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I thought if I skipped it might help my nerves,

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but I'm actually having a paradoxical reaction to that,

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so that was a bad idea. (Laughter)

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Anyway, I was really delighted to receive the invitation

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to present to you some of my music and some of my work

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as a composer, presumably because it appeals

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to my well-known and abundant narcissism. (Laughter)

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And I'm not kidding, I just think we should just

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say that and move forward. (Laughter)

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So, but the thing is, a dilemma quickly arose,

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and that is that I'm really bored with music,

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and I'm really bored with the role of the composer,

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and so I decided to put that idea, boredom,

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as the focus of my presentation to you today.

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And I'm going to share my music with you, but I hope

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that I'm going to do so in a way that tells a story,

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tells a story about how I used boredom as a catalyst

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for creativity and invention, and how boredom

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actually forced me to change the fundamental question

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that I was asking in my discipline,

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and how boredom also, in a sense,

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pushed me towards taking on roles beyond the sort of

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most traditional, narrow definition of a composer.

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What I'd like to do today is to start with an excerpt

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of a piece of music at the piano.

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(Music)

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Okay, I wrote that. (Laughter)

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No, it's not — (Applause) Oh, why thank you.

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No, no, I didn't write that.

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In fact, that was a piece by Beethoven,

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and so I was not functioning as a composer.

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Just now I was functioning in the role of the interpreter,

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and there I am, interpreter.

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So, an interpreter of what? Of a piece of music, right?

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But we can ask the question, "But is it music?"

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And I say this rhetorically, because of course

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by just about any standard we would have to concede

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that this is, of course, a piece of music,

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but I put this here now because,

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just to set it in your brains for the moment,

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because we're going to return to this question.

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It's going to be a kind of a refrain

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as we go through the presentation.

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So here we have this piece of music by Beethoven,

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and my problem with it is, it's boring.

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I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter)

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It's Beethoven, how can you say that?

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No, well, I don't know, it's very familiar to me.

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I had to practice it as a kid, and I'm really sick of it. So -- (Laughter)

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I would, so what I might like to try to do is to change it,

51
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to transform it in some ways, to personalize it,

52
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so I might take the opening, like this idea --

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(Music)

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and then I might substitute -- (Music)

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and then I might improvise on that melody

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that goes forward from there -- (Music)

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(Music)

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So that might be the kind of thing -- Why thank you.

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(Applause)

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That would be the kind of thing that I would do,

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and it's not necessarily better than the Beethoven.

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In fact, I think it's not better than it. The thing is -- (Laughter) --

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it's more interesting to me. It's less boring for me.

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I'm really leaning into me, because I, because I have

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to think about what decisions I'm going to make on the fly

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as that Beethoven text is running in time through my head

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and I'm trying to figure out what kinds of transformations

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I'm going to make to it.

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So this is an engaging enterprise for me, and

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I've really leaned into that first person pronoun thing there,

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and now my face appears twice, so I think we can agree

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that this is a fundamentally solipsistic enterprise. (Laughter)

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But it's an engaging one, and it's interesting to me

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for a while, but then I get bored with it, and by it,

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I actually mean, the piano, because it becomes,

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it's this familiar instrument, it's timbral range is actually

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pretty compressed, at least when you play on the keyboard,

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and if you're not doing things like listening to it

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after you've lit it on fire or something like that, you know.

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It gets a little bit boring, and so pretty soon

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I go through other instruments, they become familiar,

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and eventually I find myself designing and constructing

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my own instrument, and I brought one with me today,

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and I thought I would play a little bit on it for you

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so you can hear what it sounds like.

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(Music)

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You gotta have doorstops, that's important. (Laughter)

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I've got combs. They're the only combs that I own. (Music)

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They're all mounted on my instruments. (Laughter)

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(Music)

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I can actually do all sorts of things. I can play

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with a violin bow. I don't have to use the chopsticks.

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So we have this sound. (Music)

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And with a bank of live electronics,

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I can change the sounds radically. (Music)

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(Music)

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Like that, and like this. (Music)

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And so forth.

