C.R. KASPRZYK

~ 59.53 Hz

August 22nd, 2010 // field recordings

Everything is amazing

August 15th, 2010 // technology

I suppose I’ll contradict myself here. I’m becoming oriented for my doctoral studies tomorrow. Much of my teaching/studying will focus upon the incorporation of digital media in a musical setting (and be theoretically good). I don’t have everything on my shopping list just yet, but there is much at my disposal with this opportunity and I look forward to studies with my mentor. In the midst of a semester, it’s probably best for me not to complain about music notation software or other things that we expect (but really are major conveniences). Technology has come a long way. Our concerti involving mobile devices have become a little more sophisticated (this is true of toothbrushes as well) and there are many great companies creating standard software to do impressive things.

So in this world where we can make t-shirts out of old plastic bottles, try our hand at expressionistic painting, and cassettes are just good for breaking apart to use the tape as a bow for various string instruments, why not be smart about things, stop video chatting while operating a gasoline powered vehicle and drinking from a disposable cup, and take a moment to unplug electrical items that aren’t being used and see how else one can not be wasteful? There is much at our disposal and everything is amazing.

Music at Main

August 10th, 2010 // saxophone

I recently performed on the Music at Main concert series at the Cleveland Public Library. (While others feel differently, Cleveland is alright…but I’m still a fan of Baltimore). I admit preparing for events like this in recent time has posed some worries on my behalf, having many odds (other than now living over two hours from Cleveland) against me. Despite concerns with tone and reeds, I “expertly portrayed” [the works] with “musical flair” (Clevelandclassical.com). It was great to perform with the (evolving) group again, particularly John, who proved incredibly helpful and supportive during my Cleveland stint. I’m always thankful for performances like these but do look forward to what’s next as I pursue a better execution of my composition-classical saxophone-phonography-electronics-free improv-environmentally concerned-etc.-hat.

The series’ curator, Michael Dalby, brings a number of musicians in to perform in a setting that would not normally be used for musical events. While this leaves one with little surprise when a random gentlemen walks in front of you during a concert, as was the case, the benefits of the series are plentiful and should be revered. Dalby’s enthusiasm and commitment also yielded audio and video made available in an amazingly quick fashion. If only everyone worked as efficiently…!

E. Grieg, Aus Holberg’s Zeit, mvmt. 1

The space itself is quite beautiful and offered extremely reverberant acoustics (as I should have anticipated). Those reading in the library that day were offered a different performance acoustically, depending on the floor on which they sat. I couldn’t help but notice features of the sound that followed ours.

J. Perrine, Vonnegut, mvmt 5, Man Without a Country followed by the a closer look at the library’s acoustics

07.13.10 preview

July 30th, 2010 // composition, environment, field recordings

I’ve found myself observing how prevalent power is in our society. The dependency on electricity, for example, has found an invisible place in our lives. (Field recordings left this painfully evident). With that, I’m exploring a variety of textures created by layering the sounds of computers, printers, TV’s, cars, electricity poles, coffee makers, etc. (as heard below).

Many of these electromagnetic fields will be utilized in a new piece I’m writing called 07.13.10. The work itself will take many forms: two or four-channel prerecorded electronics, as well as in its full version with baritone saxophone and harp, realized through the Eastman-based Mana Duo (Dannel Espinoza/Kristina Finch). The version without acoustic instruments will be premiered alongside other four-channel works in Baltimore, August 12th at the Red Room; the full version will likely premiere in early 2011 in Rochester, NY.

Samples of electromagnetic fields…

Learn more about the work and listen to an excerpt here.

I love/hate technology

July 27th, 2010 // technology

I recently updated WordPress and while this went better than the previous time, I am still left trying to hack my way into code that has altered my site (e.g. the nifty side bar is gone, leaving visitors wondering what inspired me to have a picture of headphones, a clock, and the Picasa logo sitting useless and forlorn). While I admit that I’m a bit of a perfectionist, it is upsetting that this essential update leaves me with a larger to do list (i.e. fix the problem or come to accept that my online business card has flaws). (P.S. Safari, you’re used 25.3% of my visitors. Are you really not @font-face friendly!?)

I do not intend to scorn WordPress with these words; the problem is likely the fault of me dipping outside my field (again) and I cannot imagine using some other platform for a website at this point in time. Still, as I happily work with my favorite music notation program (and then receive a coupon for the 2011 edition), I, at times, wonder when all of this will stop. Having recently recycled a desktop PC that boasted Finale 3.X, Asteroids, and speeds that make one think a pencil would be the better means of executing a project, it seems obvious that the old adage of technology being out-of-date in around a week or so seems to hold a strong case.

I once tried to perform a work that was scored for, to generalize, saxophone and electronics. The (extremely gracious) composer went out of their way to foster my interest in their work, trying to alleviate our OS 9 vs. OS X issues through email and eventually, in person. I was never able to perform the work. The results were not necessarily the fault of the composer, but merely a product of me not expressing interest in the piece five years prior. Current projects trumped a revision of the older work.

I wonder, as I delve into a world where technology is a larger part of my work, what the future holds for music. Most composers, I would assume, would like their work to be performed in the future, should someone have interest. To tackle interpretation used to primarily be an issue of deciphering notation. There are a few, however, that have gone in [the] two worlds of past and present successfully. As the reel to reel-4/8 track-vinal-cassette-CD-mp3 progression continues, it begs the question how a work for prerecorded electronics (that’s a tape piece to my slightly older colleagues) will be successfully approached in the future. While this may be a relatively easy problem to solve, it raises concern with works that involve gesture-based interactive electronics, for example. I guess I’ll keep waiting for my hover board and embrace change. Perhaps all good things come to those who wait work hard. I’m thankful (most of the time).

Teaching in Northwest Ohio

July 15th, 2010 // saxophone, teaching

Alongside preparation for the coming semester, I’m doing a bit of recording these days for use in the next piece. Additionally, I have put together one last(?) website as I am actively recruiting students. Aside from my duties (tbd) at BG this fall, I’ll be teaching private lessons (i.e. saxophone, etc.) at the Perrysburg Music Center. Take a look at the site (crkasprzyk.com/teaching.html) and feel free to forward to those who may find this of interest.