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MUSIC & PERFORMANCE
 

 

World Premiere of YELLOW BREEZE (and unclenched shoulders)

2024

PRISMS Contemporary Music Festival, hosted by Arizona State University

Katzin Concert Hall, Tempe, AZ

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Program Note:

"Every Wednesday after school, my grandpa would drive me to flute lessons as a teenager. He would then ride along as I learned how to drive. It was a joy for him, as it was for me. He was a grounded person, and steady. He taught me how to release adrenaline before auditions by pushing with all my might against a wall and releasing several times in a row. 

 

During the summer of 2024, my grandfather, Ronald V Howes, transitioned to the other side. Sitting by his hospital and hospice beds, his deep green aura (despite the title of this piece) gleefully spun me around as it began to leave his physical body. My family rotated visiting schedules, but my grandma never left his side. She spent a week with him in hospice, where they made it to their 62nd wedding anniversary before he passed. 

 

I got to play my flute at his small town funeral in South Carolina to honor him - Amazing Grace. The wind picked up the moment I started playing. 

 

After flying back home to where I lived in Tempe, AZ, I began improvising with the meditative melody playing the wind chime with an old soul hanging in the backyard. I found out it had previously belonged to my housemate’s grandfather.

 

Having the previous spring’s experimental printmaking class from graduate school fresh on my mind, a visual of this score flashed through my mind. Over the span of several days on campus at Arizona State University in an empty studio, it came to life. Photos of my Grandma outside in her grassy yard served as my basis for each of the six parts. I layered several monotypes for each, retaining the “ghost” from each run through the press so that the marks would subtly repeat and layer onto the page. 

 

Love you always, Grandpa."

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STUDIES IN PHTHALO GREEN 

Performed by Danielle Peterson, solo flute

2025​

Composition Studio Recital at Arizona State University

Katzin Concert Hall, Tempe, AZ

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Program Note:

"I’ve had a love affair in my painting practice with the color called Phthalo Green. Pronounced THAY-loh, she is a very powerful hue that is extremely malleable and is often polarizing to viewers and painters alike - beloved or hated. 

 

Through my explorations in oil paint, I grew in reverence for her ability to be obtrusively dark and opaque, given it is inherently transparent and easily feels garish or artificial (it is a color manufactured in a lab after all). Phthalo Green vibrates at an easily unsettling frequency that can be cold and depressing, but mixes gorgeously with warmer colors to create some incredible natural shades and tones of green. If we only look to nature’s incredible range of living things, we often find that it is surprisingly colorful in the most unexpected places. Greenery really is that green! 

 

Phthalo Green got me to reconsider the way I feel and perceive color on the whole, and expanded my palette to embrace the power of color. From six abstract nature studies grounded in auditory impulses in my head, I pulled out certain gestures and sensations to bridge the gap between sight and sound in collaboration with flutist Danielle Peterson. We went everywhere from a pebble ridden babbling brook to the arid desert wind."

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SIDEWALK CHALK (26:08 performance) 5:52 Video

2023

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Wearing a white shirt and white shorts, I walk into frame and pull a "child's" briefcase of colorful chalk out of a another, "adult" briefcase. I proceed to unlatch my case, pick out a piece of chalk and slowly outline my seated body. It evolves as my body becomes increasingly active and I continuously trace myself in chalk without pause, except to change color.

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I am insisting on my own existence. Questioning our perception of growing over time and the ways in which one might engage with the world as an adolescent and as an adult. The performance ends when I'm done working for the day.

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ASU ACME CONCERT SPRING '24 

(45:45 begins painting performance of graphic score "December 1952 by Earle Brown)

Arizona Contemporary Music Ensemble, Arizona State University, Katzin Hall

2024

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In collaboration with the ASU Arizona Contemporary Music Ensemble (ACME), we developed a framework with which to musically interpret Earle Brown's "December 1952: FOLIO" graphic score, which is one sheet comprised of many small rectangles of various sizes and proportions. 

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Which the concept of home in mind, a "place" or "non-place" or body that houses the dualities of human experience, the good and bad, conflict and joy... the score was mathematically divided into four sections with four parts per section for the musicians to activate each rectangular gesture at calculated times. This would in turn inform the gestures I made with paint on canvas. Each section corresponded to a color (yellow, red, blue, neutral) to determine how the musicians would approach their gestures. 

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THREE FLUXUS PERFORMANCES 6:49 Video

2023

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I perform here in three Fluxus art performances for the sake of taking personal orchestration seriously​, you will see three acts sequentially that give three different spaces of viewer entanglement. Are you a captive audience member who silently applauds alongside the successes and failures of finding resonance in various spaces?

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Attune by Larry Miller:

"Find which note in the octave is yours."

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Two Durations by George Brecht:

"red

green"

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Rainbow No. 2 for Orchestra by Ay-O:

"A totally inexperienced orchestra plays a 7 note major scale on various instruments."

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A FLUXUS ORCHESTRA: Across Five States (asynchronous group performance) 1:29 Video

2023

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This is the result of Fluxus score: Rainbow No. 2 for Orchestra by the artist Ay-O, in which I asked people to participate through social media. "A totally inexperienced orchestra plays a 7 note major scale on various instruments."

 

Featuring: Guitar 1 (Jake Rinker), Guitar 2 (Mike Coles), Piano 1 (Pam Rinker), Piano 2 (Cindy Sharitt), and Wind Instrumentation - Piccolo, Flute, Clarinet {with no reed} (Michael Isgett).

Special thanks to these folks for collaborating on this performance.

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Images and text © 2012-2026   RACHEL RINKER

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