Greetings, and thanks for coming to check out Groundhog Night! The piece is an innovation in audience involvement, an experiment in musical energy, and an environmental statement. The performance experience demonstrates clearly and with no words that people hear the same thing and have very different reactions, a powerful lesson in itself. Participants are drawn deeply into the question of musical energy and the changes that alter its perception. Both audience and performers have a level of joyful engagement that is remarkable. I've recently written a blog post about the process, for it breaks down barriers not only between composers and performers but (at last!) composers as well, creating what I call meta-composition. Follow this link to locate that post.
One of the primary things that creates the "meta" appellation is that I conceive of the piece as a collection of its realizations over time. Thus I have started to compile those iterations, and offer six on the page linked here. As the piece gains more realizations, I'll add them.
The piece is now adapted for three instruments of general description: one melody instrument, one singer, and one harmony instrument (guitar, piano, accordion, or synthesizer), so that it can be done in many ways. I'm working with the help of a grant from the Massachusetts Cultural Council to develop it and carry it to many places, but especially to those who don't usually get to experience such empowerment (not to mention experimental music that engages them deeply!)
I'm providing here a little information about the piece and its performance for insight and background. Please be in touch with any questions or comments.
If you are interested in hosting a performance, please be in touch.
Kind regards,
John
Last update: September 30, 2024
One of the primary things that creates the "meta" appellation is that I conceive of the piece as a collection of its realizations over time. Thus I have started to compile those iterations, and offer six on the page linked here. As the piece gains more realizations, I'll add them.
The piece is now adapted for three instruments of general description: one melody instrument, one singer, and one harmony instrument (guitar, piano, accordion, or synthesizer), so that it can be done in many ways. I'm working with the help of a grant from the Massachusetts Cultural Council to develop it and carry it to many places, but especially to those who don't usually get to experience such empowerment (not to mention experimental music that engages them deeply!)
I'm providing here a little information about the piece and its performance for insight and background. Please be in touch with any questions or comments.
If you are interested in hosting a performance, please be in touch.
Kind regards,
John
Last update: September 30, 2024