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So this gives you a little bit of an idea of the sound world

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of this instrument, which I think is quite interesting

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and it puts me in the role of the inventor, and the nice thing about —

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This instrument is called the Mouseketeer ... (Laughter)

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and the cool thing about it is

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I'm the world's greatest Mouseketeer player. (Laughter)

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Okay? (Applause)

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So in that regard, this is one of the things,

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this is one of the privileges of being,

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and here's another role, the inventor, and by the way,

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when I told you that I'm the world's greatest,

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if you're keeping score, we've had narcissism and solipsism

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and now a healthy dose of egocentricism.

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I know some of you are just, you know, bingo! Or, I don't know. (Laughter)

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Anyway, so this is also a really enjoyable role.

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I should concede also that I'm the world's worst Mouseketeer player,

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and it was this distinction that I was most worried about

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when I was on that prior side of the tenure divide.

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I'm glad I'm past that. We're not going to go into that.

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I'm crying on the inside. There are still scars.

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Anyway, but I guess my point is that all of these enterprises

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are engaging to me in their multiplicity, but as I've presented them

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to you today, they're actually solitary enterprises,

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and so pretty soon I want to commune with other people, and so

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I'm delighted that in fact I get to compose works for them.

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I get to write, sometimes for soloists and I get to work with one person,

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sometimes full orchestras, and I work with a lot of people,

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and this is probably the capacity, the role creatively

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for which I'm probably best known professionally.

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Now, some of my scores as a composer look like this,

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and others look like this,

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and some look like this,

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and I make all of these by hand, and it's really tedious.

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It takes a long, long time to make these scores,

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and right now I'm working on a piece

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that's 180 pages in length,

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and it's just a big chunk of my life, and I'm just pulling out hair.

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I have a lot of it, and that's a good thing I suppose. (Laughter)

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So this gets really boring and really tiresome for me,

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so after a while the process of notating is not only boring,

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but I actually want the notation to be more interesting,

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and so that's pushed me to do other projects like this one.

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This is an excerpt from a score called

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"The Metaphysics of Notation."

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The full score is 72 feet wide.

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It's a bunch of crazy pictographic notation.

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Let's zoom in on one section of it right here. You can see

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it's rather detailed. I do all of this with drafting templates,

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with straight edges, with French curves, and by freehand,

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and the 72 feet was actually split

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into 12 six-foot-wide panels that were installed

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around the Cantor Arts Center Museum lobby balcony,

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and it appeared for one year in the museum,

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and during that year, it was experienced as visual art

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most of the week, except, as you can see in these pictures,

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on Fridays, from noon til one, and only during that time,

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various performers came and interpreted these strange

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and undefined pictographic glyphs. (Laughter)

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Now this was a really exciting experience for me.

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It was gratifying musically, but I think

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the more important thing is it was exciting because I got to take on

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another role, especially given that it appeared in a museum,

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and that is as visual artist. (Laughter)

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We're going to fill up the whole thing, don't worry. (Laughter)

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I am multitudes. (Laughter)

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So one of the things is that, I mean, some people

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would say, like, "Oh, you're being a dilettante,"

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and maybe that's true. I can understand how, I mean,

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because I don't have a pedigree in visual art

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and I don't have any training, but it's just something

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that I wanted to do as an extension of my composition,

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as an extension of a kind of creative impulse.

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I can understand the question, though. "But is it music?"

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I mean, there's not any traditional notation.

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I can also understand that sort of implicit criticism

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in this piece, "S-tog," which I made when I was living in Copenhagen.

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I took the Copenhagen subway map and

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I renamed all the stations to abstract musical provocations,

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and the players, who are synchronized with stopwatches,

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follow the timetables, which are listed in minutes past the hour.

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So this is a case of actually adapting something,

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or maybe stealing something,

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and then turning it into a musical notation.

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Another adaptation would be this piece.

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I took the idea of the wristwatch, and I turned it into a musical score.

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I made my own faces, and had a company fabricate them,

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and the players follow these scores.

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They follow the second hands, and as they pass over

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the various symbols, the players respond musically.

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Here's another example from another piece,

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and then its realization.

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So in these two capacities, I've been scavenger,

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in the sense of taking, like, the subway map, right,

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or thief maybe, and I've also been designer,

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in the case of making the wristwatches.

