Edward Schocker

About

Edward Schocker is a composer and performer who creates music with made/found materials and alternate tuning systems. He holds an M.A. in composition from Mills College, where he studied with Pauline Oliveros, Alvin Curran, and independently with Lou Harrison. At Mills, Edward founded The Music For People & Thingamajigs Festival, an annual event in The Bay Area devoted to unusual instruments and tunings.

continuum

 

 

 

 

 

 

Continuum

a durational performance with poet Stephen Ratcliffe

Thingamajigs Performance Group is in a multi-year collaboration with poet Stephen Ratcliffe to create large scale multimedia works, each based on 1,000 of Stephen’s poems, which he writes one at a time for 1,000 days. Performing the poems takes approximately 14 hours, and features Stephen reading each poem, which TPG then interprets as the musical score.

The next performance of this collaboration, Continuum, will feature Thingamajigs Performance Group with performing artists Rae Diamond (composer and director of the Long Tone Choir) and Shinichi Iova-Koga (artistic director of the movement theater ensembleinkBoat). Rae and Shinichi bring unique perspectives to durational creative practice, creating works built upon the exquisite control of breath and body in motion.

The first piece of this collaboration, Human/Nature,  premiered at UC Davis in 2008; the second piece, Remarks on Color/Sound, was staged at Headlands Center for the Arts in 2010. The third work, Temporality, premiered in May 2012 and was remounted in the Mills College Art Gallery in February 2013.

 

goal of the piece

Continuum narrates the process by which what we observe, and what we make of such observations, enter a relationship by way of language and sound. It is the relation between things seen/observed in the world and how such things might be made (transcribed/transformed) as works of art. Similarly, all works in this trilogy invite a kind of assessment of the technological, the found and the made, the intentional and the unintentional, the human and the natural – by placing these potentials alongside each other and simply exploring them.

the strategy: living exhibit

Thingamajigs will install Continuum and transform an abandoned military bunker into what we are calling a “living exhibit”. The “living” refers to the performance aspect: Stephen Ratcliffe at his desk, who will be reading each of his 1,000 poems, and the Thingamajigs Performance Group, whose members will be moving within the space and creating a sonic score. The “exhibit” refers to the images (whether visual or other) that are produced from these actions, and the extended duration of time it takes for all these actions to unfold.

how audiences interact

Audience members are welcome to come and go at will, just as if they were viewing art at a museum or gallery. Like the other duration works in our collaboration with Stephen Ratcliffe,Continuum slowly changes and fluxes within its 14-hour duration, and the audience is invited to sit/walk/sleep within or around the events that are unfolding in the space. In performances of the first two works in the trilogy, the public stayed as little as five minutes, while others stayed as long as five hours.

why we do it

Thingamajigs is interested in testing the perceptions and labels of musical ‘composition’ and ‘performance’. We are interested in spending years to develop and create work in a collaborative manner, and we are interested in pushing the limits of what we think of as human nature. Our extended works are the outcome of these investigations, and the public event/exchange is our motivation to reach these lengths. We aim to have a high impact on the local community of all ages by offering them a rare extended performance that invites them to investigate time and temporality; offers them a space to sit, move, and reflect; and gives the chance to be part of an exchange that is intended to change each participant who spends time in the space.

 

Drowning Man – Shinichi Iova-Koga and Edward Schocker

September 16 and 17 @ 8:00 pm

To Purchase Tickets please visit Brownpapertickets.com or CLICK HERE!

A new work by Shinichi Iova-Koga and Edward Schocker

“We chose water as our subject. We consider the implications, feelings and states connected to water in creating a performance for two bodies: one concerned with sound, the other with motion. Rather than create a narrative, the story emerges through a few choice prompts, allowing the body to speak in the moment.”

ABOUT THE A748299-250748298-250RTISTS

Shinichi Iova-Koga is the Artistic Director of the San Francisco-based performance company inkBoat, founded in 1998.

