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Music & Poetry

Music & Poetry he following conversations with contemporary classical composers demon- strate how music and poetry speak much the same language, and even un- Tderstand themselves in each other's terms regarding rhythm and sound, time and structure, address and listeners, recitals and recitation. Kate Soper, Matthew Aucoin, and Seth Parker Woods are three very different American com- posers working today. Soper also writes her own libretti—syncretic texts that engage classical and medieval verse and contemporary literature. An excerpt of her recent work, Romance of the Rose, is included here. Aucoin, an erstwhile poet, whose Eurydice was performed this season at the Metropolitan Opera, has set to music poems and other writings by Walt Whitman, Paul Celan, and Jorie Graham. Woods, a cellist and performance artist, often interweaves archival recordings and live poetry recitation on stage, while also engaging visual arts. The work of all three composers is set to be featured this year at the 76th Ojai Music Festival in Ojai, California. (American Modern Opera Company, or AMOC, co-founded by Aucoin, is the first collective to be chosen as the festival's music director.) These discussions consider the spoken word, voice types, and silence; lecture-performance, the academy, can- ons, and avant-gardes; the interplay between history, material texts, and graphic notation; in addition to the creative cycle of dreaming, composition, and decay. Geoffrey Lokke 40 ■ PAJ 131 (2022), pp. 40. © 2022 Geoffrey Lokke 40 ■ https://doi.org/10.1162/pajj_e_00621 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Music & Poetry

Lokke, Geoffrey
PAJ: A Journal of Performance and Art , Volume 44 (2): 1 – May 1, 2022
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Publisher
MIT Press
Copyright
© 2022 Geoffrey Lokke
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_e_00621
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Abstract

he following conversations with contemporary classical composers demon- strate how music and poetry speak much the same language, and even un- Tderstand themselves in each other's terms regarding rhythm and sound, time and structure, address and listeners, recitals and recitation. Kate Soper, Matthew Aucoin, and Seth Parker Woods are three very different American com- posers working today. Soper also writes her own libretti—syncretic texts that engage classical and medieval verse and contemporary literature. An excerpt of her recent work, Romance of the Rose, is included here. Aucoin, an erstwhile poet, whose Eurydice was performed this season at the Metropolitan Opera, has set to music poems and other writings by Walt Whitman, Paul Celan, and Jorie Graham. Woods, a cellist and performance artist, often interweaves archival recordings and live poetry recitation on stage, while also engaging visual arts. The work of all three composers is set to be featured this year at the 76th Ojai Music Festival in Ojai, California. (American Modern Opera Company, or AMOC, co-founded by Aucoin, is the first collective to be chosen as the festival's music director.) These discussions consider the spoken word, voice types, and silence; lecture-performance, the academy, can- ons, and avant-gardes; the interplay between history, material texts, and graphic notation; in addition to the creative cycle of dreaming, composition, and decay. Geoffrey Lokke 40 ■ PAJ 131 (2022), pp. 40. © 2022 Geoffrey Lokke 40 ■ https://doi.org/10.1162/pajj_e_00621

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: May 1, 2022

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