What is share?

Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.

open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!

audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.

video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join

8pm, free —

Tonight’s featured guest are:

Leslie Ross + Katherine Liberovskaya
http://www.share.dj/share/event_info.php?eventID=822

Leslie Ross (quadrophonic sound performance) + Katherine Liberovskaya (visuals) will perform a rare duet set at Share!

Leslie Ross, performer, sound-installation artist, bassoonist and instrument-maker, has been exploring and experimenting with sound for over 25 years. In both gallery and street performance settings as well as in collaboration with choreographers, she has created works for numerous constructed instruments and installations. Her compositions for performance are mostly structured scores that play with memory and recall, where the ‘recalled’ may be developed in predetermined various ways. Improvisation remains the central and essential element of these scores.
In the past few years she has returned her focus to a detailed exploration and understanding of bassoon multiphonics. This process of investigation has led to the creation of solo works that use an extensive system of micro-amplification: 15 microphones are placed at tone holes on the instrument and the signal from these microphones are directed to many speakers around a room. She continues to build replicas of historical bassoons in her workshop on the Lower East Side of NYC.
Web site:http://www.leslieross.net/otherT.html

Katherine Liberovskaya is a video/media artist based in Montreal, Canada and New York City. Involved in experimental video since the 80s, she has produced numerous videos, video installations and performances shown around the world. Since 2001 her work mainly focuses on collaborations with composers/sound artists mainly in live video+sound performance. Among these: Phill Niblock, Al Margolis/ If,Bwana, Keiko Uenishi (o.blaat), Zanana, Hitoshi Kojo, Tom Hamilton, David Watson, Anne Wellmer, David First, and many others. In addition to her art practice she has concurrently always been involved in the programming and organization of diverse media art events, notably with Studio XX and Espace Vidéographe in Montreal, as well as Experimental Intermedia, NY (Screen Compositions 2005, 2006, 2007, 2008, 2009, 2010, 2011) and the OptoSonic Tea series at Diapason in NYC.
http://www.liberovskaya.net

—
& also.. (a little later…)
—–

Compactor

http://www.share.dj/share/event_info.php?eventID=823

http://compactor.bandcamp.com/
http://www.facebook.com/compactornoise

Compactor is the solo industrial/noise/electroglitch project of Derek Rush, who has been a participant at Share NYC off and on for a couple of years.
Derek is better known for his band Dream Into Dust and other projects with Bryin Dall including A Murder Of Angels.
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Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215

direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow

SHARE is always 100% FREE!! (no admission!)

Show up early!!! and stay late!!

http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org

Anthony Coleman (Peter Gannushkin, DOWNTOWNMUSIC.NET)

Anthony Coleman is a composer-keyboardist who has performed and recorded throughout the world. His projects include the piano trio Sephardic Tinge, which has released three discs: Sephardic Tinge, Morenica, and Our Beautiful Garden Is Open (Tzadik) and has performed at the Sarajevo Jazz Festival, North Sea Jazz Festival, Saalfelden Festival, and the Krakow and Vienna Jewish Culture Festivals. His Selfhaters Orchestra has issued two CDs: Selfhaters and The Abysmal Richness of the Infinite Proximity of the Same (Tzadik).

Hollis ’69 / Good Morning / Feb. 11, 1999/ Hollis ’69 II / A Day

Anthony Coleman – piano, Sean Conly – bass, Satoshi Takeishi – drums

Jaki (John) Byard (June 15, 1922 in Worcester, Massachusetts – February 11, 1999 in New York City) was an American jazz pianist and composer who also played trumpet and saxophone, among several other instruments. He was noteworthy for his eclectic style, incorporating everything from ragtime and stride to free jazz. In describing his contribution to the Phil Woods album Musique du Bois, National Public Radio described him as “one of the most compelling and versatile pianists in jazz”.

Byard began playing professionally at the age of 15. After serving in World War II he toured with Earl Bostic in the late 1940s, and, by now based in Boston, made his recording debut with Charlie Mariano in 1951. Later, he was a member of the bands of Herb Pomeroy (1952-55, recording in 1957) and Maynard Ferguson (1959-62).