About inkBoat: The company performs in theaters and site specific locations. Repertory and research integrate the interplay of multiple artistic disciplines and viewpoints, both experimental and traditional, resulting in original performance compositions. Themes and subjects arise from meticulous examination of everyday life, with primary content arising from the body, resulting in both refined and raw expressions.  We derive inspiration from working in wild, natural settings and urban existence.

For more information about Shinichi Iova-Koga, please CLICK HERE.

 Edward Schocker is the Executive Director of Thingamajigs. Thingamajigs is an organization whose mission is to explore sounds in found objects and use alternate tuning systems to create new music.

 Edward Schocker is also a composer and a performer who creates music with made/found materials and alternate tuning systems.

For more information about Edward Schocker, please CLICK HERE.

 

 

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Pictured: Edward Schocker and Suki O’Kane. Photo by Joshua Kohl

 

The Crossing creates a new form of ecstatic group improvisation through investigating various ancient Asian musical genres, such as Japanese Gagaku and Korean shamanist ritual music. Through a period of deep development and performance with an ensemble of like-minded ‘seekers’, the goal is to reach a state of communication with “an other” world.

Rooted in Ritual
The project is rooted in ritualistic purpose with the intention of the players and listeners to reach an ecstatic state as they seek to bridge the material and spirit worlds.

One of the most significant musical characteristics of The Crossing is its element of improvisation. As the accompanying music for the inner songs and dances of the space we occupy, the players rely on masterful improvisation in order to accompany various songs and dances that will be performed spontaneously during the performance.

Modern Sensibilities
The ensemble and aesthetic for The Crossing are built from locally-sourced ingredients and sensibilities, slowly churned and developed over time in order to create a unique musical sound and performance style contingent upon the highly developed spontaneous creativity of its musicians.

Motivation
The Crossing’s mission is to create new and innovative work that combines traditional Eastern sensibilities with modern American performance practices. By creating pieces in a group collaborative process, our goal is to create meaningful work that investigates various artistic, social and spiritual themes.

“I believe this project is particularly pushing boundaries in that the goal for the performers is to perform as a group until a connection with “another” world is made. Our goal is to create a crossing between the “spirit” and material world and create a space where audiences feel a direct connection with both.” -Edward Schocker

This project allows the performers and audience the opportunity to investigate what a “spirit world” means to them. This could be achieved through connecting or remembering ancestors, engaging in meditation/prayer, or allowing the body to physically move as the music takes it.

The Crossing gives the local community the rare opportunity to see a work that brings together ritual and performance –two elements that have long become separated from each other over the centuries.

The members of The Crossing include Dohee Lee, Suki O’Kane, Adria Otte, Kanoko Nishi, Dylan Bolles, Soo-yeon Lyuh, Yun-kyong Jin and Edward Schocker.

Work Progress Showing
Saturday, March 19, 2016
8pm
Center for New Music, 55 Taylor St. San Francisco
http://centerfornewmusic.com/calendar/edward-schocker-the-crossing-work-in-progress-showing

Premiere Performance
The Crossing Part 1
(part of YBCA’s New Frequencies Fest)
Friday, April 29, 2016
8pm
Yerba Buena Center for the Arts, 701 Mission St. San Francisco
http://www.ybca.org/theresa-wong-edward-schocker

The Crossing is made possible through the Zellerbach Family Foundation and the Musical Grant Program, which is administered by the San Francisco Friends of Chamber Music, and supported by the Heller Foundation, the Hewlett Foundation, the San Francisco Foundation and San Francisco Grants for the Arts.

California-based composer, performer, instrument-builder, and Thingamajigs Performance Group member Edward Schocker collaborates with and confronts fellow guest artists on traditional and electronic instruments. Live coding guru Renick Bell pulverises recordings of Schocker’s performances into a live remix.

Featuring Aquiles Hadjis (modified electric guitars/electronics), Yunkyong Jin (piri), Hideo Sekino (shakuhachi), and Alexander Sigman(electronics/synth).

