Pieces that use some form of tape, CD, or other fixed digital media combined with amplified acoustic instruments.
Move, tongue is an attempt to create a non-linear space in sound, where the order of events is not important but rather the experience and perception of their coexistence. In my mind this is analogous to the act of being in a physical space (say a room or a park) and after perceiving it with whatever degree of detail, one arrives at an internal conception — a modeling — of the space.
Performed by Matt Ingalls; December 12, 2011, Hertz Hall (UC Berkeley)
Program Note:
The conductor raises his arm to cue the entrance of yet another majestic Russian
tune. The French horn prepares for its solo – The solo. It’s the finale of the Firebird.
In the absence of sound, a conductor’s gesture may be perceived as performative, bordering on absurd. It was Stravinsky’s
Hysteria (2000) for trombone and electronics
music by Cindy Cox
text by John Campion
trombone performed by Abbie Conant
Mathematica, for solo flute(s) and quadriphonic tape is the first from a set of four pieces entitled Quadrivium. The four pieces in Quadrivium are designed to be played either individually or together as a complete uninterrupted cycle. All the pieces are committed in one way or another to exploring the spatialization of sound.
Program Note:
Performed by Nils Bultmann on a 5-string MIDI Zeta violin passing through an effects processor (Oberheim GM-1000); Stereo reduction mix (from four-channel).
A work for piano and electronics, written by Brian Kane for pianist Sebastian Berweck. The electronics are based on a recording of shovelling mud, and processed in two ways: 1) a special, homemade MAX/MSP patch; 2) in SuperCollider, running a set of classes that read MEAPSoft data--as if you cared!
