PoChun: We also have had collaborators who have sent us, for example, a pre-existing patch, or something that they have already written. We’ve also had composers who provided the performers, the instruments and the technology and we just integrated them into our concert. Ramon: We’ve had a number of composers simply submit scores, and we did the programming. What do you offer a composer interested in electronic music? It helps if submitters get somewhat familiar with our work before pitching a proposal – being in the audience can really help. We want the open call to reach people on our wavelength, sorry for all the electronic music metaphors. Part of our difficulty is the signal to noise ratio isn’t as good as we want it to be. Ramon: While we’ve received submissions from across the country and Europe, we are a local ensemble. We want them to think in terms of our limitations instead of any set of rules.įrom where have you received submissions? They need to be able to describe accurately what they want us to do. PoChun: We’re looking for creativity above all else, but a high degree of artistic maturity is also important. PoChun: We do have a permanent open call on our website looking for collaboration.ĭo you have specific criteria that you are looking for when you screen people’s submissions? We haven’t gotten into it yet, but dancers possibly too. Performers, composers, sound designers, video artists. Pei-Yeh Tsai (piano) is the manager and Jean Huang (violin) is the Concert coordinator.Īre you interested in being approached by composers or performers? She is the director and I am the artistic director. Who are the standing members of Bleep Blop? Since then, we’ve become a bit of a cross-over group between those two departments, at least in terms of student interest. PoChun: We soon found interest at Berklee in the Electronic Production and Design department and the Composition department. The concert was so successful and so much fun that we just decided to keep it going. We just had a concert that we needed to program so we decided to do electroacoustic music for solo piano, and Pei-yeh Tsai was the pianist. Ramon: The strange thing about the history of the group is that we weren’t really thinking about becoming an ensemble. PoChun with Klaudia and Rebecca from Trio Lumiere They went on their own separate ways thereafter. For instance, in one of the concerts we had a laptop ensemble that was put together just for that one concert, and that was it. Ramon: It’s an ensemble, but it’s very ad hoc. They may know how to write for traditional instruments, but they may not have any kind of electronic experience, so we wanted to make it possible for anyone who wants to write music to do so in this manner. Ramon: We want to make the process of writing electronic music accessible to younger composers or any composers really who may only know how to approach music from an orchestrational or acoustic point of view. Joe Morgan: What is the purpose of Bleep Blop? The other day BMInt talked with Ramon Castillo and PoChun Wang, the founding members of Bleep Blop about the group and its upcoming concerts at M.I.T. Their 8:00 event on April 13 th at MIT’s Killian Hall will feature works by Ramon Castillo, Deepak Gopinath, Ryan Meyer and PoChun Wang for electronically manipulated piano (Pei-yeh Tsai), analog synthesis, the Kronos Quartet Drum Machine, dynamically looped mbira, live video, including Six Six for solo piano and dynamic loopers, Two for soloist performing 8 simultaneous film scores, Bounce and Wonderland for synthesizer and the Kronos Quartet Drum Machine, Artifice for solo piano and iPad controlled effects. According to their manifesto, Bleep Blop, a Boston-based electroacoustic new music ensemble, “collaborates with sound designers, artists and composers to develop new music and visual arts, and is committed to the merging of acoustic performers and live electronics, resulting in an overhaul of the concert experience.” They also promote interactions with their audiences.
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