steve parker

artist // musician // curator

header photo

SoundSpace: NYC Downtown 1960

The Converging Lines celebrated the friendship between Eva Hesse and Sol Lewitt, and examined their influence on each other’s work.  This relationship represents a subset of a larger network of influential artists living and working in lower Manhattan in the 1960’s including Steve Reich, Phillip Glass, Richard Serra, and Deborah Hay.  At the core of this program were works produced from this community of artists. 


For double belled euphonium, composed by Phill Niblock.


Monumental work for 80 trombones, organ, and sopranino by Henry Brant. Performed in the atrium of the Blanton Museum of Art by student, amateur, and professional trombonists from across Texas.

Music for Wilderness Lake - Dawn

Twelve trombonists positioned around the lagoon play meditative music across the water to one another at dusk and dawn while the music is cued via flags from a canoe in the lagoon. Music for Wilderness Lake, a 1979 work of environmental music written by Canadian composer and sound theorist R. Murray Schafer, explores the variable natural soundscape present at these transformative times of day.  Part of The Contemporary Austin’s Sound Series.

Phil Arno, Nathaniel Brickens, Derrek Cabrerra, Ainsley Davis, Juan De La Rosa, Amanda Lester, Wayne Myers, Steve Parker, Joey Prescott, Danny Rodriguez, Javier Stuppard, and Jeriad Wood, trombones

Special thanks to Austin woodworker Aldo Valdés Böhm, along with Travis Weller, and Christopher Griffin

Tuning Meditation by Pauline Oliveros

Led by Heloise Gold

SoundSpace: Sound Construction

This program was an exploration of these processes and the corresponding timbral result. At the core of the program were solo concert works by Edgard Varèse, Giacinto Scelsi, and Fausto Romitelli. Expanding outward, the program explored prepared instruments—traditional instruments that have been manipulated or hacked—inspired by the work of John Cage, Vinko Globokar, and Fred Frith. This program also showcased contemporary examples of invented, hacked, and manipulated instruments and interactive toys.

SoundSpace: Free Music and Community

In anticipation of the exhibition Witness: Art and Civil Rights in the Sixties, we presented SoundSpace: Free Music and Community. This installment of SoundSpace was inspired by groups of improvisers who, beginning in the 1960s, connected with their local communities through performance, art, education, outreach, and protest. 

SoundSpace: Music Outsiders

Inspired by the exhibition "Wildly Strange: The Photographs of Ralph Eugene Meatyard," this installment of SoundSpace featured output by musicians who, like Meatyard, worked outside the mainstream art establishment. Highlighting economists, scientists, architects, and autodidacts, this program examined how  these varied backgrounds led to experimentation and new artistic approaches.  In addition, we presented works that highlight facets of Meatyard’s artistic process and artistic influences.  This includes his use of improvisation, his literary influences, and his avid interest in American jazz.  

Composition No. 19

for 100 marching tubas, by Anthony Braxton

SoundSpace: Graphic Notation

This program featured music that implements abstract symbols rather than a conventional score comprised of clefs, musical staff, and note heads. This concept can take on many forms, including the projection of seismograph readings onto a trombone slide in Jim Altieri’s Seismicity, the abstraction of musical parameters and symbols in Cornelius Cardew’s Treatise, and in the 11th-century chant of the mystic Hildengard von Bingen.