This past week we initiated the Clothesline series with compositions 1-4. The hub of it so far is myself, sort of this visionary and hurdy-gurdy man, and Ryan Wilks, sound/audio artist adding “chimes” that add in– all extremely-notable people. Zero, pictured below, features David Wilks coming in suddenly (time off from work) with his white Strat. Then, the sound link included here is of Clothesline #3. 

In Clothesline One, each guest was a given a make-believe character. The list included The Voice of Admonition and A Choir of Naysayers. Standing in judgement of their spectacular theatrics were two, low reeds, Patience and Fortitude. The low clarinets formed a direction here for themes and moreover extended techniques to play a part. I may be trying to slightly imagine theater, maybe absurd theater, place/weather, and archeology. Wellington Gordon, rounded our our cast, preforms on bass.

From the #2 piece we went right on to record Clothesline #3. The recording session took place in APPE last week. I asked all of the ensemble to read an object, something which big enough to resemble an installation. The object was to become be our musical score. I wanted to sell the idea that aesthetics and time are the only two non-negotiable elements in order to perform a musical piece like this. The gurdy adds a flavor of strangeness for any and all other sounds to be set on top, a sort of underneath matrix for sonic decoration. 



About the Author:

After Jim Winters arrived as a jazz trombonist for years, he now has now finished his second year as a graduate student here at IMRC. He owns two hurdy gurdys, thus exploring drone-musical work and the aesthetic value of unfinished music. His concentration ranges from experimental-musical composition to photos, sometimes wondering about the colonization of 12-tone Western music vs. noise.

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