listener's ensemble.
ha ha funny.
(a football cheer squad who are really into art music Performed at Sound Spectrum 20.2 Listener's Ensemble Concert)
Combining my love for physical game design, composition and silliness, ha ha funny is a zine full of one page musical games, often involving a lot of theatrics and making the performers realise that they are there to entertain through more ways than auditory; that in fact they are on a stage, and must act like they are on one.
This idea came from Toby Blackman, who wrote a text score for listener's ensemble called Nine, Ten!, which then inspired me to write a conglomerate of other text scores, all of which encompassed under the idea that though there isn't much to be excited about in the current day, there's still fun to be had, especially as a performer. It also utilises the fact that musical performers are still a variety of performer and are on a stage, and thus the enjoyment of watching them live shouldn't come only from the auditory experience.
The 10 pieces were written as things to implement into other concerts as a way for musicians to have some fun with their performance; acting almost like a small intermission, where both the audience and performers can loosen up. Something that I may write about soon is the line in the introduction "i don't think anyone would like to hear me talk about politics", and it's because these pieces are inherently political, as is everything in our post-modern world. It's just that I don't outwardly express my politics in a direct way. The pieces themselves are very anarchistic, which is also the political statement I most agree with. Funny that.
Combining my love for physical game design, composition and silliness, ha ha funny is a zine full of one page musical games, often involving a lot of theatrics and making the performers realise that they are there to entertain through more ways than auditory; that in fact they are on a stage, and must act like they are on one.
This idea came from Toby Blackman, who wrote a text score for listener's ensemble called Nine, Ten!, which then inspired me to write a conglomerate of other text scores, all of which encompassed under the idea that though there isn't much to be excited about in the current day, there's still fun to be had, especially as a performer. It also utilises the fact that musical performers are still a variety of performer and are on a stage, and thus the enjoyment of watching them live shouldn't come only from the auditory experience.
The 10 pieces were written as things to implement into other concerts as a way for musicians to have some fun with their performance; acting almost like a small intermission, where both the audience and performers can loosen up. Something that I may write about soon is the line in the introduction "i don't think anyone would like to hear me talk about politics", and it's because these pieces are inherently political, as is everything in our post-modern world. It's just that I don't outwardly express my politics in a direct way. The pieces themselves are very anarchistic, which is also the political statement I most agree with. Funny that.
Thank you Josten Myburgh for running the Listener's Ensemble in 2020, it was a blast to play with and learn from you. Check him out by clicking on his name.