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And once again, this is, for me, interesting.

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Another role that I like to take on is that of the performance artist.

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Some of my pieces have these kind of weird theatric elements,

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and I often perform them. I want to show you a clip

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from a piece called "Echolalia."

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This is actually being performed by Brian McWhorter,

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who is an extraordinary performer.

201
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Let's watch a little bit of this, and please notice the instrumentation.

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(Music)

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Okay, I hear you were laughing nervously because

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you too could hear that the drill was a little bit sharp,

205
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the intonation was a little questionable. (Laughter)

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Let's watch just another clip.

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(Music)

208
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You can see the mayhem continues, and there's, you know,

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there were no clarinets and trumpets

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and flutes and violins. Here's a piece that has

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an even more unusual, more peculiar instrumentation.

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This is "Tlön," for three conductors and no players. (Laughter)

213
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This was based on the experience of actually watching

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two people having a virulent argument in sign language,

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which produced no decibels to speak of,

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but affectively, psychologically, was a very loud experience.

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So, yeah, I get it, with, like, the weird appliances

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and then the total absence of conventional instruments

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and this glut of conductors, people might, you know,

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wonder, yeah, "Is this music?"

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But let's move on to a piece where clearly I'm behaving myself,

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and that is my "Concerto for Orchestra."

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You're going to notice a lot of conventional instruments

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in this clip. (Music)

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(Music)

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This, in fact, is not the title of this piece.

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I was a bit mischievous. In fact, to make it more interesting,

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I put a space right in here, and this is the actual title of the piece.

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Let's continue with that same excerpt.

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(Music)

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It's better with a florist, right? (Laughter) (Music)

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Or at least it's less boring. Let's watch a couple more clips.

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(Music)

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So with all these theatric elements, this pushes me in another role,

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and that would be, possibly, the dramaturge.

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I was playing nice. I had to write the orchestra bits, right?

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Okay? But then there was this other stuff, right?

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There was the florist, and I can understand that,

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once again, we're putting pressure on the ontology of music

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as we know it conventionally,

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but let's look at one last piece today I'm going to share with you.

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This is going to be a piece called "Aphasia,"

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and it's for hand gestures synchronized to sound,

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and this invites yet another role, and final one

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I'll share with you, which is that of the choreographer.

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And the score for the piece looks like this,

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and it instructs me, the performer, to make

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various hand gestures at very specific times

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synchronized with an audio tape, and that audio tape

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is made up exclusively of vocal samples.

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I recorded an awesome singer,

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and I took the sound of his voice in my computer,

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and I warped it in countless ways to come up with

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the soundtrack that you're about to hear.

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And I'll perform just an excerpt of "Aphasia" for you here. Okay?

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(Music)

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So that gives you a little taste of that piece. (Applause)

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Yeah, okay, that's kind of weird stuff.

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Is it music? Here's how I want to conclude.

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I've decided, ultimately, that this is the wrong question,

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that this is not the important question.

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The important question is, "Is it interesting?"

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And I follow this question, not worrying about "Is it music?" --

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not worrying about the definition of the thing that I'm making.

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I allow my creativity to push me

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in directions that are simply interesting to me,

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and I don't worry about the likeness of the result

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to some notion, some paradigm,

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of what music composition is supposed to be,

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and that has actually urged me, in a sense,

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to take on a whole bunch of different roles,

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and so what I want you to think about is,

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to what extent might you change the fundamental question

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in your discipline, and, okay,

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I'm going to put one extra little footnote in here,

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because, like, I realized I mentioned

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some psychological defects earlier, and we also,

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along the way, had a fair amount of obsessive behavior,

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and there was some delusional behavior and things like that,

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and here I think we could say that this is an argument

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for self-loathing and a kind of schizophrenia,

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at least in the popular use of the term,

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and I really mean dissociative identity disorder, okay. (Laughter)

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Anyway, despite those perils, I would urge you

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to think about the possibility that you might take on roles

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in your own work, whether they are neighboring

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or far-flung from your professional definition.

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And with that, I thank you very much. (Applause)

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(Applause)