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    <title>International Contemporary Ensemble</title>
    <link>http://iceorg.org/index.php/blog</link>
    <description>International Contemporary Ensemble Blog</description>
    <dc:language>en</dc:language>
    <dc:creator>robby@iceorg.org</dc:creator>
    <dc:rights>Copyright 2013</dc:rights>
    <dc:date>2013-06-12T18:26:31+00:00</dc:date>
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    <item>
      <title><![CDATA[ICE at MCA: psssssst!]]></title>
      <link>http://iceorg.org/blog/ice-at-mca-psssssst</link>
      <guid>http://iceorg.org/blog/ice-at-mca-psssssst#When:18:26:31Z</guid>
      <description><![CDATA[psssst. psssst. did you know that david lang, yeah that david lang, composed a work that is so quiet, so intimate, so personal, that the audience needs to be right there among the musicians to hear it? it’s called the whisper opera, and it was one of the most poignant afternoons of music  we have ever experienced. ]]></description>
      <dc:date>2013-06-12T18:26:31+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[A Mad Feast: ICE&#8217;s Spring Gala Preview]]></title>
      <link>http://iceorg.org/blog/a-mad-feast-ices-spring-gala-preview</link>
      <guid>http://iceorg.org/blog/a-mad-feast-ices-spring-gala-preview#When:18:05:15Z</guid>
      <description><![CDATA[Ready to lose your mind at A Mad Feast: ICE's Spring Gala?
]]></description>
      <dc:date>2013-05-03T18:05:15+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[ICE at Americas Society: Reflections in an Ancient Mirror]]></title>
      <link>http://iceorg.org/blog/ice-at-americas-society-reflections-in-an-ancient-mirror</link>
      <guid>http://iceorg.org/blog/ice-at-americas-society-reflections-in-an-ancient-mirror#When:18:01:22Z</guid>
      <description><![CDATA[Codex, a four-year-long project focused on a three-centuries-old manuscript, was brought to fruition by ICE at the Americas Society in New York on Sunday, April 7, 2013. The project, commissioned by Music of the Americas and curated by Sebastian Zubieta, Music Director of the Americas Society, challenged four contemporary composers to write new works inspired by the Codex Martinez Compañón (c. 1782-85), which documents the musical and cultural life in Peru at the time of Spanish colonization. ]]></description>
      <dc:date>2013-04-22T18:01:22+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[ICElab Confidential: Sounds Coalescing into Music]]></title>
      <link>http://iceorg.org/blog/icelab-confidential-sounds-coalescing-into-music</link>
      <guid>http://iceorg.org/blog/icelab-confidential-sounds-coalescing-into-music#When:14:51:23Z</guid>
      <description><![CDATA[We immersed ourselves in the cauldron of ICElab for Dan Dehaan’s workshop at ICEhaus Brooklyn on April 3-5, 2013, the second part of his two-stage residency. In January, Dan met with his ICE collaborators — Nathan Davis (percussion), Tony Arnold (soprano), Rebekah Heller (bassoon), Kyle Armbrust (viola), and Katinka Kleijn (cello) — to explore his compositional concepts and the timbral, dynamic, and performative possibilities of each of their instruments.]]></description>
      <dc:date>2013-04-18T14:51:23+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[Notes from Paulo Rios Filho on TransColonização]]></title>
      <link>http://iceorg.org/blog/notes-from-paulo-rios-filho-on-transcolonizacaeo</link>
      <guid>http://iceorg.org/blog/notes-from-paulo-rios-filho-on-transcolonizacaeo#When:15:59:02Z</guid>
      <description><![CDATA[Consider welcoming in your heart the image of a native shepherd, crouched while giving birth; the child that falls on the grass; the flock, which in turn grazes the same grass without any particular shock right behind her. Try to keep your faith in the impetus of the Bishop, who decides not only to visit his new bishopric in these colonial lands, but also to take notes of his visit, creating an illustrated (proto)ethnography of the types, the habits, the picturesque scenes, of the festivities and music of the people from northern Peru in the eighteenth century.]]></description>
      <dc:date>2013-04-04T15:59:02+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[Notes from Du Yun on Your Eyes Are Not Your Eyes]]></title>
      <link>http://iceorg.org/blog/notes-from-du-yun-on-iyour-eyes-are-not-your-eyes-i1</link>
      <guid>http://iceorg.org/blog/notes-from-du-yun-on-iyour-eyes-are-not-your-eyes-i1#When:16:13:02Z</guid>
      <description><![CDATA[When oral tradition music is transcribed, re-intereprated, everything gets very murky. A representation, even an attempt of evoking such representation wrestles with inherent mayhem, chaos, and struggle.]]></description>
      <dc:date>2013-04-02T16:13:02+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[Notes from Vijay Iyer and Prashant Bhargava]]></title>
      <link>http://iceorg.org/blog/notes-from-vijay-iyer-and-prashant-bhargava</link>
      <guid>http://iceorg.org/blog/notes-from-vijay-iyer-and-prashant-bhargava#When:15:05:21Z</guid>
      <description><![CDATA[Holi is known around the world as a joyful, chaotic and colorful celebration of springtime in India.  To respond to Stravinsky’s own famously chaotic work about spring, we were intrigued by the possible connection with Holi.  This festival allows us to reconsider some of the aspects of ritual and transformation represented in <em>Le Sacré du Printemps<em>.  ]]></description>
      <dc:date>2013-03-12T15:05:21+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[ICE at MCA: Carla’s Kaleidoscope of Dreams]]></title>
      <link>http://iceorg.org/blog/ice-at-mca-carlas-kaleidoscope-of-dreams</link>
      <guid>http://iceorg.org/blog/ice-at-mca-carlas-kaleidoscope-of-dreams#When:21:52:03Z</guid>
      <description><![CDATA[ICE performed Carla Kihlstedt’s spellbinding kaleidoscope At Night We Walk in Circles and Are Consumed By Fire on Saturday, February 16, 2013, at the Museum of Contemporary Art in Chicago. This 2012 ICElab commission was part of a double-bill that began with ICE-member Phyllis Chen’s 2011 ICElab works.]]></description>
      <dc:date>2013-03-08T21:52:03+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[ICE in Chicago: Phyllis Chen - It’s All In the Hands]]></title>
      <link>http://iceorg.org/blog/ice-in-chicago-phyllis-chen-its-all-in-the-hands3</link>
      <guid>http://iceorg.org/blog/ice-in-chicago-phyllis-chen-its-all-in-the-hands3#When:22:24:02Z</guid>
      <description><![CDATA[“From the time I started with piano as a child, it’s been all about the tactile experience for me; the auditory element of the music is really secondary.” So said ICE member Phyllis Chen at a “talk back” session at Museum of Contemporary Art during the second of two Chicago concerts celebrating her composing and performing artistry.]]></description>
      <dc:date>2013-03-01T22:24:02+00:00</dc:date>
    </item>

    <item>
      <title><![CDATA[ICE Talk: Nathan Davis and Phyllis Chen]]></title>
      <link>http://iceorg.org/blog/ice-talk-nathan-davis-and-phyllis-chen</link>
      <guid>http://iceorg.org/blog/ice-talk-nathan-davis-and-phyllis-chen#When:23:53:06Z</guid>
      <description><![CDATA[It seems to me that until recently, most composers played piano as their primary instrument, and many consider the piano to be a blank slate from which to begin composing for any instrument.  What led you not only to play the toy piano but to also champion it and build its repertoire?  and how does this point of departure effect the way you approach writing for other instruments?]]></description>
      <dc:date>2013-02-05T23:53:06+00:00</dc:date>
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