30 May Magistral Composición, Marino, 9-10 junio
Los próximos días 9 y 10 de junio de 2022, el Conservatorio Superior de Música de Aragón, en colaboración con Etopía Centro de Arte y Tecnología, acogerá unas Clases Magistrales de Composición a cargo de Jessie Marino. El horario será:
Jueves
⁃ 10:00 Taller para intérpretes (aula 113, CSMA)
⁃ 13:00 Concierto (aula 113, CSMA)
⁃ 19:30 Conferencia: “Fluidity of musical materials” (Etopía)
Viernes
⁃ 10:00 Taller para compositores/as: “re-mapping and erasure” (aula 113, CSMA)
⁃ 20:00 Concierto monográfico (Etopía)
El Departamento de Composición del CSMA y el Centro de Arte Etopía acogen la visita de la compositora neoyorkina Jessie Marino, cuyo trabajo constituye una de los aportaciones más interesantes y fructíferas de los últimos años en aquel terreno en el que se juntan y se potencian ámbitos como la música de nueva creación, el arte sonoro, la performance o el videoarte. Durante su estancia, realizará varias actividades entre el CSMA Y Etopía, que culminarán el viernes 10 con un concierto monográfico a cargo de alumnos/as del CSMA y coordinado por la profesora Lluïsa Espigolé.
El trabajo de la neoyorkina Jessie Marino constituye una de las aportaciones más interesantes y fructíferas de los últimos años en aquel terreno en el que se juntan y se potencian ámbitos como la música de nueva creación, el arte sonoro, la performance o el videoarte. En sus obras, el tiempo musical se inscribe más allá del sonido, con partituras que demandan a quienes las abordan una competencia más allá del mero dominio del instrumento, incluyendo acciones corporales, expresiones faciales o movimientos físicos que conectan la escucha con la manera de interactuar de las personas y la atención hacia la posible estructura musical de lo cotidiano.
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Jessie Marino is a composer, performer, and media artist from Long Island, New York. her work explores the repetition inside common activities, ritualistic absurdities, and uncovering nostalgic technologies. Jessie’s pieces score out sound, video, physical movements, lighting, and staging, which are then placed within organized temporal structures, fractured narratives and musical frameworks. Much of marino’s interdisciplinary compositional work eschews conventional instrumentation, with scores that ask performers to use their bodies—using precisely articulated gestures, facial expressions, and quotidian physical movements—both as an alternative and a complement to musical sounds. Her work maps out the way humans communicate with their bodies on a performative timeframe, revealing the musicality hidden within everyday gesticulations, signs, and demonstrations, transmitted both consciously and unconsciously. Marino finds humor and profundity in personal interactions and the way humans navigate physical space—an improvisational act that can invoke a ballet, a dinner party or a demolition derby.
Her compositions and solo performances abstract ideas drawn from all stripes of popular culture and political discourse, girded by a definitively humanistic sensibility rife with equal doses of wit and pathos. marino’s work employs video, lighting, performance art, and comedy, but it is rigorously constructed using musical time, even when a piece is utterly silent. She transcends the conventional materials of composition to help audiences locate music in the most commonplace activities and relations.
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Marino’s work has recently been commissioned by Decoder Ensemble, Pinquins Percussion/Ultima Festival (NO), Darmstadt International Summer Course (DE), Borealis Festival (NO), G((o))ng Tomorrow Festival (DK), Huddersfield Contemporary Music Festival (UK), Transit Festival (BE), and Look/Listen Festival (NYC). Her work has made recent appearances at the BAM! Festival for MusikTheater (Berlin), Festival Musica (Strasbourg), Heroines of Sound (Berlin/MX) , Los Angeles Chamber Orchestra Contemporary Series and her pieces have been performed by formidable new music ensembles such as KNM Ensemble (DE), SCENATET (DK), SoundInitiative (FR), TAK Ensemble (USA) We Spoke Percussion (UK), Line Upon Line Percussion (USA), Wild Up (USA), eighth blackbird (USA), Decoder Ensemble (DE), Ensemble Adapter (DE), Die Ordnung Der Dinge (DE), Zwerm Electric Guitar Quartet (BE), Retro Disco (CH), and Ensemble Pamplemousse (USA).
Jessie has parlayed her interest in expanding compositional practice beyond sound into educational pursuits, teaching and guest-lecturing at academic institutions like the School of the Art Institute of Chicago, University of Chicago, the Hochschule Für Musik und Tanz Köln, and the Staatliche Hochschule Für Musik und Darstellende Kunst Stuttgart – as well as co-teaching for the Chicago chapter of TECHNE, a non-profit organization devoted to introducing female-identified youth to the rudiments of technology-focused art making, musical improvisation, and community collaboration.
In 2020 marino received the Fromm Composition Prize from Harvard University, in 2018 she received the Rome Prize for musical composition at the American Academy in Rome. She has been an artist in residence at the Villa Sträuli, Headlands Center for the Arts (CA), Avaloch Farm Music Institute (NH), and the Albatross Artists Residency Program. Jessie has performed internationally as a solo artist as well as a member of Ensemble Pamplemousse (co-artistic director and member from 2006-2019). she has worked closely with composers such as Alvin Lucier, George Lewis, Klaus Lang and Steven Takasugi, and has been a guest performer with prominent contemporary music and theater ensembles such as OX&ÖL (CH), Object Collection (NYC) and Wet Ink Ensemble (NYC).
Marino studied experimental music and composition at Wesleyan University with Alvin Lucier and Ronald Kuivila and she earned a DMA in musical composition from Stanford University, working with sound artist Paul DeMarinis.
