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I thought of the idea behind this pacifist opera project a few years ago, and since then, the meaning has become more relevant. Rather than a work-in-progress, I think of this project as a series of completed stages, or snapshots. Each of these phases will be part of a final creation or work in itself. I will create short scores or sketches of each song by researching themes and working the lyrical content into poetic renditions. Then, I will arrange the songs for workshops to show a small audience with a piano and voice, then with a small instrumental group. I will have meetings with the larger collaborative team of the movement, visual art, and costume creators and the dramaturg over time to prepare for a full operatic staging in the future.
I also collaborate in the Critical Sonic Practice Lab, researching music theory, composition, and technology with NYU, PhD students from NYU, and external professors from the UK and USA. We will advance our research and publishing on traditional Ghanaian tuning and harmony, engaging machine learning, culturally-relevant music education, and investigate ethical AI practices in music technology.
The power of music in divisive times comes from connection and community in shared spaces. As a composer-performer, I will expand my practice of voice, piano and electronics solo and in collaboration with local musicians. I am honoured to show creative output through shared presence in a room at the Wissenschaftskolleg.
Recommended Reading
Adu-Gilmore, Leila. “Critical Sonic Practice: Decolonizing Boundaries in Music Research.” Continental Thought & Theory 3, no. 3 (2021): 187–208. https://doi.org/10.26021/12233.
–. Colouring-In Book. For SATB Chorus unaccompanied. E. C. Schirmer, 2023.
–. “Authentic Intelligence Mixtapes: DJs and Producers’ Communal Radical Archiving and Teaching in the Age of AI.” Organised Sound 29, no. 2 (2024): 162–173. https://doi.org/10.1017/S135577182400013X.
© rodorod.com
2026/2027
Leila Adu-Gilmore, PhD
Associate Professor of Music Technology
New York University
Born in London
BMus (Hon), Te Herenga Waka–Victoria University of Wellington, MFA in Music Composition and PhD in Music Composition, Princeton University
Arbeitsvorhaben
An AfroDiasporic Opera: Vocal Works as Creative Research through Critical Sonic Practice
For years, I have composed short and medium-length pieces using classical instruments, focusing on the voice where possible. I love the medium of the voice and words to cut through with meaning. Classical music as an art form can become viewed as elite and stale with less relevance to the people (especially in countries where entry to these concerts is not subsidized). Therefore, intention, emotion, society, and connectedness are essential aspects for this medium to continue as a living art form.I thought of the idea behind this pacifist opera project a few years ago, and since then, the meaning has become more relevant. Rather than a work-in-progress, I think of this project as a series of completed stages, or snapshots. Each of these phases will be part of a final creation or work in itself. I will create short scores or sketches of each song by researching themes and working the lyrical content into poetic renditions. Then, I will arrange the songs for workshops to show a small audience with a piano and voice, then with a small instrumental group. I will have meetings with the larger collaborative team of the movement, visual art, and costume creators and the dramaturg over time to prepare for a full operatic staging in the future.
I also collaborate in the Critical Sonic Practice Lab, researching music theory, composition, and technology with NYU, PhD students from NYU, and external professors from the UK and USA. We will advance our research and publishing on traditional Ghanaian tuning and harmony, engaging machine learning, culturally-relevant music education, and investigate ethical AI practices in music technology.
The power of music in divisive times comes from connection and community in shared spaces. As a composer-performer, I will expand my practice of voice, piano and electronics solo and in collaboration with local musicians. I am honoured to show creative output through shared presence in a room at the Wissenschaftskolleg.
Recommended Reading
Adu-Gilmore, Leila. “Critical Sonic Practice: Decolonizing Boundaries in Music Research.” Continental Thought & Theory 3, no. 3 (2021): 187–208. https://doi.org/10.26021/12233.
–. Colouring-In Book. For SATB Chorus unaccompanied. E. C. Schirmer, 2023.
–. “Authentic Intelligence Mixtapes: DJs and Producers’ Communal Radical Archiving and Teaching in the Age of AI.” Organised Sound 29, no. 2 (2024): 162–173. https://doi.org/10.1017/S135577182400013X.