Composition, Alternative Performance and Performance Art was the first new music course that covers all of these areas together. Over the course of ten days, the course tackled themes of Body, Prosthetic and Environment in turn, all the while being influenced and guided by experts.
A note from Larry to the participants:
CAPPA is intended to be a composition, performance and new music course that interprets these things very broadly. I have felt, in certain circumstances, that new music making associated with technology, acoustic instruments, improvisation and sound art (to name a few areas) are very separate. Add in music that emerges or in some way connects to different traditions (historical performance art, ‘classical’ performance and composition, electronica, folk music etc.) then this can, again in some cases, create separation.
What, then, brings this course together (as it is not intended to be ‘any kind of music in any possible circumstances’)? In this case the unifying characteristic is a desire to experiment in the creation of new music for performance and consider your practice in the context of historical and contemporary experimental music. The decision to contextualise this with a historical performance-art narrative is partly because this is emblematic of experimental creative practice, partly because it seems increasingly relevant to new music making, partly because it provides a dramatic contrast to the western ‘classical music’ narrative that is probably (and understandably) most associated with Snape Maltings and partly because performance art is, for the most part, inherently interdisciplinary.