I must confess a preoccupation with liminality, a fascination with the thresholds between spaces or states of being. Music for me inhabits such thresholds, central to both its production and function. The composer occupies a state between potentiality and actuality; the performer a position between notation and sound; the sound itself suspends between performer and audience, ripe for interpretation. Liminality haunts the proceedings of music-making on many levels, and for this reason I prefer to believe it functions as a waking dream. I prefer music that operates with an oneiric logic, dissipating when questioned, eluding when investigated. The way I work reflects this: I draw on uncommon and archaic language in order to occupy a place between a titular concept — thought of as an eponymous entity that exists outside of myself — and a personal reading or understanding of it. My intent is not to reject self-expression, but instead to compose as a sort of predication by turning my attention externally toward my environment, setting into motion a compositional process that strives to escape from — yet inevitably ends in — self-projection. The aim, therefore, is for my scores (unrealized music) to occupy a middle ground, to lay in wait for performers.
Clifton Ingram (b. 1983) is a Boston-based composer and guitarist (Rested Field). He has written music for Andy Costello, Marti Epstein, Chuck Furlong, Matt Sharrock, Equilibrium Ensemble, Joint Venture Percussion Duo, Ludovico Ensemble, and Transient Canvas. From 2010 until 2012, he was a curator at Brown Rice, a performance venue for new experimental and improvised music and arts in Chicago. In 2013, he attended the Summer Institute for Contemporary Performance Practice (SICPP) at the New England Conservatory under the tutelage of Steve Drury, Rand Steiger, and Nicholas Vines. He holds a MM in Composition from The Boston Conservatory, where he studied with Jan Swafford and Andy Vores. His recent music is informed by an enthusiasm for a liminality of musical and extra-musical elements, focusing on semantic implications concerning historiography and related proximities to definitions of humanity.