Floppy Bunny Ears

As a composer, I often find myself sitting in concert halls with audiences of a dozen people or less. The audience size does not necessarily reflect the quality of the performance or accessibility of the music. Rather I feel it has to do with the perceived image of post-classical music as irrelevant.

Rather than bemoan the lack of attendance, how about if being one of the intrepid few in the audience became a bragging right? Concerts could be framed as an escape from the everyday where refreshing audio adventures crack open the surface of sound to delve deep into a listener's consciousness. Consider the repertoire of a new music concert as Twilight Zone episode after Twilight Zone episode. Programs that encourage surprise and investigation are audience favorites.

Help already-existing audience leaders attract their friends to these terrifying unknown performances of:
  • shouting contests in made-up languages
  • fluorescent lights scraping on electric guitars
  • double string quartets playing slowly shifting drones
  • and floppy bunny ears
Now, doesn't that sound fun?

Dedicated to intercultural collaboration, Byron Au Yong composes songs of dislocation, music for a changing world. He teaches in Performing Arts & Social Justice at the University of San Francisco.

Byron Au Yong & Christopher Yohmei Blasdel: BreathPlay

Byron Au Yong: Kidnapping Water: Bottled Operas
Kidnapping Water:
Bottled Operas
Byron Au Yong: Yiju