Ronit is a composer, music producer, songwriter, lyricist, arranger, orchestrator, conductor, sound designer and engineer. She creates original scores and songs for film and television, theater and dance, multimedia installations and the concert stage.
Ronit's concert music focuses on the nexus of system design and intuitive inspiration. Her compositions often take the form of experimental flow maps which generate score materials and processes as well as environments for creative performance, listening and observation.
I've always been fascinated by the boundaries of objects and the mysterious but articulate subjectivity of experience. Where does a flow become an object? When does the wave become a particle? What consists the knowable identity of an object, if observation alters its measurable nature? Where does concrete form meet the immeasurable nature of things?
My interest in compositional structures is resonant with aspects of physics and mathematics: observed laws, generative systems, changes of state, networks of action and causality as well as cusps of non-functionality. I have always felt that music is not only a sound-based medium, and not just a temporal-spatial medium, but also a non-linear medium in which structure or form itself is the object of observation, contemplation and experimentation. In my experience, music is no less concrete when understood as the organized flow of form. It's just that the units of perception are much subtler, and can be experienced within a time continuum as well as out of time, through memory and imagination. To me, music is made of the generative pathways, and the sounds, and the experience of the listeners, and the cultural context, and the feedback networks among all of these. It's a vibrant, living universe that can be explored through an infinite number of trajectories. My interest in creating and observing systems of music-making on various levels of scale is not in "modeling" or explicating phenomena, but in participating in this universe, and learning more about how we speak, think, listen and feel.
Ronit's orchestral work Reparts, premiered by the New Century Players of Los Angeles, juxtaposes lyrical and algorithmically generated sections to evoke different patterns of listener response, and thus open the potential for heightened emotional impact. The algorithmic sections distribute musical "cell" themes among the players in time and space, first dispersing them and then reconnecting them in an incremental weave of continuous, unified tone.
Departures, written for jazz quartet and live interactive audio-visuals, configures the narrative dynamics of the airport scene from Casablanca to create meaningful interactions among the players as well as emergent musical and visual themes. Departures is one of several of Ronit's works which exists on a continuum between music, visual art and theater.
Meditations on a Flight Scale is the first in a series of subjective systems which Ronit has created for improvising performers. It provides a framework for the creation, rearticulation and transformation of musical identities through a dedicated observation of the performer's experience. It is a cumulative work which evolves as performers develop these identities and flesh out the inquiry with their own processes.
In her current project, Remix Anatomy, Ronit continues to develop her language of musical-narrative kernels and flow maps, modular recombinant organization, and the "remixing" of meaning and story through electronic audio-visual manipulation as well as structured improvisation. She launched this series in January 2012 at the Sundance Film Festival with a performance of Skin Remix #1, a live remix-composition of her film score for The Skin I'm In. In Skin Remix #1, composition maps and spontaneous decisions unleash a conductor, string ensemble and two computer musicians to create new chapters of musical narrative from the electronic and acoustic score elements.
In an Integrated Music context, performers enter a story world to develop vocabularies of physical gestures and movement patterns. In further experiments, they are led to investigate how kinetic discoveries and associated psychological-perceptual states can become musical expression. The practices of authentic movement and Awareness Through Movement as well as various forms of meditation feed into this work. With her improvising collective, The Love Ensemble, Ronit created two works using this methodology: Mountains and Rivers Without End, which explores some of the tributaries of Gary Snyder's long poem; and The Calais Project, which sprang from a deep immersion in the tactile gestural language and history of Rodin's sculptures. Ronit prefers to think of these works as "multi-compositions" or "composition streams" rather than individual pieces or even a linear series, because they represent a fluid, multi-dimensional learning process.