http://elliotcole.com/2006/10/01/origins-etudes/ Mon, 25 Jan 2010 18:21:26 -0700 hourly 1 http://elliotcole.com/2006/10/01/origins-etudes/comment-page-1/#comment-193 Elliot Cole | Elliot Cole Fri, 15 Jan 2010 17:46:46 +0000 http://elliotcole.com/?p=832#comment-193 [...] Elliot Cole (b. 1984) takes the omnivore’s approach: he has sung in pop groups and musical theater, written concert music, worked as a commercial and hip-hop producer, played bass and piano in jazz combos, and written music software.  He has a B.A. in Cognitive Linguistics and a B.Mus. in Composition from Rice University, and his interests in strict counterpoint and 19th century pedagogy also led him to study at the Ecole Normale de Musique in Paris. Currently focusing on dramatic work, he has collaborated with Mildred’s Umbrella Theater Company, the University of Houston Center for Creative Work, Divergence Vocal Theater, and his own chamber-pop ensemble. With bassoonist and rapper Brad Balliett he created the Rake’s Progress, a hip-hop reinvention of Stravinsky’s opera, which is being produced for live performance by the Metropolis Ensemble in 2011. I am following three paths in my work. First is a long-term project to define musical form in terms of procedures, rather than results. This thinking draws heavily on metaphors with the natural world, as well as the ideas of Deleuze, Serres, Manuel de Landa and Sanford Kwinter. Working on the procedural level has many advantages. Procedures are abstract, and as such extensible, scalable and consistent. Most important for me, however, is that by standing farther back, I have more leverage over the unknown. I write things I never would have imagined thinking note-to-note. And so my relationship to my work is not as a master imposing his masterpiece, but a gardener sprouting an unidentifiable plant. See Endgame Study, 0/1, Parable of the Sower, Ouroboros, Orgins Etudes. [...] [...] Elliot Cole (b. 1984) takes the omnivore’s approach: he has sung in pop groups and musical theater, written concert music, worked as a commercial and hip-hop producer, played bass and piano in jazz combos, and written music software.  He has a B.A. in Cognitive Linguistics and a B.Mus. in Composition from Rice University, and his interests in strict counterpoint and 19th century pedagogy also led him to study at the Ecole Normale de Musique in Paris. Currently focusing on dramatic work, he has collaborated with Mildred’s Umbrella Theater Company, the University of Houston Center for Creative Work, Divergence Vocal Theater, and his own chamber-pop ensemble. With bassoonist and rapper Brad Balliett he created the Rake’s Progress, a hip-hop reinvention of Stravinsky’s opera, which is being produced for live performance by the Metropolis Ensemble in 2011. I am following three paths in my work. First is a long-term project to define musical form in terms of procedures, rather than results. This thinking draws heavily on metaphors with the natural world, as well as the ideas of Deleuze, Serres, Manuel de Landa and Sanford Kwinter. Working on the procedural level has many advantages. Procedures are abstract, and as such extensible, scalable and consistent. Most important for me, however, is that by standing farther back, I have more leverage over the unknown. I write things I never would have imagined thinking note-to-note. And so my relationship to my work is not as a master imposing his masterpiece, but a gardener sprouting an unidentifiable plant. See Endgame Study, 0/1, Parable of the Sower, Ouroboros, Orgins Etudes. [...]

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