Alan Fey is a classically-trained percussionist who specializes in solo and chamber music. Based in Nashville, his primary focus is on the genre-defying category that is 'new music,' as he has been involved in the commissioning and world premieres of more than 10 works in just the last two years. Alan has performed in spaces ranging from churches to art galleries to concert halls, from the Zeitgeist Art Gallery to the Schermerhorn Symphony Center in Nashville, and from Millennium Park in Chicago to Carnegie Hall in New York.
The show will feature a wide range of music for marimba, from late 20th-Century Contemporary works, to music written specifically for Alan in the last 3 years, to arrangements of folk and 'popular' music. The show will also include the South Carolina premiere of a work by Atlanta-based composer and film director Alan O.W. Barnes - Malice of Inanimate Objects - for marimba, tape, and film.
Phil Sims studied music at the undergraduate and graduate level at the Eastman School of Music in Rochester, NY. †He has held academic appointments to teach theory, musicianship, composition, and electronic music at the Eastman School of Music, the University of Rochester, Mercer University, and Emory University. †In recent years, Philís creative work has mainly focused on the creation of albums and sound design scores using a mix of acoustic and virtual instruments. †His compositions have been performed and presented throughout the country and in Europe, in both academic and community venues, most recently at the Schwartz Center on the Emory University campus, the Ferst Center at Georgia Tech, the Atlanta Balletís Centre for Dance Education, Eyedrum, during the 2010 Dodekapus Art Collective Carnival, the 2010 L5P Halloween Festival (in collaboration with gloATL lab), and more. †His intellectual and academic essays have focused on theoretical and pedagogical issues ranging from integrated and experiential instruction to sociopolitical topics like musical rhetoric, the politics of beauty, modes of listening, the apparent impact of art as commodity, and the practice of aesthetic apartheid within academic departments and curricula.
Phil will present the first of many chapters of The Beastiary for Audiophles