Acknowledgements

There are many individuals to be thanked here, in quite a few different locales around the globe, though of course none bears any responsibility for the Musicuratum project in general, nor for anything I have written or shall write under these auspices.

Four in particular deserve special mention.

In the first part of 2012, the singer Landon Gadoci, in Austin, kindly answered my long-distance inquiries during a period which then turned out to be that of the website’s gestation, and even in some manner helped catalyze my interest in undertaking such an endeavor to begin with. It is not by chance that his work was first written about at the outset, nor that I have devoted some longer and I hope more informative texts to it subsequently.

Some weeks prior to launching the website, during a couple of long and very good conversations here in Amsterdam, Mattijs van Bergen listened with a sympathetic and sharp ear to my plans as they were developing, and offered several pieces of well-considered advice, while a few weeks after I had set it up, in a further talk he tendered some additional suggestions which also proved particularly fruitful.

Quite a bit before I had even thought seriously about establishing the website, Mariah Blue, also in Amsterdam, graciously heard me expatiate on my ideas in several of their iterations and was forthcoming with numerous recommendations and tips concerning several of the musical scenes in this city.

Likewise in Amsterdam, Tsead Bruinja, for his part, also signalized his interest in the project some time before the website took shape, providing some much-needed encouragement as well as several pieces of practical information.

Numerous others in Amsterdam have at different points in time shared their interest, encouragement, and – a lovely Dutch word – ondersteuning. The composers René Baptist Huysmans, Luiz Henrique Yudo, and Michael Bonaventure (all of whom just recently initiated a new musical collective called Muiz Manz, which seems promising indeed) have been supporters of my endeavors from early on, and I consider myself fortunate to have been able to actually meet them, while Alexandra Duvekot, of the duo Saelors and the band Light Light, has shared her enthusiasm in numerous personal communications. And, as regards those who are not professional musicians, though some are professionally involved in musical life in other ways, I should like to acknowledge how pleasant, instructive, and timely the conversations I’ve held with Arthur Olof concerning classical music in the Soviet Union and its successor states during the twentieth century, with José ten Berge on some contemporary classical music and contemporary dance, with Helena Spanjaard on Bach and also on the fine arts, with Gregor Langfeld (who has also on occasion corrected my German) on painting, aesthetic theory, and poetry, with Hans Abbing on the institutional conditions of music performance, with Maya Gordon on American and Israeli music as well as on American, English, and Hebrew poetry, with Jack Faber on some topics in contemporary music and film, with both Merel Schrama and Joshua Bevers on present-day pop music and on graphic design, and with Gert Jonkers on a number of matters relating to the music scenes in Amsterdam and in London, have all in their various ways been.

In New York, too, there are quite a few individuals to whom thanks are due. The singer and songwriter Andi Kristins has been a supporter from quite early on, and towards the end of 2012 the composer Adam Cuthbért introduced himself to me and has followed my work with great enthusiasm since then, also introducing me to his frequent long-distance collaborator Daniel Rhode as well as to two other composers in the city, Brian Petuch and Rosalie Burrell, both of whom have evinced a similar interest in it and with whom I’ve had some illuminating discussions, as well as to Steven Swartz and Sarah Baird Knight, the impresarios at Dot Dot Dot Music, who have been very encouraging indeed and willing to talk with me about topics ranging from the band Telefon Tel Aviv to the works of Simeon ten Holt and Morton Feldman; while more recently, also amongst musicians, it was a pleasure some months ago to make the acquaintance of Mikkel Hess, the Danish singer, songwriter, and multi-instrumentalist who, dividing his time between New York and Copenhagen, is the driving force behind the band Hess Is More, whose enthusiastic response to my project was very welcome.

Further, of those who are not musicians but who nonetheless are interested in music or in my project or in both, there are several other New Yorkers whom I wish to thank, including Sharon Girard for many conversations concerning the website in general and a number of contemporary classical composers in particular, Cameron McDonald for several talks about the literary aspect of publishing texts in such a medium as the Internet and about American literature, Steve Schiff and Ana Busto for their enthusiastic response to the project as well as many conversations about their city’s present music scene, especially in Brooklyn, and also about contemporary art, Tad Hershorn for sharing on occasion some of his great knowledge of jazz, Gregg Horowitz and Ellen Levy for their considerable interest and also for many longer exchanges about an expanse of topics especially in the arts, literature and especially poetry, and philosophy, Patrick Doherty for his friendly encouragement of the project generally, and Sean Bray for some spirited free-wheeling discourse on personages diverging as widely from one another as Hegel and Lady Gaga.

Elsewhere in the United States, variously located, there are several other musical professionals whose interest – communicated in each case through the various portals of the Internet – is deserving of recognition. The composer Dan Tramte, currently pursuing an advanced degree in Denton, Texas, has been from early on an enthusiastic supporter and a participant in interesting long-distance exchanges about philosophy and phenomenology; also during the summer months in 2012, the singer and songwriter Alyn Mearns, resident in Hickory, North Carolina, who performs solo as Yes the Raven and collaborates in the duo The Belfast Boys, has shared his enthusiasm, his work, and also his love of Auden’s poetry; somewhat later in 2012, the singer and songwriter Maxwell Demon, who divides his time between Bellport on Long Island and New York City, introduced himself to me and has followed my project avidly since then; more recently, during the last few months, I have had the pleasure of making the acquaintance of the composer Nomi Epstein (in Chicago), the sound artist Jeremy Henry (in Dallas), also known as the Haus of Glitch, and the musician Jan Hendrich (in San Francisco), whose moniker as a solo artist is Qepe, each of these three having responded with interest to the project; and not long ago, the singer and songwriter Ben Sevier, who (in Phoenix) records under the name Wyly, penned a quite fine piece of encouragement for my efforts on his own website.

