re.sound.4

re.sound04
14|12|13

Izzy Brown | Metal II
(2013, 4’30)
This piece is made from recordings of small delicate metal objects. It is the first piece I have written towards my PhD exploring different spatial techniques in electroacoustic music.

Katherine Norman | Trilling Wire

(1994, 10) Clarinet and Tape

Bob Davis – clarinet

Writing for performer and tape offers its own interesting tension: while the tape spools on regardless, unchangeable once the playback button has been pressed, the performer seeks a foothold for their own interpretation, emotions, temporal ebbs and flows – all the things that make a ‘live’ performance. Perhaps life’s like that – a trilling wire to walk along precariously, confidently, gladly or sadly, depending on realtime circumstances and yearnings. As in this piece, there’s sometimes a need to improvise. Trilling Wire was commissioned by Jonathan Cooper. The title is taken form T.S. Elliot’s Four Quartets, a poem which has frequently helped me to keep my balance.

…The trilling wire in the blood

Sings below inveterate scars

Appeasing long forgotten wars.

The dance along the artery

The circulation of the lymph

Are figured in the drift of stars…

Annis Dodd-Adkins |The First Piece
(2013, 5’22)
This piece was made with the sounds from my knitting needles, a wooden spoon, skewers, a pan, a plastic fork, a metal fork, a knife sharpener, pasta in a bag, grapes in a plastic box, ketchup, pan lids and a bottle of water.

David Badger | Grandma’s House
(2013, 7)
Grandma’s House is a fixed-media audiovisual piece inspired by the British hauntologymovement and the output of the BBC Radiophonic Workshop.  There are references to Peter Strickland’s ‘analogue fetishism’, Oskar Fischinger, the work of video artist Hiraki Sawa and much more.  It has been constructed almost entirely from Duchampian ‘readymades’ sourced from the home of my octogenarian grandmother.  It is an exploration of time, loss, memory and Toop’s ‘Sinister Resonance’.

Eleanor Cully | Caprice No. 1 for solo C flute head-joint
Written for Alba Bru, (2013, 2’)
This short piece is the first of a set I am currently writing for Alba. These pieces seek to present and explore several new techniques, which I have developed for the head-joint of the C flute. This first Caprice explores finger vibrato, nail and hand tremoli, glissandi and harmonics.

Rose Dodd | piano-capture
(2013, 7’13)
piano-capture experiments with shifting phase patterns – trying to capture the essence of the piano, with the piece resolving in simple melody.

– interval of 4 minutes 33 seconds –

Joe Gilmore | Untitled ­
(2013, 20’) solo laptop

Stephen Harvey | Collided Voices
(2013, 15’)
Collided Voices is the umbrella title of a range of live and fixed media compositions in which I am currently occupied. The project is mainly concerned with the vague parameters of pitch, noise and silence within a musical setting.  Realised here through the re-contextualisation of medieval vocal music juxtaposed within the parameters of my practice as an improviser, manipulating sound material through a range of guitar effects pedals. The simple melodies are sometimes clear but often masked with a veil of noise, exploring the material in terms of gestalt, describing the essence of a thing without the complete form being made available, and recalled memory.

Although I had initially envisaged these compositions to be fixed tape pieces it became apparent that as the process of composition involved improvised playing to such an extent, it might be exciting to render a version of these ideas in a live setting. The fixed found material, treatedwith filters and other effects within a Max patch setup, is utilised as an improvising partner. Since the algorithm has been designed to include randomised parameters, the sound of the material will be different each time and so is not ‘fixed’ in the traditional sense.

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