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Emergent Music And Visual Music: Inside Studies, CD 1 - Audience Favorites
Artist/Band: Ron Pellegrino
This CD is composed of an unpublished collection of 12 pieces that have been field tested in hundreds of concerts and radio and television broadcasts in North America, South America and Europe and have emerged as audience favorites. That anyone actually likes my music is always a pleasant surprise since most of my compositions are studies that take the forms of answers to questions I pose to myself about instruments, mechanical or organic systems, feelings of the moment, dream states, or future projections. I never compose pieces for audiences but I always expect to test them on audiences, to test whether my answers to my questions have forms that communicate beyond my circumscribed world. Of course I'm pleased when they do communicate, but I'm just as pleased when they don't because that always stimulates a why search. Why was I moved and they weren't? Will more of them eventually be moved? What was I thinking musically that they couldn't follow? Does it make any difference? Should I make adjustments? And if so, what sorts of adjustments? Why are some people always irritated by any sort of challenge, particularly in the arts? And so on with the whys.
Unlike most composers, until recently, I never felt compelled to publish my work in any of the traditional recorded forms-scores, vinyl, tapes, CDs, DVDs, etc. There were a number of reasons for my position. One was that I made a living doing live performances and I wanted to present only my latest work without feeling pressured to include pieces people knew from recordings. Another was connected with the physical, almost mystical notion of experiencing sound, once excited, being free to move in a variety of ways-to bounce off some obstacles in directions determined by the angle of incidence, to induce some obstacles to resonate and to produce their own sounds thus adding their signature to the mix, to curve around some obstacles, to be absorbed more or less by some obstacles, to fall on the ears of fellow performers to influence what sounds came out of them, and to be there in person to sense their music as well as the feedback from the audience. I am as intrigued with and excited about performance spaces as I am the art processes and people who fill those spaces. So, for the most part, beginning in the late 1960s I chose as a composer to continue my history as a performer and to integrate that history with all that I discover about composition in a lifetime of studying all facets of music and related fields in the dynamic arts, science, and affordable emerging technology.
My music is designed to work on numerous levels simultaneously. That's a conscious decision because I personally enjoy music with multiple dimensions and, as a nod to the diversity of my audiences, I like the idea of providing multiple handles-lyrical melodies, body rhythms, counterpoint, extended spectral development, surprises, drama, monsters, and angels. Even with musical roots deeply embedded in Italian opera, classical transcriptions for wind band, the Great American Songbook, the known history of western classical vocal and instrumental music, and the experimental tradition in the arts in general, my work relies on releasing the past, leaping into the abyss, and flying along in the real time composition mode focused on the edge of time as it slices into the future. Typically that edge is articulated by accessible melodic structures that are followed as well as preceded by their wakes (via temporal stage-setting wrap-arounds), thereby creating heterophonic play environments. But in a nutshell, creating all sorts of play environments is the key to my history as a composer. Those environments range from solo flights in the dead of night to public celebrations that involve hundreds of people. That a set of pieces with enough general appeal to be called audience favorites could emerge from such an attitude as mine is a good argument for the existence of divine intervention.