"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
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)
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.
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
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.
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.
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
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.
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
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
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.
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.
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).
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.
Gary Verkade lives in Sweden and is a consummate master.
10.-12. Dhoormages- Jon Christopher Nelson's
I. Variation on a Door, Not a Sigh
II. I Am Sitting In A . . .
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.
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.
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.
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
just east of Zzyzx on Interstate 15
an apprehension of something sensed, not expected
an impression of something experienced, not remembered
created with a Yamaha TX816
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.