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Technosonics XV Found Sound

Brockman, Jane; Wyatt, Scott A; Coffey, Ted; Burtner, Matthew; Shatin, Judith; Elder, Sivan; Gosfield, Annie
Format
Online; Online Video; Video
Date
2014-11-07
Duration
1:22:48
Summary
Landscapes for Piano, by Jane Brockman, plays with changing terrains, from the familiar world of the piano, to the exotic terrains of the electronics. One of the most prominent electronic sounds is the sampled voice of the Amazonian Cicado beetle. While it is organic in origin, it is perhaps the most digital-sounding timbre of all. The found sound of the beetle is processed and intertwined with synthesized sound. Noted LA-based pianist Vicki Ray performed the premiere. All Sink, by Scott Wyatt (11:00): Unlike some of the more serious themes of Wyatt’s previous compositions, All Sink is a light- hearted sonic exploration of the sounds of the composer’s dishwashing skills. All material for the piece was derived from sounds recorded in and around the kitchen sink. All sounds were recorded at home, followed by processing and assembly into an eight-channel performance environment within the University of Illinois Experimental Music Studios One Note Solo, by Ted Coffey: The one note solo is a myth and reality of many musical genres -- jazz, rhythm & blues, rock, ‘serious’ music. In this present assemblage, our note is C, the least fancy note there is. However, ‘note’ is interpreted broadly. For example, frequencies related to particular Cs via the harmonic series are allowed, and clusters of these frequencies can be used to (AM) modulate other, more strictly formed Cs. Lois V. Vierk’s take on the ‘ostrich guitar’ provides another deviation. Musical materials are derived almost entirely from tuning forks (favorite ‘found’ instruments), guitars, old school synthesis both analog and digital, and the usual atmospherics. Rhythms include (among others) those of speech and those regulated by sub-audio rate Cs. For that matter, structure is regulated by periods of super-low Cs, too. Video is by long-time collaborator Aaron Henderson. Flute Code, by Matthew Burtner (8:00) I compute the air. The flute is the code. I compile the sound. My breath is a computer. My force is the processor. I change the music. Flute Code. For the Fallen, by Judith Shatin, was commissioned by Italian trumpeter Ivano Iscari. It was inspired by, and the electronics made from, the sound of the Maria Dolens bell in Rovereto, Italy. Originally cast from canons melted after WWI, this bell is one of the largest ringing bells in the world. Built between 1918 and 1925 to commemorate the fallen in all wars, it is rung every day in their memory. While the political situation changes in the particulars, the topic is all too timely. At the same time, its performance this year is in memory of the centennial of the start of WWI. The original recordings of the bell were kindly provided by audio engineer Marco Olivotto. Recent performances include the Mondi Sonori, XV Edizione, in Trento, Italy. On Air | Behind Glass: Silvan Eldar spent ten months in Prague as a Fulbright Fellow in 2013. Towards the end of her stay, she composed a sound work for Czech Radio’s rAdioCUSTICA program. On Air | Behind Glass is her impression of Prague through its language, streets and artists; an impression that is poetic rather than concrete. The words became colors – an extension of breaths – and the streets began to breathe counterpoint. It is an internal world that is very physical and sometimes frightening, with the radio used as its stage. The music was sculpted from sounds recorded both inside and outside the studio, with the help of local actors and musicians. It received the European Broadcasting Union’s 2013 Palma Ars Acustica Award. Phantom Shakedown, by Annie Gosfield, is performed live on piano, accompanied by recorded samples of detuned and prepared piano, a grinding cement mixer, the howl of a malfunctioning shortwave radio, and a mixed din of tube noise and other failing technologies. The piece is an audio snapshot of the composer’s odd sonic environment, and juxtaposes the wide mix of piano music she has absorbed over the years, from John Cage to James Booker, along with some recently recorded off-kilter mechanical sounds. Phantom Shakedown is part of an ongoing series of compositions for solo acoustic instruments with electronics that she developed in close collaboration with individual musicians. Composed for the Tzadik CD “Almost Truths and Open Deceptions”, this is the first piece in the series that the composer performs herself.
Creator
Brockman, Jane, 1949-
Wyatt, Scott A.
Coffey, Ted
Burtner, Matthew, 1970-
Shatin, Judith, 1949-
Elder, Sivan
Gosfield, Annie, 1960-
Collection
University of Virginia Concert Recordings

Landscapes for Piano

All Sink

One Note Solo

Flute Code

For the Fallen

On Air | Behind Glass

Phantom Shakedown

Panel discussion