Review of Open Music Concert – November 7, 2024

On November 7, 2024, the Open Music concert took place, offering a fascinating platform for student experimentation and creativity. Students from various levels and programs, including Music BA, Music BMus, and Music MMus, were tasked with composing small pieces that responded to a specific theme. The theme of the concert was indeterminacy, an approach to composition where the scores leave varying levels of freedom for performers to interpret.

Tom Armstrong participated in the concert, sitting at the center and playing the chamber organ and melodica. While there was no formal dress code, everyone looked neat and presented themselves well, which did not affect their cohesiveness as a group. Occasionally, performers would switch instruments, but they did so seamlessly, without interrupting the flow of the concert or disturbing the audience.

The concert began with the piece Black Hole, and immediately, the atmosphere felt dynamic and diverse. The second composition was highly unpredictable, with performers singing and playing in a variety of ways. Even some instrumentalists, like the violinist and guitarist, joined in with the vocals. This created a very free and unrestrained sound, which was full of energy.

The third composition, Winter Trees, stood out to me as it featured captivating sound effects that truly embodied the winter theme. The sounds felt cold and atmospheric, evoking a deep sense of winter chill. The piece was dramatic and piercing compared to the previous works, but it ended on a very calm note.

After this, Tom Armstrong welcomed the audience. The concert then proceeded with other compositions, including Struggling Bird, which also caught my attention. This piece really captured the essence of a struggling bird. The vocalists screamed as if in distress, and there were intriguing sound effects, particularly mimicking bird calls. The performance felt desperate and loud, with the performers expressing frustration, which resonated with the piece's title.

The voices of the vocalists and the instrumental parts interacted in a distinctive way, giving each composition its own character. In contrast, “Friday” was much calmer and melodic, with intervals that provided a soothing balance to the more intense pieces. “White Light” also followed this peaceful trend, offering relaxing atmosphere with gentle vocals.

At the end of the concert, Tom Armstrong invited all the composers to the stage for a round of applause. Afterward, the final pieces were performed, and the energy in the room shifted again. It became clear that the audience was fully engaged, with some performers even getting up from their seats to dance. Tom Armstrong joined in the fun, and it was a lively and joyful conclusion to an already exciting concert.

My Thoughts on the Concert:

This concert left me with a wide range of impressions. I particularly enjoyed the calmer, more melodic pieces, as they provided a nice balance to the more intense performances. There’s something incredibly peaceful about pieces like White Light and Friday – they felt grounding and soothing after the intensity of the others. However, the vibrant and unconventional pieces also had their own charm. They were bold and expressive, and while they were intense, they conveyed a lot of emotion and creativity.

The concert offered a unique experimental experience, allowing me to appreciate the flexibility and unpredictability of indeterminate music. I was impressed by the level of creativity shown by the students, and it was exciting to see how each piece had its own distinct character. All the compositions were true to their titles, with the soundscapes matching the names perfectly. For example, Struggling Bird really sounded like the turmoil of a bird in distress, and Winter Trees evoked the coldness and stillness of a winter landscape.

However, there was a minor issue for me personally: I was seated very close to the stage, in the front rows, which sometimes made the louder pieces feel a bit overwhelming. While I appreciated the energy of the performances, the volume and unpredictability occasionally made it hard to absorb every piece comfortably, which is a personal preference. The more intense, spontaneous pieces could also feel overwhelming for those unfamiliar with experimental music.

Overall, the Open Music concert was an excellent showcase of creativity and experimentation. The diverse styles and indeterminacy made for an inspiring and engaging experience, leaving me eager for future performances.

The second group then took the stage. They performed a jazz program that included songs like "Porgy and Bess," "Hymn to the Fallen," and "Polar Express." The conductor, John, did a fantastic job leading the group. The atmosphere was much calmer compared to the first group, but I appreciated how smoothly they transitioned from the upbeat "Porgy and Bess" to the serene "Hymn to the Fallen." This song featured many solo instrumental sections, allowing each performer to showcase their skills in a subtle and impressive way. The performance felt cohesive.

The penultimate group, the "String Orchestra," took the stage next. Fewer audience members were in the hall by then. Some chairs and music stands were removed, but one small issue I noticed was that a napkin was left on the floor, which was not cleaned up until the end of the concert, slightly detracting from the visual appeal of the stage. Unlike the previous groups, they performed more popular songs, including "Anti Hero" by Taylor Swift and the traditional holiday favorite, "We Wish You a Merry Christmas”, with beautiful combination of viola and cello, which created a magical and festive atmosphere.

The final group, Surrey Brass, performed without a conductor, but Eddie assisted occasionally by playing his instrument while sitting with the group. Although there were brief moments when the performers' breathing was audible, but it did not distract from the performance.

