Clifton Ingram is a Boston-based composer and performer (Rested Field). His music aims to approach and retreat from itself along the fault lines of the musical and extra-musical — hidden objects, delicate obstinance, self-devouring ornamentation (self-replication), hastily decanted surface, the expression of a unreliable narrator. He has written music for pianist Andy Costello, pianist/composer Marti Epstein, clarinetist Chuck Furlong, cellist Steve Marotto, percussionist Matt Sharrock, Castle of our Skins, Equilibrium Ensemble, Joint Venture Percussion Duo, Ludovico Ensemble, Music of Reality, and Transient Canvas. He holds a MM in Composition from The Boston Conservatory, where he studied under the tutelage of Jan Swafford and Andy Vores. His music has been released by Experimental Sound Studio (OSCILLATIONS 2016 Mixtape | Chicago IL) and Dismissive Records (Four Instrumentals, 2015 | Denver CO).
A preoccupation with the inhabiting of thresholds — music as a waking dream. Visceral yet fragile, I prefer my work to operate with an oneiric logic: dissipating when questioned, eluding when investigated. A desire for the work to be irreducible. Despite a reliance upon a musical rhetoric in which sound is treated as an object, my work centers itself around embracing the social implications of its structures. I work with the expectation that intimate or private forces are projected into a public space (and vice versa) by composer, performer, and audience alike — variegated, post-structral, humanist. I am more drawn to historiography than history, a questioning of imbricated modes of expression in a process of ceasless layering. What I desire to make are scores (unrealized music) that knowingly occupy a middle ground, that lay in wait for performers. The emphasized infolding of the ekphratic from one medium to the next — music as translation.