Moving to New York, Byard recorded extensively with Charles Mingus in the periods 1962 to 1964 and 1970, touring Europe with him in 1964. He also made important recordings as a sideman with Eric Dolphy, Booker Ervin and Sam Rivers. As a leader, he recorded a string of albums for the Prestige label during the 1960s. He fronted an occasional big band, the Apollo Stompers. He taught at the New England Conservatory, Manhattan School of Music, Hartt School of Music and the New School for Jazz and Contemporary Music.[2]

Byard was shot dead in 1999. The circumstances surrounding his death have not been determined.

Jaki Byard was my most important mentor. I met him when I was 12 years old.He was my principal piano teacher. And it was due to his influence that I came to study at NEC.

I went to him because I was already interested in Ragtime Piano, and was beginning to become interested in Early Jazz piano (East Coast Stride, as well as the music of Jelly Roll Morton). I was also aware enough, however, to realize that I wouldn’t always want to express myself solely through archaic genres. When I heard Jaki play, I was amazed by his ability to leap from the oldest to the newest styles of Jazz in a brilliantly kaleidoscopic way. But I was also struck by how he made all of these genre references his own. His playing is instantly recognizable.

Once at NEC, I had gradually less and less contact with Jaki. We would meet occasionally, and I also wrote for his school Big Band. He was always friendly, and never expressed anything negative about my “defection” to the Composition Department (a whole epic story in itselfŠ). But I wonder if something about this secretly hurt him. He had been incredibly generous with me, taking me to sessions and introducing me to Earl Hines and Charles Mingus. In many ways, he treated me like a peer.

His violent death came as a terrible shock.

Hollis, Queens was where Jaki lived and worked and taught. 1969 was my first year of High School, when I really was able to start taking this Musical Life seriously. Feb. 11, 1999 was the day Jaki was killed.

Flaubert/Sofa/Sentence

Anthony Coleman – piano, electric organ, Ashley Paul – alto saxophone, objects, voice, Eli Keszler – percussion

Quelquefois, quand je me trouve vide, quand l’expression se refuse, quand, après avoir griffonné de longues pages, je découvre n’avoir pas fait une phrase, je tombe sur mon divan et j’y reste hébété dans un marais intérieur d’ennui. Je me hais et je m’accuse de cette démence d’orgueil qui me fait haleter après la chimère.

Flaubert, letter to Louise Colet – Croisset, Saturday, April 24, 1852

(Sometimes, when I am empty, when words don’t come, when I find I haven’t written a single sentence after scribbling whole pages, I collapse on my couch and lie there dazed, bogged in a swamp of despair, hating myself and blaming myself for this demented pride which makes me pant after a chimera)

Eli Keszler and Ashley Paul are (I’m very proud to say) my former students. Since leaving school, they have embarked upon the creation of a body of work (together and separately) that has already had wide, even global impact. Even though we do a lot of projects together, I’ve wanted to write something specifically for the three of us for some time.

Aioli

Anthony Coleman – piano

Matter of Operation

Survivors Breakfast: Fausto Sierakowski – alto sax, Zoe Christiansen – clarinet, accordion, Joelle Wagner -bassoon, Nigel Taylor – trumpet, Cale Israel – trombone, Jason Belcher – baritone horn, Leah Hennessy – voice, piano, Andrew Hock, Arian Shafiee – guitars, Eden MacAdam – Somer, Mia Friedman, Diamanda Dramm, Abigale Reisman – violins, Simon Hanes, Simon Willson – basses, Andria Nicodemou – vibraphone, Andy Fordyce – drums, percussion. Anthony Coleman – conductor

Survivors Breakfast! I remember once, long ago (Google isn’t helping) reading an article about the Mark Morris Dance Company where Morris spoke glowingly about how wonderfully, absurdly mismatched his company was. I love that image. I’ve always been fascinated by the idea of an ensemble’s functioning as a kind of paradigmatic society where, as Terry Eagleton says, writing about Shakespeare’s The Tempest, individuals are “not wholly active, shapers of their individual lives, nor wholly passive, parts of a larger design in which they are merely manipulated objects; human life is in some way an interpenetration of the twoŠa fusion of spontaneity and aware responsibility”.