Overall, I thoroughly enjoyed this concert due to its diversity and the distinct style each group brought to the stage. They all did a fantastic job, and the audience clearly enjoyed the performances. One of my favorite aspects was that each group included at least one New Year’s themed piece, which contributed to the festive mood of the evening. It was also delightful to see some of the performers decorating their instruments with holiday-themed elements, which added to the visual appeal.

The stage was well-prepared, though some visual details could have been improved. Despite this, the concert was a highly enjoyable experience. From a management perspective, it highlighted the importance of smooth transitions, attention to detail, and the impact of a well-curated program on the audience.

I appreciated the variety in musical selections and the festive atmosphere. This reinforced the value of flexibility, attention to detail, and setting the right tone with carefully chosen pieces—lessons I’ll apply in future events as a concert manager.

Preparation:

As part of my preparation for the role of concert manager, I carefully familiarized myself with the concert management guidelines. I ensured that I was dressed appropriately in black, as required for formal events. On the day of the concert, I arrived at Studio PA1 at 11:00 AM, well ahead of the scheduled time. Shortly after, other members of the concert management team arrived.

We were informed that this concert would be different from the usual lunchtime recitals. It was a Creative Music Tech LTR, an experimental event designed to immerse the audience in unique, innovative sound and light techniques. The studio setup was mesmerizing: colorful beams of light illuminated the space, creating a calm, almost meditative atmosphere. Gentle ambient music, reminiscent of forest sounds, filled the room.

Since there was some time before the event began, we were given a break and returned at 12:30 PM. Upon our return, Shiv introduced us to the lead organizer, Augustin. He explained the various techniques that would be showcased during the concert and gave us the opportunity to experiment with them ourselves.

Experiencing the Techniques:

One technique that stood out to me was called Holomorph. By moving hand around the device, it produced enchanting, forest-like sounds. It felt almost magical. This interactive element allowed me to connect with the technology in a deeply personal and creative way.

Then, we arranged the chairs in a circular layout around the studio so that the audience could have a closer, more intimate view of the performances. My partner for this event was Nadine Tabanji, and together we were assigned to manage the doors. Unlike other concerts, there was no printed program for this event.

Managing the Audience:

As guests arrived, I greeted them warmly and briefly explained what the LTR was about. I also opened the doors for them and guided them into the studio. Once everyone had entered, I observed the space to ensure it remained clean and organized.

During the event, the audience had the opportunity to interact with the technologies. One of the highlights was a screen that projected participants' shadows as dynamic images—transforming them into shapes, fruits, and even leaves. This visual interplay was captivating, and the audience engaged with it enthusiastically, dancing and experimenting with different movements.

Personal Reflections and Insights:

Observing and interacting with these experimental techniques left a profound impression on me. The event made me realize how technology and creativity can merge to create truly immersive experiences. The Holomorph was particularly inspiring—it sparked a sense of wonder and allowed me to feel like a part of the artistic process.

As a manager, I learned valuable skills such as maintaining organization, communicating effectively with the audience, and ensuring the event ran smoothly. This role taught me the importance of adaptability, especially during unique and unconventional performances.

Challenges and Growth:

One challenge I faced was managing unexpected arrivals during the event. I ensured that latecomers received clear instructions and kept the doors closed to maintain the studio's ambiance. Another was handling the interactive nature of the event, which required me to be vigilant and responsive at all times.

Despite these challenges, I found this experience incredibly rewarding. It enhanced my understanding of concert management and gave me insights into the logistics of experimental performances. These skills will undoubtedly be invaluable in my future roles.

Since English is not my native language, I sometimes struggled with reading the lyrics and fully understanding their meaning. This added an extra layer of challenge when it came to delivering the songs with the appropriate expression and emotion.

Being primarily a jazz and pop performer, I also had to adjust my style to fit the classical choir setting. One of the struggles I faced was finding my place within the vocal range required for these pieces. My usual genre allows for a more flexible vocal style, but classical choral music demands precision, and that was a bit challenging for me. Despite these hurdles, I thoroughly enjoyed performing the pieces, especially "Church Bells" (1851), which was a standout for me.

I found this piece particularly meaningful because of its deep emotional quality and its intricate dynamics. For a jazz and pop singer like me, who’s accustomed to improvisation and freedom, it was a challenge to maintain the technicality and structure that this song required. However, it also gave me an opportunity to grow by balancing emotional expression with the technical demands of the music.

Another piece, "O Come All Ye Faithful," posed a challenge with its fast tempo and complex harmonies, requiring precise coordination. Staying in sync was difficult, but it emphasized the importance of precision and harmony in group performance.

Although I missed some rehearsals, choir taught me valuable lessons like navigating challenges, reading scores, and singing in a new style. I gained discipline, learned teamwork, and discovered how to blend my voice with others for a harmonious sound.

This experience deepened my understanding of classical music and performance, helping me grow as a performer. I now feel more confident navigating various musical genres, applying these lessons to future performances.