- Ann Warde
- D’Arcy Wentworth Thompson, James Tenney
- Amplified Silence . . . gathering itself together . . .
- Beautiful Sounds . . .
- The Spaces of Animal Voices
- “My God! What has sound got to do with music?”
- Humpback Whales: Composers of the Sea
- Erasing the Glitch
- Listeners Are Observers and Musicians
ON GROWTH AND FORM 100
13-15 October 2017
University of Dundee and University of St Andrews
In January and February, at the Virginia Center for the Creative Arts,
field recording in the Blue Mountains
. . . coyotes overnight through the window . . .
at the Ithaca PorchFest
John Cage, Sonatas and Interludes, for prepared piano, composed in 1948
The piano preparations (nuts and bolts between the strings) create unexpectedly inviting, gentle buzzes, bells, resonant gongs, extended piano sonorities.
209 East Jay St.
. . . and out of the piano come . . . delicate bells . . . expansive gongs . . . hi-hat cymbals . . . drums
suspended in t i m e &
s p a c e . . .
This year I’ve been working at the Contemporary Music Research Centre, at the University of York, in the UK, 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 composition facilitate an exploration of our perception of animal voices and our connections to them?
Discussion of Wolff’s Dark as a Dungeon and Edges
Merle Haggard: Dark as a Dungeon
Christian Wolff Study Day
28 September 2015
Orpheus Institute, Ghent, Belgium