[im]possibilities

soprano saxophone, beatboxer and interactive electronics

Excerpt (1’04″)

Throughout history, some composers have striven for a cohesive blend of cultures in the context of classical music. Excursions abroad or recognition of one’s own ethnicity sometimes inspire such endeavors. [im]possibilities represents a more direct approach exists, borrowing from different music found more readily in the culture surrounding the composer. Cohesion, or lack thereof, is not the intent, but rather the question.

Rhythm, derive from various forms of American popular music, is the designated role of the beatboxer in this piece. The loose notation and “jam-like” construction of the work emphasize further the importance of popular culture in the work. The harmony however, is more typical of recent thought in classical music, in this case achieved through live sampling implemented with technology developed by Eric Lyon, Christopher Penrose, and Dan Trueman. The saxophonist is found in a compromising situation throughout the work, often incorporating musical elements from both worlds.

The work explores and takes risks by mixing music of diverse cultures, resulting in an amalgamation of distinct textures, or a collage of musics that simply do not cooperate with each other. Listeners may ponder local and global instances of cultural interaction and the understanding/listening that may (or may not) occur, particularly at the political level. [im]possibilities owes much to the vision of Shodekeh, (human beatboxer) and Jeremiah Baker, (soprano saxophone). With Kasprzyk, (laptop), they premiered the work as part of After Now at the Red Room in Baltimore, MD on March 8, 2008.