I’ve aimed at this for a long time. All my fascination with Ellington and his band, with the films of John Ford and Preston Sturges and their stock companiesŠtrying to find that balance. Well, now I have my weekly work with Survivors Breakfast, and I feel like some Bizarro World version of Haydn at Eszterhazy!

As a passionate misreader (in every way you can imagine) of John Cage and his work, I have taken his pet phrase (originally from Ananda Coomaraswamy) “art should imitate nature in her manner of operation” and messed it up a bit.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

This program was curated by Juraj Kojs, and will include commissioned compositions by Christopher Cerrone, Natacha Diels, Katarzyna Glowicka, Andrew Greenwald, Adrian Knight, Juraj Kojs, Jessie Marino, Paula Matthusen, Chikashi Miyama, Spencer Topel, Chester Udell, Jorge Variego and Henry Vega.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

The fundraiser is aimed at covering our travel and lodging at Darmstadt this July.  We’ve been selected as one of five ensembles from around the world to participate in Darmstadt Ensemble 2012 Project.  Additionally we will use the funds raised to help support our non profit incorporation.

The Mivos Quartet, praised by Time Out New York as an excellent ensemble, is devoted to performing the works of contemporary composers, presenting new music to diverse audiences. Since the quartet’s inception in 2008 they have performed and closely collaborated with an ever-expanding cadre of international composers who represent multiple aesthetics of contemporary classical composition. Commissioning and premiering new music for string quartet is essential to the quartet’s mission; Mivos has performed works by emerging and established composers including Anna Clyne, Wolfgang Rihm, Alex Mincek, Samson Young, Luke DuBois, Philip Glass, Huang Ruo, Tristan Perich and Kirsten Broberg.  They have appeared at venues including The Stone, Issue Project Room, Monkeytown, Roulette and the Brecht forum, and have appeared on concert series including Concerti Aperitivo (Udine, Italy), HellHOT! New Music Festival (Hong Kong), and Edgefest (Ann Arbor, MI).  Mivos was one of five groups selected for the Young Ensembles Fellowship at the 2012 Darmstadt Internationalen Ferienkurse für Neue Musik.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

For this concert, the editors will select highlights from the first three years to spotlight the different methods composers use to create their music. Differing in concept and execution, the compositions display the full range given to performers in realizing works in the experimental tradition. Composers include Peter Ablinger, Casey Anderson, Olivia Block, John P. Hastings, Tom Johnson, Taku Sugimoto, Hans W. Koch, and Christian Wolff.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Stephen Drury performing John Zorn (Peter Gannushkin, DOWNTOWNMUSIC.NET)

Stephen Drury performs John Cage’s Etudes australes with Frederic Rzewski at the Festival d’Automne a Paris in Paris, France. Composed in 1974-1975, the piece (a total of 32 Etudes, organized into 4 books, each book having 8 Etudes) consists of single tones and combinations derived from star charts of the Atlas Australis. Though notated on conventional staves, there are no dynamic markings nor pedal instructions, and the player is free to interpret the notes given.

In a Landscape (1948), John Cage (1912-1992)

Etudes Australes , Book III (1974-75), John Cage

Etude No. 17
Etude No. 18
Etude No. 19
Etude No. 20
Etude No. 21
Etude No. 22
Etude No. 23
Etude No. 24

Pianist and conductor Stephen Drury has performed throughout the world with a repertoire that stretches from Bach to Liszt to the music of today. He has appeared at Carnegie Hall, the Kennedy Center, the Barbican Centre and Queen Elizabeth Hall in London, the Cité de la Musique in Paris, and the Leipzig Gewandhaus, and from Arkansas to Seoul. A champion of contemporary music, he has taken the sound of dissonance into remote corners of Pakistan, Greenland and Montana.

