo perormer. he perormer selecs a piece s/he doesn know and requires

pracice in order o play in public. In every rehearsal, he piece is perormed (a leas

once in each rehearsal) rom he beginning o he end. his is recorded every ime

and ranscribed ono a ransparen shee o paper. Te ransparen shees are prepared

in advance wih saves o equal size on each. Once he rehearsal is inished and he

piece is ready o be perormed, all he ranscripions on he ransparen shee o paper

accumulaed over he course o rehearsal are superimposed on op o each oher.

Align he sup erimposiions using he saves o each sh ee. In he ac ual perormance,

he perormer perorms rom he composie score ha hese superimposed shees o

ranscripions make.

Composed Improvisation S(2012)

A musical exploraion o quasi-ESP exercises (aer Vio Acconci). Te composer wries

a score in a sae o sensory deprivaion: blindolded and ear-plugged. A he concer,

he perormer plays he score in he same sae o sensory deprivaion, while atemping

o read he score wih he umos concenraion. Te composer sis in he audience sea

and shous ou direcions and suggesions o he perormer.

Composed Improvisation B (2012)

For any number o duos. I more han one pair, a score which is wrien or he given

number o insrumenaliss should be ound (or composed). Te insrumenalis plays,

reading rom he score. His/her parner sands behind him/her. A any given momen,

he parner can cover he eyes o he insrumenalis wih his/her hands. Whenever

his occurs, he insrumenalis should ry as much as s/he can o coninue playing as i

nohing has happened.

Performers:

Aki va Zam che ck is a musician rom he Bronx. He sudies and plays in sundry musical

projecs, and leads he rock band DROBO which he New York imes recenly compared

o "an Alien Balle... alike o so many Van Dyke Park numbers reraced hrough burning

sequins". Akiva is paricularly excied o be involved wih his perormance o Covio's works.

New York Ciy naive Aliza Simons wears many has: ransmission aris, oral hisorian, musician

and champion whisler. Her group Cough Buon, a ransmission ar roika, jus perormed

heir irs made-or-radio opera a Roulee as a par o he Experimens in Opera Fesival.She is also a member Varispeed, he experimenal perormance collecive, Why Lie? he band,

WHY LIE? he ens embl e and a ye- o-b e-na med duo wih per cuss ionis Davi d Grol lman .

Brian McCorkle is a composer, perormance aris, and organizer based in Brooklyn. He

co-direcs he Panoply Perormance Laboraory wih Esher Ne. He has jus sepped

o he plane rom a perormance ar esival in Berlin and is looking orward o sharing

Covio's work wih you! more inormaion: hp://www.panoplylab.org/brianmccorkle

C a t h e r i n e P r o v e n z a n o c a me o New York i ve yea rs a go. S i n c e hen she ha s

ha d ei gh j obs, l i ved i n i ve a pa r men s , a n d been i n our ba n d s. Nex a l l she

w il l be se l in g d ow n o co n in ue h er pu r su i o a Ph D in e hn o mu si co lo g y a

NYU, which she expecs will be a hri lling advenure involving no se ling a all .

Corinne Cappelletti holds an MFA rom he Universiy o Uah in Modern Dance (2009)

or which she devised a model or place-ideniy hrough choreography and improvisaion.

Her duraional, social experimens: The New Pedesrian (Aix-en-Provence, France, 2011);

Carry your Burdens (Ar in Odd Places, NYC 2011); and IMPRINT (on-going) enliven srees,

homes, & public spaces. As a Somaic Educaor/ Dance Aris, Corinne collaboraes wih he

suden and he unaware pedesrian o re-imagine relaionship beween ar, people, and place.

Diana Crum lives in Brooklyn. Her choreography has been presened in New York;

Concord; Alana; Durham; Sal Lake Ciy; Vienna, Ausria; and Nancy, France. She has

received an iLab Residence (rom iLand, Inc.) an MCAF gran (rom Lower Manhaan

Culural Council) and a Choreographer's Projec Fellowship (rom Summer Sages


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Bassis , composer, and improviser Sean Ali rom Dayon, Ohio has been living in

New York Ciy since 2003. His curren projecs include: Feser, Naura Mora, Hag,

PascAli, Oracles, LahanFlinAli, and solo perormances. He is he ounder and leader

o a large ensemble or low-one insrumens called he Mudbah Orchesra. He is co-

ounder and member o he new music label Prom Nigh Records. (seanali.umblr.com)

T r a v i s J u st ' s musi c ha s been presen ed a roun d he world a n umerous es i va ls

a n d c o n c e r s . H e h a s c o m p o s e d w o o p e r a s I n n o v a ( 2 0 1 1 ) a n d P r o b l e m

R a d i c a l ( s ) ( 2 0 0 9 ) . H i s n e x o p e r a NO HO TE L p r e m i e r e s i n 2 0 1 3 . H e i s c o -

d i r e c o r ( w i h K a r a F e e l y ) o O b j e c C o l l e c i o n . ( w w w . o b j e c c o l l e c i o n . u s )

- - - - - - - - - - -

No Collective (Yo u Na ka i, e al .) ma ke s mu si c pe r or ma nc es wh ic h ex pl or e an d

problemaize boh he concepual and maerial inrasrucures o music and perormance.

