Sandra Coursey, piano Stephen Ekhert, piano Pinson Chamber Band (Molly Jones, tenor saxophone Evan Kopca, clarinet Noah Jenkins, viola Erica Miller, cello Mabel Kwan, accordion Bill Harris, drums Samuel R Scranton, drums Chet Zenor, electric guitar Craig Davis Pinson, electric guitar) Julia Wolfe, Letter from Abigail (Midwest premiere) Michael Gordon, "One Day I Saw" from Anonymous Man Wolfe’s 2022 Letter from Abigail is paired with David Lang’s the national anthems, a collection of phrases from many nations’ anthems with one common thread: “Please don’t make us live in chains again.” Also on the program are Lang’s where you go, inspired by the well-known phrase from the Book of Ruth, and a selection from Michael Gordon’s Anonymous Man-a memoir chronicling the composer’s time in a neighborhood in transition, and his conversations with two homeless men living there. “I desire you would remember the ladies and be more generous and favorable to them than their ancestors.” Thus begins Julia Wolfe’s musical meditation on our struggle for women’s rights through the lens of a letter from Abigail Adams to her husband John-dated March 31, 1776-with half of the emerging nation’s population in the balance. (rescheduled from 4 p.m.)ĭonald Nally, conductor Jack Reeder, assistant conductor Charles Foster, keyboard Hannah Christiansen and Luke Lentini, violin Lena Vidulich, viola Isidora Nojkovic, cello Hannah Novak, double bass John Dawson and Daniel Gostein, percussion I argue, even as contemporary practices of musical work demonstrate how new music is entrepreneurial work embedded in a capitalist system, the everyday experiences of working musicians confound a totalizing account of the neoliberal agenda. However, based on a study grounded in ethnography and interviews, I suggest that the unsettled norms of musical gig work in the first year of the Covid-19 pandemic brought to the fore ways in which musical work is more than the perfect manifestation of exploitable labors of “love.” Musical work takes place alongside and despite neoliberalism. The account of contemporary musical labor I offer concurs with the critiques of the complicity of new music discourse with neoliberal agendas in recent scholarship. My talk analyzes musical labor and notions of love in relation to gig work. Meanwhile the neoliberal myth of a “labor of love” propagates the conviction that “love” and hard work combined can overcome any challenge, including those posed by racialized and gendered difference. "Do What You Love? New Music, New Work-After 2020"Ībstract: Working in new music as a gig worker entails many skills, many tasks, and many jobs, which hardly guarantee a release from precarity. Miki Kaneda, assistant professor of music, musicology, and ethnomusicology at Boston University
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