“Three From The Revolution Years: 1965-1969”

Collide-O-Scope Music presents music by Terry Riley, Karlheinz Stockhausen, and Phillip Glass in a program dedicated to one of the most volatile and exciting periods in our recent musical past, the late ‘60’s. Against the backdrop of cataclysmic transformations and conflicts of global impact in virtually every sphere of political, social, and cultural engagement, composers in musical centers around the world initiated an unprecedented period of experimentation, shattered boundaries, and a reinvention of the performative experience. This program presents a sampling of watershed works that epitomize the ferment and grounbreaking forays into the unknown which broadly characterize music of the period. Terry Riley’s Tread On The Trail(1965) is one of two modular ensemble works composed in the wake of his wildy successful In C. Tread On The Trail, for unspecified performers, further explores spontaneous formal configurations and reconfigurations of a static collection of materials, but in a more chromatic setting that borrows heavily from the jazz idiom. Karlheinz Stockhausen’s Spiral(1968), is a work for soloist on any instrument or combination of instruments in combination with a shortwave receiver. Abstract, concrete, and musical sounds picked up from the receiver are imitated by the soloist and subsequently transformed according to rigorously conceived parametric considerations. Perhaps no other work so overtly embodies the aesthetic viewpoint inherent in Marshall McLuhan’s famous phrase “the medium is the message,” as the particular content employed in a realization of the work is left open and in a non-deterministic role while the impact of the actual composition rests entirely in the relation and differentiation imposed by the compositional medium. Finally, Phillip Glass’s Music In Fifths(1969) is one of the culminative works composed by Glass during a particularly prolific period of activity between the years 1967-69, just after the composer had first heard music of Steve Reich. A sprawling diatonic work of repeating figures for any number of performers, Music In Fifths is an important early opus that represents the fully-formed aesthetic Glass would explore throughout his career.

About Collide-O-Scope Music

Now in its third season, Collide-O-Scope Music is a contemporary music collective with a focus on presenting a diverse spectrum of music and visual media, emphasizing the integral connection between emerging technologies and the formation of new aesthetic environments. Led by pianist Augustus Arnone and composers Chris Bailey and Louis Bunk the group has offered an eclectic mix of newly composed works and essential classics from the modern repertory. In keeping with the group’s mission of integrating a maximally diverse range of  musical materials and approaches, programming has featured a blend of both acoustic and electronic compositions as well as juxtaposing fixed compositional forms with improvisational, indeterminate, and interactive music. A particular focus is given to musical works that explore innovative or extended media, pertaining to physical/practical innovations, including extended instrumental techniques, microtonal composition, electronic sound and signal processing, and non-traditional notation, as well as conceptual extensions including the application of innovative theoretical/mathematical models, indeterminacy and the use of chance operations, and analogues and models drawn from other fields.  Composers represented include seminal pioneers John Cage, Milton Babbitt, Iannis Xenakis, Luigi Nono, Pierre Boulez, Phillip Glass, and Alvin Lucier as well as emerging Americans Jason Eckardt, Edmund Campion, Stephen Gorbos, Christopher Bailey, David Smooke, and Michael Gordon. Collide-O-Scope Music instrumentalists have included performers from a number of New York’s premiere contemporary music groups including Bang On A Can, ICE, Talea Ensemble, and the Da Capo Chamber Players.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Composer-performer collective Ensemble Pamplemousse was founded in 2002 to provide a focal point for like-minded creators with a thirst for sonic exploration. Compositions aggregate each member’s unique virtuosic talents into extraordinary magical moments. Pamplemousse will perform, for the first time, a concert entirely of works by other composers, including Juraj Kojs, Matthew Shlomowitz, Ray Evanoff, James Weeks, Marek Poliks, and Mauricio Rodriguez.