Also in the United States, amongst those whose interest is not, or is not mainly, professional, David Wurtzel and Martha Weintraub in New Jersey have offered an enthusiastic response to my project in its sheer unexpectedness; in Los Angeles, over the past several years, conversations with Albert Maghbouleh and Eric Gordon concerning a number of topics relating to music, served later on as a source of more general encouragement, while, more recently, Harry Haese, Lisa Singer Haese, and Julianne Singer have also expressed their curiosity about and support of the project; and from the San Francisco area, Bryan Girard by his own musicianship, Rosemarie DeWeese Girard through her interest, and Karen Voets with her pointers, have all communicated some impetus and enthusiasm to it.

In Canada, the musicians Valerie Giroux and James Lemay of the duo You and Me, in Montréal, approached me with some lovely words of encouragement and have remained interested in the project since then, much as a non-professional based in the same city, Valerie Fedorowicz, also has; from Ottawa, the sound artist Christopher Bartman, active musically under the monikers Beaucrat and now also Momentary Awareness, has followed its development by means of the Internet and also in personal communications; and from Toronto the composer Joel Garten has also taken an encouraging interest.

Closer to home, in the hub that is London, are several individuals whom I also should like to thank. Early on the composer Matthew Shlomowitz conveyed his approbation of the text written about his work in a quite encouraging manner, while a bit later the singer and songwriter Jack Stanton, at the time still a student at Oxford but since graduated and then relocated to the capital, approached me via Soundcloud, and has continued to follow the project since then; and more recently, the impresario David Metcalfe of the agency Forma Arts and Media, the mash-up artist Jonas C., who operates – despite spurious measures taken against him in the name of copyright – under the moniker Daft Beatles, the musician and producer Chris Garland, whose current musical project is The Psychedelic Manifesto, and the theoretician Inigo Wilkins, who maintains an interesting blog under the title Irreversible Noise, have all conveyed their interest in actual conversation, through personal communications, via Twitter, and by means of a blog link.

Elsewhere in England, the composer Rory Smith, currently living in Leeds, responded with appreciation and enthusiasm to my first text about his work, and has continued to follow the project since then, and, somewhat later, the singer and songwriter in Salisbury, Jonnie Allen, has done likewise.

In Paris, Marieke Wiegel graciously offered a number of pertinent recommendations, while it was also a great pleasure to meet the quite musical film-maker Xavier Baert, whose lively conversation and interest in my project have been encouraging indeed. And in the same city, the man behind the main fansite for the singer Eli Lieb, Michael Berthe, has also offered some choice words of encouragement in personal communications.

I should like to thank Jacques Joseph Roux, a sound artist in Givors, for his enthusiastic response to my project; similarly, The Sandman’s Orchestra, a French duo in Lille comprising Léonie Gabriel and Pierre Laplace, replied very kindly to my text about them and has remained in communication subsequently, as has, several months before, the composer Franck Christoph Yeznikian in Lyon; while, earlier still, the poet Pierre Auriol, now living in Montpellier, has conversed amiably in person and by personal communications about French poetry, including his own, Greek and Latin literature, and Debussy and Puccini; and most recently the sound artist Edouard Trolliet, a resident of Tarnos, greeted the text occasioned by his work with an encouraging enthusiasm.

In Berlin, another sound artist, Christoph de Babalon, responded kindly to my interest in his work, as did the singer and film-maker André Schneider, with a gracious reference to mine on his own website.

Lisa-Gwendolin Eichberger, in Cologne, a singer who participates in the experimental ensemble Turm der Liebe, has shown a like interest, commencing with my discussion of one of its numbers in a longer text.

The Milanese composer Giovanni Dettori has followed my project with an uncommon degree of care and understanding, and I am very pleased to have had the opportunity to make his acquaintance by means of personal communications.

In Brussels, the musician and radio programmer Salvatore Créme, formerly of the Venezuelan band Electrometro, responded enthusiastically to my project and has taken the time to answer some queries at length, while personal communications with the electronic musician known as Analog 80 have also been encouraging.

Residing in Budapest, Dee Rüsche of the London-based band Női Kabát took an interest in the project early on, as did, at the beginning of this year, Ferenc Fehér of the bands Tripes and Industrial Wave Studio, in Kaposvár.

In Oslo, the singer and songwriter Jonas McDonnell, and in Bergen, the film-maker and fashionisto T-⁠Michael, both of whom I’ve written about, have responded encouragingly.

Finally, further afield, for their enthusiasm and kind words, and often their readiness to share their music with me, I should also like to thank the singer and songwriter Stephen Carmichael, in Brisbane; the multi-instrumentalist and singer Samm Bennett, in Tokyo; the composer Mithatcan Öcal, in Istanbul; the DJ and producer Michael Dee, better known by his nom d’artiste as Mobidextrous, in Singapore; Michael Day, who works under the moniker of the West Coast Fruit Co., in Auckland; the artist, singer, and songwriter Givan Lötz, in Johannesburg; and the band Tangocrisis, in Buenos Aires.