am Präsentationstisch
17 Mai 2018 - 19h bis Türschluss
18 Mai 2018 - 18h bis Türschluss
19 Mai 2018 - 10h bis Türschluss
20 Mai 2018 - 17h bis Türschluss
21 Mai 2018 - 11h bis Türschluss

20 Mai 2018 - 10h, Spritzuhüüs






Probably most of you have at some point used youtube to read scores along with the music. There are many fantastic videos around which follow the music exactly and turn the pages for you. Although many of these videos are for classical music there are dedicated channels especially for contemporary music, and they feature a lot of music that would probably be hard to get as scores. But who are the great people behind these efforts? What drives them to put so much work into something that benefits the modern music community as a whole? Find out yourself: Forum Wallis offers you the possibility to meet Score Follower Board Members personally during the full 2018 festival edition!

Dan Tramte. Ermir Bejo. Victoria Cheah. Zach Thomas.
Celeste Oram. Ryan Fellhauer. TBD.
Curator & Producers
Gleb Kanasevich. Louise Fristensky. Michael Smith. Renee Baker. Seth Shafer.
Video Production
Alejandro Carrillo. Andrew Chen. Charles Van Tassel. Jacob Sachs-Mishalanie.
James McIlwrath. Matthew Kim. Peter Shin. Stephen Dowling.
Staff & Editors
Kayleigh Butcher. Matt Ertz. Monica Hershberger.
Legal Advisor
Dennis Pitman.

What Score Follower does: We make recording+score videos of modern compositions and post them to our YouTube channels SCORE FOLLOWER, INCIPITSIFY & MEDIATED SCORES and we are doing this completely aboveboard; i.e., we ask permission from all appropriate parties, including composers, performers, publishers, & record companies.

Why we do it: We are dedicated to the dissemination of new music & score study for educational and divulgation purposes. Our goal is to provide access to a type of experience (viewing a score while listening to the recording) only otherwise available to the privileged (students/faculty who happen to be affiliated with a university that has a large catalogue of new music scores). Not only are we providing this access by posting our featured works on a major [free] platform like YouTube, but we are streamlining the tedious process of contacting composers, obtaining the media, and turning pages at the right time. Instead, our viewers may simply click a link, experience the piece, and appreciate the musician’s abilities to communicate, interpret, and execute these unusual sounds. Finally, we hope that our efforts are extending the interest of new music on a global scale. Because of us, people who were on the fence about new music are now listening, and because of us, those who were already listening are becoming increasingly inspired.