As a dancer and musician, I have always been fascinated by the overlap of formal, spatio-temporal elements like tension, articulation, and dynamics. So I was naturally drawn to the field of choreomusicology, which studies the relation between movement and sound. Below are a few examples of recent projects.

Elegy (2019)

An experiment in editing composition. A relational study of Arno Babadjanian's Elegy, I was interested in exploring the sense of weight in relation to the instrument. Formal elements include anchoring, pushing, pulling, and extension. Performed at Harvard University in 2019. 

Featuring the visual artwork of Greg Lookerse, the EVOCATIONS exhibit at AREA Gallery highlighted four large works of folded paper inspired by the sublime architecture of worship (e.g. temples, mosques, cathedrals). Lookerse noted his reverence to form, citing Bach as a reference point for considering the exaltation of line, shape, and structure. ​As a multi-modal work weaving dance and music together, EVOCATIONS begins with a question of appropriation.
The intricate geometry of Lookerse's work served as a score by which to respond through movement and sound. I turned to Johannes Brahms, who was similarly inspired by the architectural and geometric work of Bach. The opening phrase of the Brahms Clarinet Trio provided the pitch content for the modified score, with instrumentation for two clarinets, cello, and a beatboxer.
I invited each musician to consider the score, deconstructing the piece and generating ideas through guiding questions centered around the ritualistic dimensions of gesture and expression.​ Together with the musicians, three dancers responded to the visual artwork, "reading" the geometric lines and curves to inform sonic and physical gesture.

Clarinet / Dance II (2015)

An experiment in sonic-somatic composition. The improvised score invites tension to create a feedback loop to produce sound in response to movement, and movement in response to sound. Formal elements include scale, inversion, repetition, spatial redistribution, augmentation, and articulation. Performed at Harvard University in 2015.

© 2021 Ilya Vidrin