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ABSTRACT
Using Anne Carson’s concepts of ‘cliché’, ‘catastrophe’, ‘silence’, and ‘translation’ as a framework, I will trace the ways in which my collaboration with Éliane Radigue on her composition OCCAM X for solo trumpet encouraged me to rethink my practice as an instrumentalist and improviser. This self-interrogation encompasses a setting out of terms, a history of my pre-OCCAM thinking, the questions raised by my collaboration with Radigue, and how this work continues to influence my approach to performance and creation.
Disclosure Statement
No potential conflict of interest was reported by the author(s).
Notes
1 A more in-depth explication of this process can be found in my article, ‘Fading Out’, in Sound American 26: The OCCAM Issue, https://soundamerican.org/issues/occam-ocean/fading-out.
Additional information
Notes on contributors
Nate Wooley
Nate Wooley (b.1974) was born in Clatskanie, Oregon. He is known for his idiosyncratic trumpet language and mastery of extended techniques. Wooley made his debut as a soloist with the New York Philharmonic at the opening series of their 2019 season. He is the editor of Sound American Publications, a journal dedicated to featuring the ideas and work of musicians in their own words. The journal has released 28 issues to date. He is the recipient of the FCA Grants to Artists Award and the Spencer Glendon Award for Ethics in the Arts. Wooley currently resides in Brooklyn, NY.