Author Archives: Ann Warde

VCCA 2017

At the Virginia Center for the Contemporary Arts, along with field recording in the Blue Mountains, an overnight autonomous recording I made through an open window unexpectedly captured coyote voices. And during preparation for a performance, I realized there were … Continue reading

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Toward a Critical Musical Practice

Seminar: Sound Work – Composition as Critical Technical Practice Orpheus Institute, Ghent, Belgium 23 November 2016

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Scientific Listening

DisPerSion Lab York University, Toronto, Canada 10 November 2016

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Beautiful Sounds . . .

in Ithaca NY at the 2016 Porchfest . . . John Cage’s Sonatas and Interludes, for prepared piano, composed in 1948, create unexpectedly inviting, gentle buzzes, bells, resonant gongs, and extended piano sonorities. In-between the piano’s strings are pieces of … Continue reading

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Spectromorphology, Human Affinities, Animal Voices

MuSA Conference Karlsruhe, Germany 1 July 2016

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The Spaces of Animal Voices

During 2015-16 I worked at the Contemporary Music Research Centre, at the University of York, investigating ways to listen to spatial interactions among animal sounds, and to how sound changes as it travels through air and water. How might music … Continue reading

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Patrick Wood

Four Hands Vier Hände Pomfret School, Connecticut November 2015

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“My God! What has sound got to do with music?”

Gesture and relationship as compositional materials in two pieces by Christian Wolff Christian Wolff Study Days Orpheus Institute, Ghent, Belgium This event explored Wolff’s music via paper presentations, performances of solo and chamber works, and an interview with the composer. … Continue reading

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Humpback Whales: Composers of the Sea

This Monday Night Seminar, at the Cornell Lab of Ornithology, was a collaboration with Katy Payne, who, through listening, discovered the evolving patterns of humpback song. 19 May 2014

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Erasing the Glitch

f(Glitch) – The Function of Glitch cDACT, Stony Brook University Our perception of what is a “glitch” may depend on the history and on the purposes of our listening. Through accumulating deeper, focused listening experiences, and through examining and exploring … Continue reading

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