{"id":335,"date":"2010-09-15T19:50:33","date_gmt":"2010-09-15T19:50:33","guid":{"rendered":"http:\/\/www.artsjournal.com\/gap\/wp\/?p=335"},"modified":"2010-09-15T19:50:33","modified_gmt":"2010-09-15T19:50:33","slug":"whos_afraid_of_the_concert_hal","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/gap\/2010\/09\/whos_afraid_of_the_concert_hal\/","title":{"rendered":"Who’s Afraid of the Concert Hall?"},"content":{"rendered":"

I get quite a few press releases about very interesting new music events every day, but a concert series in a coat closet? This feels like a first. Chris Kallmyer has organized<\/a> “four resident ensembles, 96 composers, 350+ new works, and over 400 concerts inside a coatroom, under the stairs in the lobby of the Hammer Museum”<\/b> in Los Angeles. The performances take two minutes a piece and are performed for the gathered Saturday afternoon audience members two at a time. Also, it is free. For once, I really wish I lived in L.A.<\/p>\n

The multi-week festival is in process and running strong through November, but living as I do in a far away zip code (not to mention my claustrophobia), I’ve been exploring things online. There’s plenty of interesting music\/performances to check out:<\/p>\n<\/p>\n

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but I have to say that Adam Overton’s unique contribution gets major props from me. I’ve had a thing for spoken wordplay like this–I don’t know why–ever since Daniel tried to teach me the basics of the fugue<\/a>.<\/p>\n

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I get quite a few press releases about very interesting new music events every day, but a concert series in a coat closet? This feels like a first. Chris Kallmyer has organized “four resident ensembles, 96 composers, 350+ new works, and over 400 concerts inside a coatroom, under the stairs in the lobby of the […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-335","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts\/335","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/comments?post=335"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/posts\/335\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/media?parent=335"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/categories?post=335"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/gap\/wp-json\/wp\/v2\/tags?post=335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}