Gahlord Dewald

Online concert for University of Missouri School of Music as part of my Mizzou New Music Initiative Spring Residency: Iʻm very excited to be presenting a concert for Mizzou. Canʻt wait for quarantimes to be over with but in the meanwhile, I hope you join me for this show.

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Program Notes

Want that mind map of the notes from my talk? Here you go! Also feel free to ask questions!!

Much of tonight’s show was made possible by experimental music incubator Community of Sound, in Burlington, VT. Having a studio where we work together is meaningful to the sounds we can make and support.

This first piece is an excerpt of “NY Snowfall” from my series of sound fabric called New Function. I made it with a variety of analog and other electronic devices in my studio. This and the other works on New Function explore a single idea of an extended period of time.

Brothers & Brothers” is a poem by poet and bass clarinetist Toussaint St. Negritude. As Jaguar Stereo! we perform together combining his poetry with our collaborative improvisation. You can learn more about Toussaint here.

Experimental Bass 100.017: When I play the bass I always hear the very faint overtones of strings. Here I use studio electronics, along with other implements to share those sounds with you. You can hear more of the Experimental Bass series.

Anoriginary Drive” is part of a longer work with a programmatic element. The analog textures of my electronic studio—Moogs, cassettes, encapsulated electronics—release artifacts that help to evoke a time and space.

Bawlin’” is a piece by Ariel Zevon. She asked me to add my free improvisation sound to her compositions. She made an album’s worth of these sounds.

One of the many upsides of having a studio like Community of Sound is that we can wear flippers and turn on the bubble machine and just make stuff without too much hassle.

An important aspect of community is showing up to other shows. It’s always a good idea. “Fantasia on a Theme by Jennifer Torrence” exists because I once caught a show at the old Firehouse in NYC featuring percussionist Jennifer Torrence.

She created such a fantastic mayhem of sound from all manner of objects arrayed on a folding table, including some newsprint. This work is a fantasia on that source of inspiration.

This performance is from a community show that happened just before lockdown took effect. It was organized by experimental narrative electronics & cello musician ouzkxqlzn.

By paying attention when I’m online I’ve had good luck meeting other people to make music with, many as part of #musochat but also people who just appear serendipitously. Instagram user Netm8ker approached me to add something to a beat tape he was working on to uplift 2021.

I created “Persica” by sampling and re-ordering material from “Anoriginary Drive.” They are essentially the same sounds, just re-ordered/re-layered/re-sampled. It further extends the narrative of the work that contains “Anoriginary Drive.”

100.018 is the result of composer Jen Wang asking for some of the white noise capabilities of the double bass. This research and experiment were (I hope!) useful as she made a double bass arrangement of “The Days are Long” which I premiered in 2019.

Pots as Big as Human Dignity” One of the many things I enjoy about working with Toussaint St. Negritude is that, while the poems are fixed, his delivery is improvised—different from the first time I hear his words and each time thereafter.

Vermont-based new music ensemble TURNmusic, is expanding the connections between indie classical music and adjacent sounds. As part of that Jaguar Stereo! played a “Late Set” after one of their shows. Communities connecting and bringing new sounds forward.

Apr 19, 2021 | 8:30 pm - 9:15 pm | date_range

School of Music
Columbia, MO