{"id":2066,"date":"2022-02-22T14:24:48","date_gmt":"2022-02-22T14:24:48","guid":{"rendered":"https:\/\/zsonics.org\/?page_id=2066"},"modified":"2024-09-16T00:11:27","modified_gmt":"2024-09-16T00:11:27","slug":"2066-2","status":"publish","type":"page","link":"https:\/\/zsonics.org\/?page_id=2066","title":{"rendered":"Sound & Music"},"content":{"rendered":"

Scores @ Material Press<\/a><\/h4>\n
\"\"<\/a>

Helios<\/p><\/div>\n

\"\"<\/a>

Imagined Environments<\/p><\/div>\n

\"\"<\/a>

Dawn’s Chorus<\/p><\/div>\n

\"\"<\/a>

Doubtful Sound \/ Cassiopeia (sketch)<\/p><\/div>\n

\"\"<\/a>

Unknown Small Bird<\/p><\/div>\n

\"\"<\/a>

Doubtful Sound(s): Chicago & Queen’s U. Canada<\/p><\/div>\n

\"\"<\/a>

Do Not Look For Yourself Outside (sketch)<\/p><\/div>\n

\"\"<\/a>

For Hands Vier H\u00e4nde<\/p><\/div>\n

\"\"<\/a>

Radically Different Perceptions<\/p><\/div>\n

\"\"<\/a>

Berubah<\/p><\/div>\n

\"\"<\/a>

Eye of the Day<\/p><\/div>\n

\"\"<\/a>

The Line Theater<\/p><\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n
selected performances
\n& archive<\/em><\/h5>\n<\/td>\n
\n
<\/h5>\n<\/td>\n<\/tr>\n
\n
Hidden Encounters<\/a>
\n<\/span><\/strong>The Global Composition 2018 conference
\nInteractive sound installation – animal vocalizations<\/h5>\n
Dieburg, Germany<\/h5>\n<\/td>\n
\n
Ultrasonic Range Finder, Arduino, and laptop computer are hidden in a box. Sound files, and real-time alterations of sound files, are heard when people approach the vicinity of the box.<\/span><\/h5>\n
Version 2<\/h6>\n<\/td>\n<\/tr>\n
\n
Hidden Encounters<\/a>
\n<\/span><\/strong>Cyprus
\n2018
\nInteractive sound installation – animal vocalizations<\/h5>\n
Meres Bookstore
\nNicosia, Cyprus<\/h5>\n<\/td>\n
\n
Ultrasonic Range Finder, Arduino, and laptop computer are hidden in a box. Sound files, and real-time alterations of sound files, are heard when people approach the vicinity of the box.<\/span><\/h5>\n
Version 1<\/h6>\n
European University Cyprus Interfaces Project<\/h5>\n<\/td>\n<\/tr>\n
\n
February March<\/a>
\n<\/span><\/strong>2018
\npianist, field recordings<\/h5>\n
Virginia Center for the Contemporary Arts Amherst, VA<\/h5>\n<\/td>\n
\n
A mix of Do Not Look For Yourself Outside and Doubtful Sound\/Cassiopeia. It is part of an ongoing experimental composition project called Doubtful Sound.<\/span><\/h5>\n
Composer Residency<\/h5>\n<\/td>\n<\/tr>\n
\n
Doubtful Sound\/ Cassiopeia<\/a>
\n<\/span><\/strong>2018
\npianist, field recordings<\/h5>\n
Virginia Center for the Contemporary Arts Amherst, VA<\/h5>\n<\/td>\n
\n
An experimental realization of networks: social network data from dolphins and the graphic score Cassiopeia by George Cacioppo.<\/span><\/h5>\n
<\/h5>\n
Composer Residency<\/h5>\n
<\/h5>\n
<\/h5>\n<\/td>\n<\/tr>\n
\n
Do Not Look For Yourself Outside<\/a>
\n<\/span><\/strong>2017
\npianist, field recordings<\/h5>\n
Virginia Center for the Contemporary Arts Amherst, VA<\/h5>\n<\/td>\n
\n
A Disklavier plays excerpts from Sonatas and Interludes for prepared piano, by John Cage, responded to by a pianist and accompanied by field recordings.<\/span><\/h5>\n
<\/h5>\n
Composer Residency<\/h5>\n
<\/h5>\n
<\/h5>\n<\/td>\n<\/tr>\n
\n
Imagined Environments<\/a>
\n<\/span><\/strong>2016
\nmultiple instruments, movement, surround sound digital audio recordings<\/h5>\n
The Assembled
\nUniversity of York, UK<\/h5>\n<\/td>\n
\n
A collaborative composition characterized by improvisation based on specific animal sounds.<\/span><\/h5>\n
<\/h5>\n
Supported in part by the US-UK Fulbright Commission<\/h5>\n<\/td>\n<\/tr>\n
\n
Radically Different Perceptions<\/a>
\n<\/span><\/strong>2016
\nsound installation (digital audio media)<\/h5>\n
Performance, Subjectivity and Experimentation in Artistic Research
\nOrpheus Institute
\nGhent, Belgium<\/h5>\n<\/td>\n
\n
Recordings of unidentified animal sounds played in the staircase and among multiple floors of the building<\/span><\/h5>\n
<\/h5>\n