Edward Schocker Remixed
12/20 (Sun)
Space N-AS – Ichigaya
22-7 Sanbancho
Chiyoda-ku, Tokyo
Open Time:15:30
Start Time:16:00

 

 

Pauline Oliveros, a leader in the musical avant-garde for five decades will collaborate with the Thingamajigs Performance Group to create a new piece of music during a week of workshops and open rehearsals, leading up to the premiere at this landmark L@TE event. Prepare to be transported by masterful improvisation, sonic meditation, and experiments in deep listening.

To commemorate years of presenting new music at our current site, Berkeley Art Museum has commissioned a new collaborative piece between Pauline Oliveros and the Thingamajigs Performance Group (TPG). This will be one of the final performances at the museum before we move into our new space. The piece will incorporate the contours and accoustics of the unique atrium gallery and feature alternately tuned instruments such as a just-intuned accordian, glass, hand made wind instruments, and various made and found objects.

Culminating from a week-long working residency between Pauline Oliveros and TPG, both teams will develop a group collaborative musical work that blurs divisions between the role of composer and performer. This process of “collaborative composing” is unique to the new music world but is quite common in other performing arts, including dance, theater and even rock music.

Project Schedule:

November 10th through 14th –Oliveros/TPG workweek
November 14th –artist talk and panel discussion at BAM/PFA
November 14th –performance of new work at BAM/PFA’s L@TE series

Pauline Oliveros has been as interested in finding new sounds as in finding new uses for old ones. Her primary instrument is the accordion, an unexpected visitor perhaps to musical cutting edge, but one she approaches in much the same way that a Zen musician might approach the Japanese shakuhachi. Oliveros’ life as a composer, performer and humanitarian is about opening her own and others’ sensibilities to the universe and facets of sounds. Since the 1960’s she has influenced American music profoundly through her work with improvisation, meditation, electronic music, myth, and ritual.

The Thingamajigs Performance Group (TPG) uses unique musical instruments and performance practices, combining traditional Eastern sensibilities with modern American technologies and performance practices. Creating pieces in a group collaborative process that sometimes incorporates voice and multimedia elements, this ensemble of musicians expands and contracts within each performance situation.

TPG’s unique process of creating work is closer to that of theater companies or dance troupes rather than standard music ensembles. Instead of commissioning one composer to write music for which the ensemble will play, TPG creates each of it original works in a collaborative manner with each ensemble member and/or collaborating partner having equal creative input in guiding the work to fruition.

Core members of TPG include Dylan Bolles, Keith Evans, Suki O’Kane and Edward Schocker.

This performance is supported by New Music USA, made possible by annual program support and/or endowment gifts from the Andrew W. Mellon Foundation, Mary Flagler Cary Charitable Trust, Rockefeller Brothers Fund, William and Flora Hewlett Foundation, Francis Goelet Charitable Lead Trusts, and an anonymous donor.

September 28, 2013 | 3pm
Berkeley Arts Space
2133 University Ave
Berkeley, CA
$15 adults and $5 children
Tickets can be purchased at the door.

The Darling Song Cycle is a new work of original songs by Edward Schocker and Greg Giovanni. Inspired by relationships of The Darling Family in the story Peter Pan, the subject matter of this domestic drama ranges from funny to sad to absurd -all with images and wordplay that children and adults find meaningful. This work delves deep to investigate the relationship between content and form and experiments with new storytelling approaches that expand theatrical and musical vocabularies.

The Band (The Darlings)
Tako Oda –voice of Mr. and Mrs. Darling
Tomoko Schocker –voice of Mr. and Mrs. Darling
Sarah Willner –violin
Sean Carson –upright bass
Edward Schocker -guitar

Song Excerpts
The Children

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The Final Song

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Photos from last year’s performance of The Darling Song Cycle can be found here.

The Darling Song Cycle was created with the support of the East Bay Community Foundation’s East Bay Fund for Artists and the Zellerbach Family Foundation and commissioned by Theatre of Yugen.

