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Anne H. Goldberg-Baldwin, a vanguard of interdisciplinary performance art, blurs the definitions of music and dance as a composer, choreographer, performer, and educator. She is cofounder and artistic director of the Tempus Continuum Ensemble, a new music ensemble that premieres and performs her music and that of other 20th- and 21st-century composers. Touring coast to coast and internationally, Goldberg-Baldwin has had her music premiered and performed by Wet Ink Ensemble, ensemble mise-en, the Boston New Music Institute, the Novatrio, and NeoLit Ensemble; and at festivals such as the International Ferienkurse für Neue Musik Darmstadt and the Summer Institute for Contemporary Performance Practice at New England Conservatory.
Her artistry has been featured at New York venues such as Symphony Space, the Kitchen, the Flea Theater, and many others nationally and internationally. In addition to Tempus Continuum Ensemble, Goldberg-Baldwin is founder and artistic director of dance and multimedia at the Synthesis Aesthetics Project. Through the project, she has produced, composed, choreographed, and directed a variety of productions, most recently as emerging-artist-in-residence at The Field.
Goldberg-Baldwin’s fascination with notation and performance art led her to her research subject: examining the composer-performer dichotomy from a semiological standpoint. She embarked on her study in semiology of the composer-performer, the study of signs and symbols, to decipher the various stages of conception, interpretation, and reflection of pieces.
Goldberg-Baldwin is a freelance performer and educator in the Seattle, New York City, and Boston areas on a multitude of projects ranging from recording sessions to live events. She actively commissions, records, and premieres works for English horn, oboe, and piano solo, as well as holding an annual call-for-scores with collaborators at the Tempus Continuum Ensemble.
“I want students to feel emboldened to use the knowledge they build in my classes and apply it to their respective projects. The mechanics of harmony, counterpoint, and voice leading apply to many different genres, and I hope students will set forth to apply these concepts to their own music, both in composition and performance.”
“The act of composing is an adaptive process, and so too is the task of teaching. I always take a step back from my pieces to see what they need of me, which may not necessarily be what I thought the piece was going to do originally. In a similar way, I do my best to adapt to what my students need to effectively learn and grasp concepts.”