• Juraj Kojs: Adventures of an Annihilated Mirror (world premiere – commissioned work)
• Matthew Shlomowitz: Fast Medium Swing 
• Ray Evanoff: An Index of Poses and Motions 
• James Weeks: Honey Celebration 
• Marek Poliks: CIN(Shift)
• Mauricio Rodriguez: Algido

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Iktus Percussion performs works for amplified triangle and 100 metronomes, among other instruments, by Ron Ford, Michel Van der Aa, Hugo Morales Murguia, Yannis Kyriakides, and Gyorgy Ligeti. Ensemble MAE will return for a second night to perform work by other composers, including Robert Ashley’s “in memoriam … Esteban Gomez.”

Program:

• Iktus Percussion
• Ron Ford – “Shift”
• Hugo Morales Murguia – “\_/ For Amplified Triangle”
• Gyorgy Ligeti – “Poème Symphonique”
• Michel van der Aa – “Between”
• Ensemble MAE
  Robert Ashley – in memorium…Esteban Gomez
  Silvia Borzelli – Own Pace (Amnesia 3b)
• Luiz Henrique Yudo – El Camino
• Claudio Baroni – Abstract Terror

Based in New York City, the Iktus Percussion Quartet is an ambitious, dynamic young ensemble committed to expanding the boundaries of the percussion genre.  As a group with strong ties to the local artistic community, Iktus is dedicated to commissioning new compositions from emerging artists.  Since its inception, the quartet has commissioned over fifty new works for percussion quartet, including works by Angélica Negrón, Aaron Siegel, Lisa R. Coons, Jenny Olivia Johnson, Stefan Weisman, and Billy Martin (of Medeski, Martin and Wood), among others.

In the Spring of 2010, Iktus was selected as a TimeOut NY Critic’s Pick: Top Ten Concert of the Year, and received high acclaim from the NY Times for their performance with the St. Petersburg Chamber Symphony in Symphony Space’s “Wall to Wall” series: Music of the Soviet ERA.

This past summer, Iktus established Iktus+: a collective of outstanding musicians, composers and  conductors that regularly collaborate with the group.  As performer-educators, Iktus has also given master classes to various enthusiastic elementary school audiences.  Iktus is endorsed by Mike Balter Mallets, Grover Pro Percussion and Paiste Cymbals.

Since 1980 the Dutch Ensemble MAE, formerly known as the Maarten Altena Ensemble, has developed itself from an improvisation collective into an ensemble that explores new musical and multidisciplinary territories. Straddling a broad spectrum of experimental traditions, the ensemble has built up a repertoire of over 150 works written for its particular instrumentation by composers such as founder Maarten Altena, Robert Ashley, Richard Ayres, Allison Cameron, Jack Body, Alvin Curran, Guus Janssen, Yannis Kyriakides, Martijn Padding, Steve Martland, Solex, Paul Termos, and has collaborated on projects with guest musicians such as Derek Bailey, Anthony Braxton, Misha Mengelberg, Roscoe Mitchell, Butch Morris, and John Zorn.

20 LP’s and CD’s have been published on labels such as X-OR, hatHUT, Claxon, Philips, Donemus, Attacca, nato and Unknown Public and performed in Japan, USA, Canada, Russia, Mexico, Germany, France, Italy, Spain, Finland, Swiss, Austria, England, Sweden, Czech Republic, Belgium, Hungary and of course extensively in its country of residence, the Netherlands.

The idiosyncratic line-up of the ensemble reflects this eclecticism being made up of 9 musicians from many different backgrounds; early music, new music, pop, jazz, and improvisation and electronics; bringing their specialities together in a refreshing and original way.

Under the new artistic leadership of Yannis Kyriakides, the focus has shifted to a deeper exploration of the possibilities of expanding the sound world of an acoustic ensemble through live electronics and a desire to experiment with the way music is experienced through new performance contexts and the use of digital media. Future collaborations include an exploration of the psychoacoustic musical traditions of Alvin Lucier and Nic Collins, work with electronic composers fransisco lopez and John Wall, exploration of video narrative forms with John Oswald and Yannis Kyriakides and always the introduction of a new generation of composers, both established and lesser-known that share the ensemble’s goal of exploring new territories of musical practice.