Supported in part by the US-UK Fulbright Commission<\/h5>\n<\/td>\n<\/tr>\n
\n
For Hands Vier H\u00e4nde
\nfor Patrick David Wood<\/span><\/strong><\/a>
\n<\/span>2015
\ndigital audio fixed media<\/h5>\n
Premiered at
\nClark Chapel
\nPomfret School Connecticut<\/h5>\n<\/td>\n
\n
Made entirely from piano recordings<\/span><\/h5>\n
Realized at the Contemporary Music Research Centre, University of York, from recordings by Patrick Wood and Ann Warde<\/span><\/h5>\n
<\/h5>\n
Supported in part by the US-UK Fulbright Commission<\/h5>\n
<\/h5>\n<\/td>\n<\/tr>\n
\n
Chambers: <\/span><\/strong>In Honor of Alvin Lucier, sound in large and small resonant environments (1968)<\/span>
\n<\/span><\/strong>2011
\ndigital audio fixed media and conch shell<\/h5>\n
Zilka Gallery
\nWesleyan University Middletown, Connecticut<\/h5>\n<\/td>\n
\n
This new version of Chambers<\/em> is a compilation of individual works, each constructed as a tribute to Lucier by his former students<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Dawn\u2019s Chorus:<\/a>
\nFor Cheryl Gobbetti Hoffmann
\n<\/span><\/strong>2008
\ndigital audio fixed media<\/h5>\n
Premiered at Slee Hall University of Buffalo (2008)<\/h5>\n
Listening to Birds Symposium
\nUniversity of Aberdeen
\nUK (2009)<\/h5>\n<\/td>\n
\n
Sounds of animals<\/span><\/h5>\n
CD available from Leonardo Music Journal<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Unknown Small Bird<\/a>
\n<\/span><\/strong>2007
\ndigital audio fixed media<\/h5>\n
Premiered at the Nightingalia conference Sibelius Academy
\nFinland<\/h5>\n<\/td>\n
\n
Made from field recordings<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Omong-Omong: Leaning on the Moment
\n<\/span><\/strong>2004
\nchamber orchestra,
\nspeaking voices,
\ngongs, interactive electronics<\/h5>\n
Olympia Chamber Orchestra and
\nEvergreen College
\nstudents
\nOlympia, Washington<\/h5>\n<\/td>\n
\n
Omong-Omong = conversation<\/span><\/h5>\n
<\/h5>\n
Supported in part by the Evergreen College Daniel J. Evans Chair Scholar Program<\/h5>\n<\/td>\n<\/tr>\n
\n
Beda III (Differences)
\n<\/span><\/strong>2003
\nJavanese gamelan, viola, flute, and interactive electronics<\/h5>\n
Gamelan Son of Lion
\nNYC<\/h5>\n<\/td>\n
\n
Version 3 of Beda<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Omong-Omong
\n<\/span><\/strong>2003
\nJavanese gamelan, voices, and interactive electronics<\/h5>\n
Center for Contemporary Music
\nMills College
\nOakland California<\/h5>\n<\/td>\n
\n
Based on Javanese vocal texts and melodic patterns with mixed pelog, slendro, and 12-tone equal tempered tunings. Composed for instruments built by Lou Harrison and William Colvig<\/span><\/h5>\n
<\/h5>\n
Composer Residency<\/h5>\n<\/td>\n<\/tr>\n
\n
Beda II (Differences)
\n<\/span><\/strong>2002
\nJavanese gamelan, viola, alto flute, and interactive electronics<\/h5>\n
Presented by the Cornell Gamelan Ensemble
\nNew England Gamelan Weekend
\nWesleyan University Middletown, Connecticut<\/h5>\n<\/td>\n
\n
Version 2 of Beda<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Beda I (Differences)
\n<\/span><\/strong>2001
\nJavanese gamelan, violin, flute, and interactive electronics<\/h5>\n<\/td>\n
\n
Explores performance configurations and use of traditional and experimental Javanese and Western structures<\/span><\/h5>\n
<\/h5>\n
Supported in part by a Mellon Postdoctoral Fellowship
\nCornell U. Society for the Humanities<\/h5>\n<\/td>\n<\/tr>\n
\n
Among Twenty Snowy Mountains,<\/span><\/a>
\n<\/strong>2000
\nSoprano, flute, clarinet, violin, cello, percussion<\/h5>\n
Premiered by Judith Kellock
\nCornell University
\nIthaca, NY<\/h5>\n<\/td>\n
\n
The only moving thing
\n<\/span>Was the eye of the blackbird.
\n<\/span><\/h5>\n
Text: Wallace Stevens\u2019s
\nThirteen Ways of Looking at a Blackbird<\/em><\/span><\/h5>\n
Interchangeable parts for 4 of the 6 performers, optional gamelan instruments<\/span><\/h5>\n
<\/h5>\n
Supported in part by a Mellon Postdoctoral Fellowship
