"Getting away from common assumptions is nothing new," he says, whether you're talking about the creation of new chamber music for classical instruments, or the electronic music on tap during Sonic Circuits. "It's essential for our survival . . . that we appeal to people working in all kinds of music."
The audience for the forum's more traditional programming -- they sponsor an ongoing "New Music Salon" series -- hasn't proven itself overwhelmingly eager to venture into the electronic-music territory of Sonic Circuits, says Morris. But the organization is reaching an ever-expanding new audience for its most avant-garde work. Festival attendance has doubled over its first three years, Morris says, reaching 800 people last year.
The Caution Curves -- Rebecca Mills on laptop, left, and Tristana Fiscella on microphone -- perform at Flashpoint.
(Julianne Brienza -- American Composers Forum)
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"People are listening to an incredible diversity of music," he says, thanks to the "crumbling" of traditional music distribution channels in favor of the Internet, through which experimental artists can easily share their work with listeners.
What was heard at the festival preview -- much of it improvised -- may not ever become commercially viable to a mass market, Morris admits. (How about a CD of that apple-chopping performance? Anyone?) But he sees signs of those kinds of sound manipulation being incorporated into popular culture. Think Radiohead, Sonic Youth and Wilco and you'll get Morris's point.
"It seeps in," he says. "It's an exciting time."
Derek Morton, a 34-year-old Web developer, started out as a rock guitarist before venturing into the realm of sound art in the mid-'90s. He performed at last week's preview, improvising sound manipulation for Jane Ping, the apple lady. He'll be featured during the festival in a solo "sound installation" at Pyramid Atlantic arts center in Silver Spring.
"It's not instantly recognizable," Morton says of the laptop-controlled textured noise he creates. "It may not affect you and make you happy like a Beach Boys song."
But if you take time to sit down and close your eyes, Morton says, it becomes "immersive and compelling" nonetheless. At Pyramid Atlantic he'll use six speakers to create sounds he hopes will make listeners feel like water is rushing over them.
If it doesn't turn out as expected, though, that's fine with Morton, who finds electronic music to be as much about process as product. "It's okay for it to suck," he says. "That's the very nature of experimenting."
Sonic Circuits, at various venues, Sept. 1-30. For schedule and ticket information, call 202-315-1315 or visit www.composersforum.org/dc.
