In Garden(E)scape I reflect on my experience of composing Gardenscape, for solo violin and recording device, during the early spring months of the first COVID-19 lockdown. While many found artistic creativity to be a lifeline in that uncertain time, I was unable to create – unable even to want to create – until the persistent call of a wood pigeon pierced my sense of isolation and helped turn my attention back to the world around me. I began a daily practice of musically transcribing the songs of the birds that came to our garden – not just the species of birds, but the individual birds who came and went in their daily and seasonal cycles. As I did so, I began to work through the isolation and fear instilled by COVID-19 to find new ways of connecting with music, people, and the rich, more-than-human world which surrounds us.

错误:搜索内容不能为空,请输入英文关键词
错误:关键词超出字数限制,请精简
高级检索

Garden(E)scape

  • Emily Doolittle

摘要

In Garden(E)scape I reflect on my experience of composing Gardenscape, for solo violin and recording device, during the early spring months of the first COVID-19 lockdown. While many found artistic creativity to be a lifeline in that uncertain time, I was unable to create – unable even to want to create – until the persistent call of a wood pigeon pierced my sense of isolation and helped turn my attention back to the world around me. I began a daily practice of musically transcribing the songs of the birds that came to our garden – not just the species of birds, but the individual birds who came and went in their daily and seasonal cycles. As I did so, I began to work through the isolation and fear instilled by COVID-19 to find new ways of connecting with music, people, and the rich, more-than-human world which surrounds us.