Yvette Janine Jackson is a composer and sound artist who creates immersive compositions, drawing on a wide array of genres and life experiences. Her compositions have been commissioned internationally for a variety of mediums. Yvette Jackson often works in a mode she calls radio opera, which combines orchestral composition, modular synthesis, sampling, voice acting, and improvisation. Her work has been commissioned and screened at some of the biggest festivals and events across the globe. Having learned tape splicing, analog synthesis, and computer music at the historic Columbia Computer Music Center in New York. Yvette now works as associate professor at Harvard University. In the public episode, we talk about her concept of radio opera and we take a deep dive into her album Freedom, and explore the unusual personal history that has informed her unconventional composition style—discussing things like theater sound design and her four years spent 8,000 feet up in the Rocky Mountains, and how that changed the way she listens. Supporters on Patreon will get another 35 minutes where we get into the technical details of how Yvette puts these multimodal electroacoustic works together. And a discussion of composing for the Carillon, the enormous bell tower instrument. sign up to listen Patreon.com/phantompower. 00:00 Introduction 00:39 Meet Yvette Janine Jackson 02:08 Exploring Radio Opera 04:19 Yvette’s Recent Achievements 05:12 Defining the Artist 06:01 The Concept of Radio Opera 08:25 Creating Immersive Experiences 13:10 Album ‘Freedom’ and Its Themes 13:56 Narratives in ‘Freedom’ 14:16 Invisible People: A Radio Opera 19:54 Destination Freedom: A Journey 24:02 The Art of Sound and Emotion 29:10 Diving into Technical and Biographical Insights 29:51 Early Musical Influences and Education 31:57 College Years and Electronic Music Exploration 35:04 Theater and Radio Drama Experiences 40:17 Living in Colorado and Soundscape Studies 48:40 PhD Journey and Integrative Studies 50:39 Conclusion and Final Thoughts Transcript Yvette Jackson: My work has a lot of things that were presented to me at some point as binaries, like, you know, improvisation, composition, acoustic, electronic, and for me, I guess part of my practice is kind of blurring these lines. Introduction: This is Phantom Power. Mack Hagood: Welcome to another episode of Phantom Power, a show about sound. Sound studies. Sound art. All things sound. My name is Mac Hagood, and my guest today is Yvette Janine Jackson. Yvette Janine Jackson is a composer and sound artist who creates immersive compositions drawing on a wide array of genres and life experiences. Her electroacoustic chamber and orchestral compositions have been commissioned internationally for concert. Theater, installation and screen. Yvette Jackson often works in a mode she calls radio opera, which combines orchestral composition, modular synthesis, sampling, voice acting, improvisation, a whole lot of things in order to create what the guardian called immersive non-visual films. Her work has been commissioned by or appeared on the stages and screens of Carnegie Hall Big Years Festival. PBS and the Venice Music Bien Oh and Wave Farm. A lot of listeners will be familiar with Wave Farm, with whom Yvette has had a long history. She is also the only volunteer firefighter that I personally know who learned tape splicing analog synthesis and computer music at the Historic Columbia Computer Music Center in New York. Oh, and did I mention that she’s a professor at Harvard? Yvette and I met at the Residual Noise Festival at Brown a couple months ago, and I so enjoyed talking with her that I wanted to bring you in on the conversation. In this wide ranging chat, we talk about her concept of radio opera and we take a deep dive into her album Freedom, which the wire calls one of the most unique. Releases to chronicle the Black American experience. We then get into her unusual personal history, which has informed her unconventional composition style, and we discuss things like theater, sound design, and the four years she spent 8,000 feet up in the Rocky Mountains and how that changed the way she listens. Supporters on Patreon will get another 35 minutes where we get into the technical details of how Yvette puts together these multimodal electroacoustic works. And then we get to my favorite part of the conversation in which we truly nerd out on the Caron. Which is the enormous Bell Tower instrument that she has actually composed several pieces for. And unless there is some Caron podcast out there, and I suppose there probably is, but I’m pretty sure that this is the deepest Caron conversation you’re ever going to hear. And then. Yvette does her what’s good segment where she suggests something good to read, something good to listen to, something good to do, and