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PRESS RELEASE
FILM: FILM:
Peggy Gilbert & Her All-Girl Band
DANCE:
Danza Azteca POETRY: MUSIC:
Mary Magdalene PHOTOGRAPHY: SPONSORS:
Women's Wellbeing & Development Foundation |
Carolyn Bremer Carolyn Bremer has been dubbed a composer "driven by hobgoblins of post modernist cant." Bremer came to composition on the heels of intensive training as an orchestral bassist. Her catalogue contains works based on feminist symbolism (Athene), baseball (Early Light), and popular culture (It Makes Me Nervewracking). Recently, Bremer has incorporated her photography and music into multimedia works. Bremer has had recent performances of her works at Carnegie Hall; in Germany, Norway, and Sweden; and for the gala 150th anniversary concert at West Point. Her commissions include the Symphony for WindBand, premiered by Ray Cramer at Indiana University; Returns of the Day, premiered by Thomas Dvorak at University of Wisconsin-Milwaukee, Pieces of Eight premiered by the California State Honor band, and Spark, premiered by Adam Brennan at Mansfield University. CDs released since Spring 2002 include the El Paso Wind Symphony on Summit Records, the Heritage of American Band of the US Air Force, the Towson University Symphonic Band, and the Monarch Brass Ensemble. Bremer studied at the Eastman School of Music, CalArts, and received the Ph.D. in composition from UCSB. She was Chair of Composition at the University of Oklahoma from 1991-2000 where she held the O'Brien Presidential Professorship. Currently, she is Professor and Area Director of Composition and Theory at California State University Long Beach. red music / blue music: Red Music / Blue Music is about extreme contrasts in place and thought, which has as its heart, a manifestation of the political and social divide affecting the United States. The images were made in California and Oklahoma, processed in Photoshop, and assembled in Final Cut Studio. adventures in hyperreality: Adventures in Hyperreality is a hybrid work: part scholarly criticism / part creative venture. It is a reinterpretation of "Travels in Hyperreality" by Umberto Eco. In his article, Eco recounted his observations upon visiting Disneyland, noting that the artificial became paramount. My musical accompaniment traverses the same border tensions, mixing original with parody in the artificial context of MIDI driven computer samples.
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