This is a blog written by Michael Baldwin that publishes readings of documented musical work. The writing focuses on ways of approaching music-making bodies as scores that can be performed alongside with and which change how musical work is heard and felt.
Previous writing by Michael in this vein includes:
- Faces Map Terrains of Listening – Imitating Facial Listening in Carolyn Chen’s Adago
- Mouth and Nose as Ears – Breathing Hearing in Antonia Barnett McIntosh’s Breath
- Limbs Have Hearts and Eyes Hear – Reading and Feeling the Video Score for Michael Baldwin’s ]HoldingOn[
For this blog, Michael attempts to write a short essay about one different piece or set of pieces every two weeks, usually featuring other musicians’ work, but sometimes also writing about facets of his own work.
Michael is also interested in receiving correspondences from musicians (performers and composers alike) who would like him to review their documented musical work and produce a reading of the music-making bodies represented therein.
Please be in contact at: email@example.com
More about Michael: https://michaelbaldwincomposer.wordpress.com/