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Perhaps the most obvious example of this is in the animated score for MAP gest, my piece for acoustic pipe organ and live electronics that unfolds inside a 3D VR dome inspired by the distorted charted reality of conical projections and globes. Meeting expectations, showing up and doing good work are one (or three) thing(s), but since classical chamber music is created вЂњliveвЂќ in time by real humans, I think itвЂ™s pretty important to find ways to listen to the performers (or potential performers вЂ“ that gets trickier and slightly more meta) and engage with them, however possible, throughout the creation process. The catch (I think) is putting your finger on that magical balance between connecting the dots/structuring material and relationships enough to be clear and offer support, while avoiding writing what you donвЂ™t know, what should be left open, or what should be decided by someone else.

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IвЂ™ve often toyed with the dialectic of вЂthe role of the composerвЂ™, and how to not let it, or me, get in the way. Think not just of yourself / the here / the now вЂ“ rather think of what / who will come: how will your actions open or close opportunities for yourself and others later? What do you need? What can you give?

The most important thing above all else is to trust your fellow performers, your gut, and to support the ecosystem around you. The piece is less about performing specific sounds/actions and more about discovering the possible connections and textures of the space. Kind of like a walk in the forest, the performers should focus on immersing themselves in this audio-visual world and absorbing its intrinsic realities. Refer to the text and visuals of the chapbook as you learn and perform this piece. I am grateful especially to my PIVOT mentor Juliet Palmer for helping me to gain the awareness to actively pursue different modes of score-making that align more fully with the process-based, collaborative-to-the-core approach I strive to take in my creative work. While sometimes I have attempted to capture, discuss or translate musical ideas, I am currently interested in seeing how a score might elicit certain sounds and reactions or spark discussions and exchange with the вЂњreaderвЂќ. I like to think of composing as collecting materials and setting the parameters for a piece: gathering its components and organizing them in as clear yet open a way as possible, that will invigorate and not misuse or abuse performersвЂ™/collaboratorsвЂ™/audience membersвЂ™ time or skill. For this piece, Kim/King of Chlorophyll provides an illuminating glimpse into their work. Given its history as a repository for scores, CMC Ontario has commissioned reflections from a couple of PIVOT participants whose works played with the form and function of a score.

The project was coordinated by the Canadian League of Composers in partnership with Continuum Contemporary Music and the Canadian Music Centre (CMC). In 2020, Kim Farris-Manning was selected to participate in the PIVOT program, a mentorship and creative workshop experience for early-career composers.

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