Sat., Aug. 12, 2017
Doors at 3:30pm | Show at 4pm
Museum of Art and History
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Everything Else is a day-long event of music by artists working at the fringes of established scenes and venues. Gathering in DIY spaces, house concerts, art galleries, and (yes) even the university, these artists build communities through sharing their work with one another in intimate settings. Indexical looks to bring these groups together to further enhance the connections that can be made among artists and their surrounding communities.

Everything Else takes its name from a piece by composer and percussionist Sarah Hennies. She draws a parallel between “percussion” and queer identities, writing that “a contemporary definition of ‘percussion’ has the potential to include almost anything that is not already defined as some other instrument.” Indexical celebrates this anti-definition with a performance of Hennies’s Everything Else for many percussionists at 9 pm, before closing the evening with Pauline Oliveros’s participatory Tuning Meditation and David Dunn’s field recordings of ultrasonic bat sounds from Pinnacles National Park.


In the Secret Garden from 4 – 8 pm
& the Atrium from 8 – 10 pm
Workshops throughout the day

4:00 pm – 5:00 pm: Performances #1

Jon Myers
Laura Steenberge & K C M Walker
Madison Heying + Ryan Page

5pm – 5:30 pm: Workshop #1

Listening Scores with K C M Walker & Laura Steenberge

5:30 pm – 6:30 pm: Performances #2

Gabriel Saloman

6:30ish pm – 7:00 pm: Workshop #2

Sound Walk with Madison Heying in the vicinity of the MAH

7:00 pm – 8:00 pm: Performances #3

R Duck Show Electronic Music Family Singalong. A live electronic music sculpture and long running radio program, R Duck assembles various sound and video sources to create a living landscape for listeners to enjoy in comfort, perhaps with a cup of tea and some healthy snack treat. With guests Laura Steenberge, K.C.M. Walker, Andrew C. Smith, and Doug Lynner.

8:00 pm – 9:00 pm: Performances #4

Rob Cosgrove & Daniel Meyer-O’Keeffe perform diverse works for percussion, guitar, found objects, light, and electronics. Music by Peter Ablinger, Chiyoko Szlavnics, Jessie Marino, Matt Sargent, Rob Cosgrove, and Daniel Meyer-O’Keeffe.

9:00 pm – 10:00 pm: Performances #5

Indexical Presents: Chamber Music

Sarah Hennies: Everything Else, for many percussionists
Pauline Oliveros: Tuning Meditation, for many voices (the audience is invited to participate)
David Dunn: Ultrasonic bat sounds recorded in Pinnacles National Park

Performers & Composers

Andrew C. Smith
Chiyoko Szlavnics
Daniel Meyer-O’Keeffe
David Dunn
David Kant
Doug Lynner
Gabriel Saloman
Jessie Marino
Jon Myers
K C M Walker
Laura Steenberge
Madison Heying
Matt Sargent
Pauline Oliveros
Peter Ablinger
R Duck Show
Robert Cosgrove
Ryan Page
Sarah Hennies

Indexical’s concerts in Santa Cruz are supported in part by the Arts Council of Santa Cruz County.

Arts Council of Santa Cruz County

### Laura Steenberge

Laura Steenberge is a performer and composer in Los Angeles who researches language and the voice. Influenced by folk music, psycholinguistics and medieval Byzantine chant, collectively her work is a study of nonsense and the boundaries of knowledge. A multi-instrumentalist, vocalist and public speaker, Steenberge uses voice, contrabass, viola da gamba, objects, images and movement to create works that intersect mythology and imaginary music with science and the physical shape of sound in traditional and site-specific locations throughout California, including SF MOMA, the Sutro Baths, the Hammer Museum, REDCAT and the Los Angeles County Museum of Art. She holds bachelors degrees in music and linguistics from the University of Southern California, a masters in composer/performer and integrated media from CalArts, and a DMA in music composition from Stanford University. She teaches experimental sound practices at CalArts.

### K.C.M. Walker

I practice magic and witchcraft in an effort to better understand the connections that ritual and ceremony have to both musical and non-musical performance practice, be they traditional or self-invented. I am fascinated by obscure instruments, archaic instruments, and things that are not instruments. I am from Charleston, South Carolina, but I currently live in Santa Cruz, California where I study music composition with David Dunn and Larry Polansky at The University of California. Hail Satan.

