David Tudor: Toneburst Maps and Fragments
In 1995-96 David Tudor collaborated with Sophia Ogielska on a visual language for representing Davids music compositions created in analog circuits. Focusing on Tudors composition Toneburst for Merce Cunninghams Sounddance, they developed Toneburst Maps and Fragments -- a collaborative installation work which used visual elements derived from David Tudors scores. The work was first exhibited at the Ezra and Cecile Zilkha Gallery at Wesleyan University in 1996.
ISSUE Project Room partners with Harvestworks to present an exhibition of their selected visual works Toneburst Maps and Fragments -- and a contemporary interpretation of the works accompanied by a panel discussion. This event is presented as part of the 50th anniversary of Experiments in Art and Technology.
Described as the essence of the music of David Tudor, the event marks a unique opportunity to see and hear Toneburst. The early evening panel is moderated by John Driscoll, with context and background presented by John D.S. Adams and You Nakai. Further, Sophia and Andy Ogielski discuss their collaboration with Tudor.
Following the panel, a performance by Michael Johnsen highlights his current research in the circuit-level documentation of David Tudors folkloric homemade instruments at Wesleyan University. Serving as the only remaining clues to these pieces, Tudors exquisite score diagrams are simultaneously explicit and opaque to the would-be performer. Using electronic instruments of his own making, Michael references the Maps, which can be entered at any point and traversed in any direction producing multiple performances of the works.
Structure and a certain natural order emerge from visual associations imposed by the mind Sophia Ogielska
David Tudors circuit diagrams describe the performance instrument for Untitled and Toneburst. The Maps, and Fragments that Tudor and Sophia Ogielska made can be seen as a description of the performance and the possibilities inherent in multiple performances of the work. Tudor felt that they had created a language through which the performance of his work could be described. The Maps can be read as scores, which can be entered at any point and traversed in any direction, producing one performance or many performances. c. 1996 by Billy Kluver and Julie Martin
Toneburst turned out to be a very important piece for Tudor. He described it in 1994 as being a direct translation of his mind into music. Toneburst represents the culmination of a decade of experimentation and is considered to be the definitive Tudor composition It wraps up in one complex package the mysterious ideas and elusive philosophies behind the concept, realization and performance of his music. Toneburst is David Tudor. c. John D.S. Adams
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