Recen works include he publicaion Conceros (Ugly Duckling Presse, 2011), which

describes and prescribes he rehearsal, perormance and documenaion o a music

concer in he orm o a playscrip. On June 15, we will premiere Conceros No.3 a he

Incubaor Ar Projec (S. Marks Church). On Augus 26, we will presen anoher ull-

scale work a he Naional Museum o Modern Ar in okyo. (nocollecive.com)

Panoply Performance Laboratory(PPL) is a perormance collecive ormed by Esher

Ne and co-direced wih Brian McCorkle. PPLs public opera projecs have included a

rilogy o opereas called The Transformaional Grammar of he Insiuional Glorybowl,

operas like The Las Dreams of Helene Weigel [] and On he Cranial Nerves of Barbarians,

and (wih hingNY), TIME: A Complee Explanaion in Three Pars. Oher projecs include

insallaions, a miniaure museum, video, and perormance ar and music pieces. PPL

also curaes he PERFORMANCY FORUM, a plaorm or hybrid perormance acs, and

organizes perormance conerences. (panoplylab.org) and (panoplylab.wordpress.com)

hanks o Ana Maria Alarcon or her assisance in he ranslaion o Ellen C. Covio's ex(s).

a Concord Academy). She currenly works as Developmen Associae a Movemen

Research, consulan o independen choreographers, and occasional perormer.

Esther Neff is he ounder o he Panoply Perormance Laboraory (PPL). She has mos

recenly perormed paricipaory rameworks and acions during he Monh o Perormance

Ar in Ber lin , mad e a ex -s cor e or Lin dse y Dru ry's Run Lile Girl a he Cunningham

Sudio, and is in he middle o developing an opera called NAURE FEISH which will

premier a Grace Exhibiion Space in July, 2012. www.panoplylab.org/esherne.hml

G e lse y B e ll i s a s i n ger , son gwri er , a n d sc hola r . S he i s a member o hi n gNY,

Va ri sp ee d, an d h e Ch u ne ys . He r ne we s so ng cy cl e, Our Defensive Measuremens,wi l l be s ho wn a F ac ad e/ Fa sa d in Re d Ho ok on J un e 2n d . Sh e is al so an AB D

D o c o r a l C a n d i d a e i n P e r o r m a n c e S u d i e s a N Y U . w w w . g e l s e y b e l l . c o m .

Ivn Naranjo (Mexico, 1977) is a composer and experimenal music perormermember o

Pygmy Jerboacurrenly based in Brooklyn. www.ivan_naranjo.com | www.pygmyjerboa.ino

Dance ariss and collaboraors K a i a G i lg e an d L J L e a c h recenly relocaed o

New York Ciy rom Washingon Sae. hey are working on various projecs in

he ciy wih oher dance ariss and are happy o be joining his insane projec.

A cu ra o r on ce ca ll ed Lindsey Drury a "Shamanic rickser, Inelligen Wack-

J o b. " B or n i n S e a l e , Oc o b e r 8 h , 1 9 8 0 , n o w l iv e s an d w o r ks i n Br o o k l y n.

Ma ri a St an ko va wri es musi c , p la ys musi c a n d wri es a bou musi c . C urren ly

s h e i s s i n g i n g w i h E n s e m b l e P a m p l e m o u s s e a n d P y g m y J e r b o a , s u d y i n g a

N Y U , c o m p o s i n g w o n e w w o r k s o r I n e r n a i o n a l C o n e m p o r a r y E n s e m b l e

a n d E n s e m b l e P a m p l e m o u s s e , a n d c o l l a b o r a i n g w i h N o C o l l e c i v e .

Ma sa mi To mi hi sa is a composer/pianis/percussionis rom Japan. She perorms

classical, conemporary, avan-garde, and improvised music. As a composer, she has

collaboraed wih aris Joanna Malinowska and i lmmaker Guy Maddin, and her

composiions have been perormed a Perorma 09 and Noingham Conemporary.


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Diagram or Composed Improvisaion F+M

No Collective and Panoply Performance Laboratory Present:

TeMusic of Ellen C. Covito

May 24, 2012

Vaudeville Park

26 Bushwick Avenue,

Brooklyn, NY

A book of Ellen C. Cov itos music is scheduled to be publi shed in early 2013. For

more information about the publication, please email: [email protected]


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Documents

Covito Program