her picks are every bit as unconventional as you might expect from this introduction. That is all at Phantom Power’s Patreon page. patreon.com/phantom Power. You can become a member for as little as $3 a month, and we could really use your support. I’m still on this mission to try to cover the production costs for this podcast with your donation, so please consider getting all of the full length interviews at patreon.com/phantom Power. Okay, here it is, my conversation with a one of a kind human being, Yvette, Janine Jackson. Yvette, welcome to the show. Yvette Jackson: Thanks for inviting me. Mack Hagood: Yeah, so it’s been a while since we chopped it up over breakfast at the Hampton Inn. Classy, you’ve had, an amazing year. I think we are actually able to sort of break some news on this podcast that you just received a Herb Bert Award , in the arts for 2025, which is like a big $75,000 thing. Yvette Jackson: Yeah, I mean, I’m excited for multiple reasons. I mean, especially, it’s at a time when obviously, you know, arts are being cut and so it’s an honor, but also a responsibility, I think. Mack Hagood: Yeah, yeah, absolutely. Um, I mean, I think with that was part of the conversation that we had before, it was just about the kinds of challenges and opportunities of, of trying to do creative work in this moment. Um. You also got promoted to associate professor at Harvard. That’s amazing. Yeah. Congrats. Thank you very much. I’m just gonna toot your horn for a minute year. Alright. Yeah. But maybe, maybe, um, we can just sort of start with the basics of why you’re getting these accolades and promotions, which is your work, which I, I think is just truly innovative. Can you maybe just talk a little bit about how you would describe yourself as an artist? What genres do you work in? Yvette Jackson: All right. Um, I, I feel like I’m not consistent with this answer. I was just asked this question two days ago, so I mean, I think composer and sound artist, but I’ve used different terms. Sound designer, installation artist, the composer has always been a part mm-hmm. Of that definition, and I guess musician. As well. Performer ensemble director. But yeah, I like composer. Simple. One word. Mack Hagood: Yeah. Your work, I mean, one, one word that I’ve heard you use before to describe your work is radio opera. You have this group, the radio opera workshop. Can you maybe talk a little bit about what you see? That genre as, would you call it a genre radio author? Yvette Jackson: Um, I mean, I, I think it is. I mean, the term is used in different terms now and I think it also was used. In different ways during the early days of radio because I mean, historically you can find older ads for, you know, we’ve got the first radio opera, and you can see this on ads in the US and in Europe. And usually what was meant by that term, radio opera was an opera that was being broadcast on the radio. Mm-hmm. And then you have pieces like NBC Commission, John Carlo Otti for the Old Mate and the Thief. And I think that commission was specifically for radio. So you know, as a composer, having to think about how to capture that spectacle over the air. In the minds of the listeners. Um, I use the term a little bit differently. So the radio for me is pointing to the golden age of radio drama, which I am a fan of, and then opera. Just because initially when I started using this term about 13 years ago, 14 years ago, I was. Picturing this concept as these series of large works, and so mm-hmm. Yeah. Taking these two ideas and it probably, I, I mean, I think definitely I also was influenced and maybe got this term from Anthony Davis with whom I was studying at the time that I started calling my works radio opera. Mack Hagood: He started calling your works that Yvette Jackson: No, I, I, I think the, the term came up in a conversation that we were having uhhuh. I had taken one of his opera classes and he knew about my interest in radio drama. And so, I mean, I think that there’s a connection there. And then someone also, uh, had a conversation two days ago thinking about like violin, Bret. Using radio opera and having like the audience kind of interactive and you know, an interactive component of it and singing along with it, which, I mean, initially I wasn’t thinking of any type of interactivity, which, yeah, now I am. The initial idea was I was creating these electroacoustic compositions to be experienced in the. A darkened theater as dark as the law would permit. You know, you have the exit signs there and you know, the performance instructions were often to be performed at an uncomfortable volume. And so you have people congregated in a theater, you know, black box proscenium space. They may be immediately seated next to someone they know, but. You know, also seated around strangers