Sarah Hennies

Everything Else takes its name from a piece by composer and percussionist Sarah Hennies. She draws a parallel between “percussion” and queer identities, writing that “a contemporary definition of ‘percussion’ has the potential to include almost anything that is not already defined as some other instrument.”

Sarah Hennies (b. 1979, Louisville, KY) is a composer based in Ithaca, NY whose work is concerned with a variety of musical, sociopolitical, and psychological issues including queer & trans identity, love, intimacy, psychoacoustics, and percussion. She is primarily a composer of solo and chamber works, but is also active in improvisation, film, performance art, and dance. She presents her work internationally as both a composer and percussionist with notable performances at Le Guess Who (Utrecht), Festival Cable (Nantes), send + receive (Winnipeg), O’ Art Space (Milan), The OBEY Convention (Halifax), Cafe Oto (London), ALICE (Copenhagen), and the Edition Festival (Stockholm). As a composer, she has received commissions across a wide array of performers and ensembles including Bearthoven (NYC), Bent Duo (NYC), Cristian Alvear (Santiago), Claire Chase (NYC), R. Andrew Lee (Denver), LIMINAR (Mexico City), The Living Earth Show (San Francisco), The Thin Edge New Music Collective (Toronto), Two-Way Street (Knoxville), and Yarn/Wire (NYC).

In late 2017 she premiered the groundbreaking work, Contralto at Issue Project Room (NYC), a film exploring transfeminine identity that uses aspects of “voice feminization” therapy as artistic material. The piece features a cast of transgender women accompanied by a dense and varied live score for string quartet and three percussionists. The work received widespread acclaim and has since been performed and screened all over the world at a variety of venues and festivals including Bent Frequency (Atlanta), La Sobilla (Verona), Monday Evening Concerts (Los Angeles), MOCA Tucson, Time-Based Art (Portland, OR), and the Toronto International Film Festival’s Bell Lightbox Theatre.

Her work has been supported by the Foundation for Contemporary Arts, New Music USA, the New York State Council on the Arts, and the Community Arts Partnership of Tompkins County, and in 2016 she was awarded a fellowship in music/sound from the New York Foundation for the Arts.

Hennies is currently a member of improvised music group Meridian with Greg Stuart and Tim Feeney, a duo with sound/performance artist Jason Zeh, and the Queer Percussion Research Group with Jerry Pergolesi, Bill Solomon, and Jennifer Torrence.

In 2013, Hennies founded the record label Weighter Recordings, releasing works by artists working at the fringes of contemporary music including Prune Bécheau, Thomas Bonvalet, Morgan Evans-Weiler, Tim Feeney, Jean-Luc Guionnet, Enrico Malatesta, and Matt Sargent.

Pauline Oliveros
Begin by taking a deep breath and letting it all the way out with air sound.

Listen with your mind’s ear for a tone.

On the next breath using any vowel sound, sing the tone that you have silently perceived on one comfortable breath.

Listen to the whole field of sound the group is making.
Select a voice distant from you and tune as exactly as possible to the tone you are hearing from that voice.

Listen again to the whole field of sound the group is making.
Contribute by singing a new tone that no one else is singing.

Continue by listening then singing a tone of your own or tuning to the tone of another voice alternately.


Always keep the same tone for any single breath. Change to a new tone on another breath.

Listen for distant partners for tuning.

Sound your new tone so that it may be heard distantly.

Communicate with as many different voices as possible.

End when everyone else does. It happens.

Sing warmly!

Pauline Oliveros’s life as a composer, performer, and humanitarian was about opening her own and others’ sensibilities to the universe and facets of sounds. Her career spanned fifty years of boundary-dissolving music making. Among her many recent awards were the William Schuman Award for Lifetime Achievement, the Giga-Hertz-Award for Lifetime Achievement in Electronic Music, and the John Cage Award from from the Foundation of Contemporary Arts. Oliveros was Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Artist-in-Residence at Mills College. She founded Deep Listening, which came from her childhood fascination with sounds and from her works in concert music with composition, improvisation, and electro-acoustics. She described Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, of one's own thoughts as well as musical sounds. “Deep Listening is my life practice,” Oliveros explained, simply. She founded the Deep Listening Institute, formerly Pauline Oliveros Foundation, now the Center For Deep Listening at Rensselaer. Her creative work is disseminated through The Pauline Oliveros Trust and the Ministry of Maåt, Inc.