Notes:
"The
moon camera" is part of a series of pieces, "the sound of doves in a
cave",
released by Shinkoyo, that document a process of listening to
electronics
(analog or digital) balanced on the edge of chaos; a sort of
automatic
inspiration. In "the moon
camera", I used Supercollider to
create
an ever-changing texture, tied to the meter of a simple poem. As a
result,
the form of the piece is generative and through-composed; the vocal
textures
all imitate the digital gestures and glitches of the source
material.
Bio:
Peter
Blasser is a synthesynthesist, a builder and player of analog brains that
synthesize
sound. He has made modular
synthesizers in rolls of canvas,
breath
sensitive surfaces in driftwood, and rhythm machines inside coats.
He
has released several solo records, and one as a band, "The Gongs",
who
play
Peter B original instruments, and who toured with Momus in the summer
of
2002. He attended Oberlin College
and Conservatory, majoring in
Electronic
Music and Chinese. (contact: www.blasser.com)
Notes:
This
piece is created in 2002 made of the sounds of digital artifacts
only.
The different layers of frequencies and its manipulation give
it a
rich texture, disturbed by rhythmical clicks.
Bio:
Malte
Steiner runs the project 'Elektronengehirn' since 1996,
dedicated
to electroacoustic music only done with software like
csound,
Max/MSP and custom applications. Besides the releases on
compact
disk the pieces of Elektronengehirn are performed live.
Steiner
has gained experience of nearly 20 years of electronic sound
research
since he started 1983 with first recordings. Today he runs
several
different music projects and a label, programs software and
doing
interactive sound and video installations. The experience is
spread
by giving lectures and workshops at universities and
international
conferences.
Bio:
Hans Joachim is one of the pioneers at the field
of the exploitation of electrically generated tones, sounds and noises and
belongs to the founders of contemporary popular electronic music. His
discografie listes about 80 releases and there are more than 10 productions
ready to be released in the next future.
Notes:
Almost
paradoxical in nature, Sawako's music encompasses both deep
contemplation
and an arbitrary randomness of having totally no intentions.
"Crab"
is one of such kind of tracks with field recording and electronic
sounds,
which makes a world like child's daydream or
surrealism
in every day life.
Bio:
Sawako Kato is a Japanese sound artist
currently
living in Tokyo. She graduated SFC, Keio Univ. in which she
studied
DSP with her teacher, Christopher Penrose, did live performances in
Japan,
USA, Paris and London, and was on same stage with Christopher Charles,
Oval,
Yoshihiro Hanno, Astro Twin(Uta Kawasaki+ Ami Yoshida) and so on. In
April
2002, she has been given critical acclaim in the Italian magazine
BlowUp
though at that time she had no official release.
She makes a soundscape
graced with beautiful silences, the
poetics
of petite sounds, mixer feedback, computer processing,
field
recording, and the various sounds of her immediate
environment.
As future plans, she will
release some CD(r)s from various
labels,
make works as visiting artist at Alfred Univ.(NY, USA)
in
2003.Feb, do Japan tour in 2002.Dec. and so on.
6.
Petsound
Notes:
1. 03 (1”00”)
2.
area
(0’30”)
3.
atm (0’30”)
4.
beep (0’07)
5.
convini (0’15”)
6.
electroperator (0’08”)
7.
geisha (0’15”)
8.
jr (0’15”)
9.
oasis (0’15”)
10. shibuya (0’08”)
11. sono mono (0’07”)
12. subway (1’00”)
7. My Grandfather's Kalimba- Christopher Coleman
Notes:
When
my grandfather died, I realized that while I knew many things about him,
I
hadn't really known him. He was a
quiet man in a loud household, always
present
but never a presence. He was a
collector of many things; sword-canes,
movie
props, all kinds of odds and ends.