Gaudeamus Muziekweek New York is supported, in part, by public funds from the Netherlands Cultural Services and has received funding through a grant from the Netherland-America Foundation. Support has also been provided by Buma Cultuur, Gaudeamus Muziekweek and Muziek Centrum Nederlands with special thanks to Erwin Maas and Henk Heuvelmans.

Yannis Kyriakides, winner of the Gaudeamus prize in 2000 for his piece conSPIracy cantata, was born in Cyprus and is currently based in Amsterdam. The Dutch-based Ensemble MAE will join with the International Contemporary Ensemble (ICE) to perform a number of works by Kyriakides, as well as other Dutch composers Peter Adriaansz and Michel Van der Aa.

Since 1980 the Dutch Ensemble MAE, formerly known as the Maarten Altena Ensemble, has developed itself from an improvisation collective into an ensemble that explores new musical and multidisciplinary territories. Straddling a broad spectrum of experimental traditions, the ensemble has built up a repertoire of over 150 works written for its particular instrumentation by composers such as founder Maarten Altena, Robert Ashley, Richard Ayres, Allison Cameron, Jack Body, Alvin Curran, Guus Janssen, Yannis Kyriakides, Martijn Padding, Steve Martland, Solex, Paul Termos, and has collaborated on projects with guest musicians such as Derek Bailey, Anthony Braxton, Misha Mengelberg, Roscoe Mitchell, Butch Morris, and John Zorn.

20 LP’s and CD’s have been published on labels such as X-OR, hatHUT, Claxon, Philips, Donemus, Attacca, nato and Unknown Public and performed in Japan, USA, Canada, Russia, Mexico, Germany, France, Italy, Spain, Finland, Swiss, Austria, England, Sweden, Czech Republic, Belgium, Hungary and of course extensively in its country of residence, the Netherlands.

The idiosyncratic line-up of the ensemble reflects this eclecticism being made up of 9 musicians from many different backgrounds; early music, new music, pop, jazz, and improvisation and electronics; bringing their specialities together in a refreshing and original way.

Under the new artistic leadership of Yannis Kyriakides, the focus has shifted to a deeper exploration of the possibilities of expanding the sound world of an acoustic ensemble through live electronics and a desire to experiment with the way music is experienced through new performance contexts and the use of digital media. Future collaborations include an exploration of the psychoacoustic musical traditions of Alvin Lucier and Nic Collins, work with electronic composers fransisco lopez and John Wall, exploration of video narrative forms with John Oswald and Yannis Kyriakides and always the introduction of a new generation of composers, both established and lesser-known that share the ensemble’s goal of exploring new territories of musical practice.

With a flexible roster of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, the International Contemporary Ensemble (ICE) functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and pursuing groundbreaking strategies for audience engagement. In an era of radical change, ICE redefines concert music as it brings together new work and new listeners.

Since its founding in 2001, ICE has premiered over 500 compositions, the bulk of them by emerging composers, in venues ranging from New York’s Lincoln Center and Chicago’s Museum of Contemporary Art to galleries, bars, clubs, and schools around the world. The ensemble has released acclaimed albums on the Bridge, Naxos, Tzadik and New Focus labels, with forthcoming releases on Nonesuch, Kairos and Mode.

With leading support from The Andrew W. Mellon Foundation, ICE launched ICElab in early 2011. This new program places teams of ICE musicians in close collaboration with six emerging composers each year to develop works that push the boundaries of musical exploration. ICElab projects will be featured in more than twenty performances each season and documented online through DigitICE, a new online venue.

ICE’s commitment to build a diverse, engaged audience for the music of our time has inspired The Listening Room, a new educational initiative targeting public schools whose music programs have been cut in the recent recession. Using team-based composition and graphic notation, ICE musicians lead students in the creation of new musical works, nurturing collaborative creative skills and building an appreciation for musical experimentation.

Gaudeamus Muziekweek New York is supported, in part, by public funds from the Netherlands Cultural Services and has received funding through a grant from the Netherland-America Foundation. Support has also been provided by Buma Cultuur, Gaudeamus Muziekweek and Muziek Centrum Nederlands with special thanks to Erwin Maas and Henk Heuvelmans.