One thing about my presentation in Belgium that I've separated off, mainly due to it being only of interest to nerds, was that I did it entirely paperlessly. Unless, of course, you include the sizable copse that was felled in the process of writing the thesis that the paper was based on.
Two years ago I made my senior circuit debut as a musicologist at the 2nd International Conference on Music and Minimalism in Kansas City. I really can't imagine a better place for me to have done that, since it was perhaps the only moment possible where major scholars would have tolerated a rigorous pitch analysis of a work that they not only had never heard but was titled Crazy Nigger.
Last weekend I went to Boston to endorse the wedding of two good friends (Congratulations again Andrew and Erica) and while Angela is off in Rome I took the opportunity to briefly live the bachelor life with my friend, composer Joe Colombo, who himself is shortly off to San Francisco. As a musicologist and composer, our carousing took a decidedly pretentious turn as we decided to go see Terrence Malick's bewildering new movie The Tree of Life.
While I wasn't foolhardy enough to attempt a daily blog about the conference as some attempted, the previous large missive I guess wasn't enough to encompass everything involved as well as all the repercussions.
So much for my attempt at a La Monte Young/Terry Riley kind of title. The Second International Conference on Minimalist Music is almost a week into the past now, but that means I'm beginning to have a bit broader view of the proceedings. There are all sort of fiddly, bitchy things that I wish I would have done different (I likely could have gotten hours of tape about Julius Eastman) but the conference was everything I was hoping for and more. In my preparations for the event I at time was feeling like I had "maxed out" the academic literature on minimalism.
This last period of radio silence has been filled with all sort of interesting foibles which will hopefully make for some good writing.
The most pressing of these foibles is that I am presenting my paper "A Postminimal Analysis of Julius Eastman's Crazy N***er" at the 2nd International Conference on Music and Minimalism at UMKC this Thursday at 5.