Global Musical Modernisms is a forum for all forms of music received and appropriated as “modern” in any location around the globe, crossing the boundaries of post/tonality and musical genres. The focus is on art, avant-garde, experimental, modernist, and popular music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.) music-makers, minority music-makers from the West, and music-makers from the peripheries of Europe and North America.

James Vitz­-Wong

Contact email:

Biography: James Vitz­-Wong is a multi­disciplinary artist and performer from Seattle, WA, currently residing in Southern California. James holds an Master of Fine Arts in Performance and Composition from California Institute of the Arts and a Bachelor of Music in Classical Bass Performance and Technology in Music and Related Arts from Oberlin Conservatory. Current focuses include audience interactivity and immersion, live digital processing, improvisation, installation, and dance.

Pronouns: they/them


Recording: Kinesphere (2014)

The digital album Kinesphere is available for purchase here (you may name your price, and no price is recommended; I personally recommend that institutions should pay $20):

Kinesphere originates from Rudolf Laban’s movement theory, Space Harmony. This album’s title is derived from the concept as used in Nancy Stark Smith’s Contact Improv structure, The Underscore. The kinesphere is everything that the body can reach and connect. In this instance, the kinesphere encompasses not dancers, but instruments and sound worlds. All sounds were improvised live as a 2h performance—which took place at 1am-3am, April 27, 2014—during the 24-Hour Contact Improv Jam at Warner Main Space in Oberlin, Ohio.

Composer’s website:


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