"Wells Hill" auxiliary discourse on the lives, works, and sweeping theories of Glenn Gould and Marshall McLuhan
Date/Time: Nov 18 2017, 1:00 pm to 4:00 pm
Vancouver, Goldcorp Centre for the Arts | Event calendarCost: Free
Curated by Richard Cavell, UBC professor whose research focuses on media theory and Canadian Studies, finding common ground in his publications on foundational media theorist Marshall McLuhan.
These events are free and open to the public.
Hosted by Owen Underhill, composer, conductor, artistic director, and SFU SCA faculty member
The discourse is part of a series of auxillary events for Action at a Distance: Wells Hill, a co-presentation by of SFU Woodward's Cultural Program, DanceHouse and SFU School for the Contemporary Arts.
Discourse on Glenn Gloud
The presentation will explore connections between the musical evolution of Glenn Gould (1932 – 1982) in relation to his two famous ‘early’ (1955) and ‘late’ (1982) recordings of the Goldberg Variations, his genius as a performer in the weaving of counterpoint (simultaneous lines of music) in contemporary music and baroque music, and his use of recording technologies and collage in his trilogy of “contrapuntal radio” documentaries entitled The Solitude Trilogy. The presentation will include audio examples of his performance, radio documentaries and excerpts from the CBC/PBS film entitled The Idea of North. Insights and anecdotes derived from CBC producers who interacted with Glenn Gould in Toronto during his final decade will be included, as well as commentary on Gould’s recording and editing practice following his break with live performance.
About the presenter:
Owen Underhill is a composer and conductor, and faculty member in the School for the Contemporary Arts at Simon Fraser University. He is the Artistic Director of the Turning Point Ensemble, a large chamber ensemble dedicated to innovative programming and links between music of the twentieth century to the present day. He looks forward to sharing his long-term interest in Glenn Gould from the point of view of a composer.
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