 

 

This series has been going on for almost 15 years and I’m so honored to be a part of it. I’ll be presenting works for electric guitars, non-Western instruments, and my glass instruments. More details coming soon on performers, but I’ll leave you with this initial information below…

Meridian Music Composers in Performance presents:

Edward Schocker: Music in Series
Wednesday, May 8, 7:30PM
Meridian Gallery, San Francisco

Performers for this concert include Yun-kyong Jin, Suki O’Kane, Brian Baumbusch, Giacomo Fiori, Jean Ann and others.

Meridian Music Composers in Performance presents Edward Schocker: Music in Series, the season’s final installment in our Concert Series.  This will be a unique concert featuring the Oakland-based Edward Schocker, a composer and performer and who has been mesmerizing audiences around the world with his unique glass instruments and tunings. Edward Schocker will present an evening of works written in alternate tuning systems and a variety of non-Western performance practices. Included in the concert is an offering from two series of musical works including, Dodecachordon -exploring the treatment of musical modes through drones produced from multiple electric guitars, and Sijo -“time being” pieces, which challenge our perception of pulse.

Click here to see photos from the concert taken by Michael Zelner.

December 9, 2012 | 8pm
Berkeley Arts Space
2133 University Ave
Berkeley, CA
$10-$20 sliding scale

A program of concert versions of two works composed for Theatre of Yugen. Suki O’Kane presents music from the production Cordelia and Edward Schocker premieres The Darling Song Cycle -songs composed in conjunction with Yugen’s new production called A Minor Cycle.

The Darling Song Cycle is a new work of original songs by Edward Schocker and Greg Giovanni. Inspired by the humorous relationships of The Darling Family in the story Peter Pan, this work experiments with new storytelling approaches that expand theatrical and musical vocabularies.

The Darlings:
Mrs. Darling: Tako Oda (voice)
Mr. Darling: Tomoko Schocker (voice)
Child: Sarah Willner (violin)
Child: Sean Carson (bass)
Child: Edward Schocker (guitar)

The Darling Song Cycle was created with the support of the East Bay Community Foundation’s East Bay Fund for Artists and the Zellerbach Family Foundation.


(photo credit: Michael Zelner)

Date: Jul 20,2012
08:00 PM – 10:00 PM
Meridian Gallery
535 Powell Street
San Francisco, CA 94108

Berlin composer/performer Markus Wettstein joins Bay Area natives Betsey Biggs, Dylan Bolles & Edward Schocker for a concert of new works and improvisations for solos, duos, trios and quartets. From human voices and scrap metal to Asian instruments and live electronics these artists create unique sound textures in each performance setting.

Markus Wettstein -scrap metal, melodica
Betsey Biggs -electronics
Dylan Bolles -bamboo instruments
Edward Schocker -Sho, hichiriki & glass

For the Summer Solstice I performed my glass insrument and gave artist talks at the Garden of Memory in Oakland. Below are some videos of the event.

Latest News


Continuum

            Continuum a durational performance with poet Stephen Ratcliffe Thingamajigs Performance Group is in a multi-year collaboration with poet Stephen Ratcliffe to create large scale multimedia works, each based on 1,000 of Stephen’s poems, which he writes one at a time for 1,000 days. Performing…

Drowning Man

Drowning Man – Shinichi Iova-Koga and Edward Schocker September 16 and 17 @ 8:00 pm To Purchase Tickets please visit Brownpapertickets.com or CLICK HERE! A new work by Shinichi Iova-Koga and Edward Schocker “We chose water as our subject. We consider the implications, feelings and states connected to water in…

The Crossing

    The Crossing creates a new form of ecstatic group improvisation through investigating various ancient Asian musical genres, such as Japanese Gagaku and Korean shamanist ritual music. Through a period of deep development and performance with an ensemble of like-minded ‘seekers’, the goal is to reach a state of communication…