When he discovered that I was
interested
in collecting coins, he would give me some medal that he had picked
up. This was his display of love for
me--not hugs and kisses, but a medal
pressed
in my hand during my visits--and in the ignorance and arrogance of
youth,
I sometimes refused them, because medals are not coins. I did not
attend
his funeral, having moved away for graduate school. His collections
passed
into the hands of his other children and grandchildren while I read
Forte
and Schenker, believing my priorities in the proper place. My brother,
also
a musician, inherited my grandfather's African thumb piano. Years later,
upon
seeing my own collection of musical instruments, he offered the kalimba
to
me. This delicate and subtle
instrument is what remains of my grandfather
for
me, a gift of love handed from grandfather to grandson and brother to
brother.
Bio:
Christopher
Coleman (b. 1958, Atlanta, GA) is currently Composition
Coordinator
of Hong Kong Baptist University.
He was awarded first prize in
the
composition contests of the Percussive Arts Society and the American
Society
of University Composers. He has
received commissions from groups such
as
the Hong Kong Composers' Guild, the DuPage Symphony Orchestra, the Chicago
Area
Chapter of the American String Teachers Association, and the University
of
Georgia Trombone Choir and New Music Ensembles. He received his Ph.D. in
music
composition where he studied with Ralph Shapey and Shulamit Ran. While
at
the University of Pennsylvania, where he earned the M.A. in composition, he
studied
with George Crumb, George Rochberg, and Richard Wernick, among others.
His
music is published by Theodore Presser, Ensemble Publications, C. Alan
Publications
and Crown Music Press. He is also
an active trombonist and
conductor,
specializing in contemporary repertory.
Notes:
Spline
Spline
was created using the audio processing programs C-sound and ProTools, and are
unified by their use of text manipulation and its change of syntax and focus
within each individual movement.
Spline,
is based on the concept of interruption and constant change of media
focus. The work uses several
layers of background and foreground activity that create a dialogue throughout
the piece. Various sources of
sound media were used including samples taken from folk music, popular music,
and art music sources.
Bio:
William
Price received his bachelors of music education from the University of
North
Alabama and his masters of music from Louisiana State University. His is
currently
pursuing his DMA at LSU where he studies composition with Dinos
Constantinides
and Stephen David Beck.
Price‚s music has been performed at
various
international and regional events including the 2002 SEAMUS Conference,
the
11th Annual Florida Electro-Acoustic Music Festival, the 2000 World
Saxophone
Congress, and several Society of Composers, Inc. regional
conferences. He has received awards and commissions
from numerous
organizations
including ASCAP, the Louisiana Music Teachers Association, and
first
prize in the 1998 Philips Slates Composition Contest. His music has been
performed
and premiered by Gail Levinsky, John Perrine, the Red Stick Saxophone
Quartet,
and has been broadcast on public radio stations throughout the
country. Price is currently the president of the
Mid-South Chapter of the
National
Association of Composers, USA (NACUSA).
Notes:
This work was commissioned by the Piteå, Sweden Church
Opera.
When
I was first asked to compose it, I spent much time
considering
how to go about making music that was to be
performed
together with the LEÇONS DE TÉNÈBRES by Couperin,
music
so far removed from us in time.
I
realized that there were two kinds of voice involved. First
there
is the human voice, expressing the text of lamentation,
taken
from the Biblical book of Jeremiah and traditionally
performed
during the dark days of Holy Week before Easter.
Second
there is the aesthetic voice, the music, the tones
expressing
their relationships. This combination of text and
music
is itself a voice, a statement: the voice of Couperin
expressing
his understanding of text and music as they relate to
the
Tenebrae theme. This double meaning of voice--both the
physical
manifestation and the concept of voice as expressive
statement
in any medium--intrigued me, and I began to think
about
creating a work that consisted only of voice.
TENEBRAE
I (as well as TENEBRAE II) consist almost entirely of
my
own voice. Since using the voice in making an
electro-acoustic
work entails recording with a microphone, I
decided
also to use various microphone sounds, some of which
arose
naturally while recording, and some of which were recorded
in
separate takes. I chose to make the words used in the
composition
ambiguous, mixing them in such a way that only very
occasionally
does one understand a whole phrase of text. In
addition,
two different languages and fragments of a third are
used.