\nCornell U. Society for the Humanities<\/h5>\n<\/td>\n<\/tr>\n
\n
Berubah<\/span><\/a>
\n<\/strong>1999
\nJavanese gender, rebab, interactive electronics<\/h5>\n
University of Illinois Urbana-Champaign, IL<\/h5>\n<\/td>\n
\n
Berubah <\/em>(change) engages performers with an almost unpredictable interactive system based on concepts of catastrophe theory. <\/span>
\nmore<\/a><\/h5>\n
<\/h5>\n<\/td>\n<\/tr>\n
\n
Eye of the Day<\/span><\/a>
\n<\/span><\/strong>1999
\n2-channel tape and string quartet<\/h5>\n
SEAMUS Y2K: AcousmaTEX,
\nDenton, TX<\/h5>\n
<\/h5>\n<\/td>\n
\n
Acoustical beats between tape and players are shaped during performance.
\n<\/span><\/h5>\n
CD available
\n<\/span>Commissioned by Scott A. Wyatt for the 40th Anniversary of the Experimental Music Studios at the University of Illinois Urbana-Champaign<\/h5>\n
\"\"<\/a><\/h5>\n<\/td>\n<\/tr>\n
\n
Autumn Song<\/span><\/strong><\/a><\/h5>\n
The Thousand Sounds
\n<\/span><\/strong>1991\/1998
\nSoprano and tape<\/h5>\n
Barbara Thun, soprano
\nContemporary Music Festival
\nBrno, Czech Republic<\/h5>\n<\/td>\n
\n
Insect sounds created in the studio replaced all but one live insect\u2019s sound in this revision of the 1991 version of Autumn Song. <\/em><\/span>The 1998 version of the tape alone is The Thousand Sounds.<\/em><\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Helios<\/a>
\n<\/span><\/strong>1997
\nString quartet<\/h5>\n
ICMC98<\/h5>\n<\/td>\n
\n
Algorithmically generated score using Lisp and Common Music<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Aurelia
\n<\/span><\/strong>1997
\nOrgan<\/h5>\n
<\/h5>\n<\/td>\n
\n
Multiple chance-based techniques and juxtaposed organ timbres applied to a hymn tune<\/span><\/h5>\n
Written for the Womenspirit\/Sisterspirit Conference, Unitarian-Universalist Church of Urbana-Champaign, Illinois<\/h5>\n<\/td>\n<\/tr>\n
\n
Ammalagammala
\n<\/span><\/strong>1996
\nJavanese gamelan ensemble<\/h5>\n<\/td>\n
\n
Re-assignment of garap (traditional playing styles) to different instruments<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Circus
\n<\/span><\/strong>1996
\nDigital audio tape<\/h5>\n
New Music Northwest Evergreen State College Olympia, WA<\/h5>\n<\/td>\n
\n
Makes use of speed changes, and voltage-controlled gating\/sampling on a Buchla Series 200 analog synthesizer<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Magnolias in Rain
\n<\/span><\/strong>1996
\nJavanese gamelan ensemble<\/h5>\n<\/td>\n
\n
Traditional Javanese pathetan music appears from a \u201ccloud\u201d of sound<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Flewmb<\/span><\/a>
\n<\/strong>1995
\nFlute and marimba<\/h5>\n
For Kesatuan<\/em><\/h5>\n<\/td>\n
\n
South Indian tala and chance procedures functioned as structuring devices for the composition<\/span><\/h5>\n
\u00a0<\/em><\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
No Net
\n<\/span><\/strong>1995
\nPiccolo, flute, alto flute, violin, viola, cello, clarinet, horn, bass clarinet<\/h5>\n<\/td>\n
\n
Investigation of extended timbral ranges of specific instrument families<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Drumming<\/span><\/a>
\n<\/strong>1995
\nYamaha Disklavier and performer (or piano soloist)<\/h5>\n<\/td>\n
\n
4 pitches evoke the South Indian mrdangam (drum)<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Staring
\n<\/span><\/strong>1993\/1994
\nPiano<\/h5>\n<\/td>\n
\n
Follows Look!
\n<\/em><\/span><\/h5>\n
The piano is re-tuned while it is played. <\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
The Composer
\n<\/span><\/strong>1993
\nPiano<\/h5>\n
University of Montana
\nMissoula, MT<\/h5>\n<\/td>\n
\n
Imitation and improvisation referring to the composer and pianist Lowndes Maury
\n<\/span><\/h5>\n
<\/h5>\n
Composer Residency<\/h5>\n<\/td>\n<\/tr>\n
\n
Cloud
\n<\/span><\/strong>1992
\nJavanese gender panerus, Lightning Midi Motion Sensor, Roland JV-30 synthesizer, and Atari ST computer<\/h5>\n