The words used become unimportant in the understanding of
the
expressive intent of the music. Here, words do not carry
meaning,
it is the meaningless words that become expression
as
music. Tenebrae means darkness. Words which are more or less
unintelligible,
no longer carriers of specific meaning, is
language
in semantic darkness, yet never expressionless.
Bio:
Gary
Verkade lives in Sweden and is a consummate master.
10.-12. Dhoormages- Jon Christopher Nelson's
Notes:
I. Variation
on a Door, Not a Sigh
II. I Am
Sitting In A . . .
III. Waterrun
This
work consists of a series of short electro-clips that pay homage to three
seminal electroacoustic works. The source sample for all three of these
electro-clips is a recording of a rather noisy door. Specifically, composers
were invited to prepare short compositions that made exclusive use of a
recording of a restroom door in Berlin. Each of these three homages pays
tribute to a composer and the techniques they used.
Bio:
Jon
Christopher Nelson's (b. 1960) electro-acoustic music has been performed widely
throughout the United States, Europe, and Latin America and has been honored
with numerous awards including fellowships from the Guggenheim Foundation, the
National Endowment for the Arts, and the Fulbright Commission. His electroacoustic music has been
awarded both a Luigi Russolo and Bourges Prize and he was recently awarded a
Bourges Commission. In addition to his electro-acoustic works, Nelson has
composed a variety of acoustic compositions that have been performed by
ensembles such as the New World Symphony, the Memphis Symphony, ALEA III, and
others. He has composed in
residence at Sweden's national Electronic Music Studios during the 1989-90
academic year as well as the fall of 1994. Nelson received his Ph.D. from Brandeis University and has
studied digital audio processing and computer music composition with Barry
Vercoe at the MIT Media Lab. He
also has worked as a technical consultant at MIT's Media Lab for visiting
composers Mario Davidovsky, Jean-Claude Risset, and Morton Subotnick. His works can be heard on the Bourges,
Russolo Pratella, CDCM, NEUMA, ICMC, and SEAMUS labels. Nelson is currently a Professor at the
University of North Texas where he assists in directing the Center for
Experimental Music and Intermedia (CEMI) and serves as the Associate Dean of
Operations.
Notes:
Q++
is a work for environmental, ultrasonic, and
electromagnetic
sound. Composed for 16 independent
channels,
the work is also presentable in variable
settings
with 2 channels as the minimum requirement.
Bio:
Rod
Stasick is a composer in the broad sense of the term.
He
is interested in the creation of event-systems for
various
situations. Template scores are often created
using
a combination of graphic signs and symbols that
usually
suggests a syncretism of styles and methods of
performance.
Using these methods, he produces works in
diverse
disciplines (audio, video, text, mail art,
conceptualism,
etc.) utilizing assorted influences
(Eastern
Philosophy, Fluxus, The Internationale
Situationniste,
Semiotics, Discrete Event-Systems, random
numbers
to revamp Zen planning and various forms of
Information
Theory). Worked with John Cage, Nam June Paik,
Jerry
Hunt, et al. With having recently (2001, 2002) spent
time
with Karlheinz Stockhausen studying his work in
Germany,
Rod Stasick has acquired a renewed interest in
the aspects of compositional integration.
14. 816- Barry Schrader’s
Notes:
8/16/96
just
east of Zzyzx on Interstate 15
1:10
A.M.
an
apprehension of something sensed, not expected
an
impression of something experienced, not remembered
created
with a Yamaha TX816
Bio:
Barry Schrader’s compositions for studio media,
dance, film, video, multimedia, live/electro-acoustic combinations, and
real-time computer performance have been presented throughout the world. Schrader is the founder and the first
president of the Society for Electro-Acoustic Music in the United States
(SEAMUS). He has written for
several publications, including several editions of the "Grove Dictionary
of Music," and is the author of "Introduction to Electro-Acoustic
Music." He is currently on
the Composition Faculty of the California Institute of the Arts, and has also
taught at the University of California at Santa Barbara and California State
University at Los Angeles. His
music is recorded on the Opus One, Laurel, CIRM, SEAMUS, Centaur, and Innova
labels.