Contemporary Arts Summer Institute
\nSimon Fraser University
\nVancouver, Canada<\/h5>\n<\/td>\n
\n
Motion of performer generates acoustical beats between acoustically and electronically generated sound<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Look!
\n<\/span><\/strong>1992
\nPiano<\/h5>\n<\/td>\n
\n
Follows A Glimpse<\/em><\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Clusters<\/span><\/a>
\n<\/strong>1992
\nAmplified piano<\/h5>\n
Forum junger komponisten
\nWest Deutsche Rundfunk K\u00f6ln, Germany<\/h5>\n<\/td>\n
\n
Extension of piano sounds through amplification
\n<\/span><\/h5>\n
\u00a0<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Autumn Song<\/span><\/a>
\n<\/strong>1991
\nSoprano and 2-channel analog tape<\/h5>\n
New Music\/New Composers
\nComposers’ Forum
\nRoulette, NYC<\/h5>\n<\/td>\n
\n
2-channel analog tape of insect sounds recorded at Alexander Lake, CT (revised 1998)<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Light
\n<\/span><\/strong>1990
\nSATB chorus<\/h5>\n<\/td>\n
\n
\u00a0<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Chromosonics: <\/span><\/strong><\/h5>\n
Alexander Lake
\n<\/span><\/strong><\/h5>\n
The Lady That\u2019s Known as Lou
\n<\/span><\/strong>1990
\nVideotapes<\/h5>\n
Hey!: Artists Foundation Invitational Exhibition Artists Foundation Gallery at Cityplace Boston, MA<\/h5>\n<\/td>\n
\n
Computer system constructed by the composer links image color with sound playback speed<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Silliness
\n<\/span><\/strong>1988
\nVoices and instruments including accordian, guitar, banjo, piano<\/h5>\n
Middlesex School Summer Arts Program Concord, MA<\/h5>\n<\/td>\n
\n
Children\u2019s theater production<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
A Pearl
\n<\/span><\/strong>1988
\nJavanese gender and South Indian mridangam<\/h5>\n<\/td>\n
\n
Links beating frequencies and tala<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Aural Enchantment
\n<\/span><\/strong>1987
\nCello, flute, piano and tape<\/h5>\n
Western NY Institute for the Arts in Education Buffalo, NY<\/h5>\n<\/td>\n
\n
Acoustic imitations of recorded sounds
\n<\/span><\/h5>\n
\u00a0<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Envelope
\n<\/span><\/strong>1987
\nAnalog audiotapes mixed in real time<\/h5>\n
Hallwalls Gallery
\nBuffalo, NY<\/h5>\n<\/td>\n
\n
Environmental recordings mixed indeterminately<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Imitator Radiator
\n<\/span><\/strong>1987
\nFlute and piano<\/h5>\n
Performed by
\nNew and Used Music<\/em>
\nBurchfield Art Center Buffalo, NY<\/h5>\n<\/td>\n
\n
Imitation of radiator sounds by acoustic instruments<\/span><\/h5>\n
\u00a0<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
At Home With Sound
\n<\/span><\/strong>1986
\nA program of compositions for piano, flute, analog tape, home electronics<\/h5>\n
Performed by
\nNew and Used Music<\/em>
\nKatherine Cornell Theatre SUNY Buffalo<\/h5>\n<\/td>\n
\n
Structure based on timing of daily activities<\/span><\/h5>\n
Partially funded by Meet the Composer, Inc.<\/h5>\n<\/td>\n<\/tr>\n
\n
Magnifications
\n<\/span><\/strong>1986
\n5-section work for piano, flute, and electronics<\/h5>\n
Performed by
\nNew and Used Music<\/em>
\nBurchfield Art Center Buffalo, NY<\/h5>\n<\/td>\n
\n
Environmental sounds recorded over a period of time in the performance space are incorporated into the composition
\n<\/span><\/h5>\n
\u00a0<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
A Glimpse
\n<\/span><\/strong>1985
\nPiano<\/h5>\n
Bang on a Can Festival NYC<\/h5>\n
Eighth International Congress of Women in Music
\nBilbao, Spain<\/h5>\n<\/td>\n
\n
\u201cCloud\u201d of sound<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Music for Electronic Devices
\n<\/span><\/strong>1984
\nComputer control of an analog synthesizer, within an improvisational setup of tape, synthesizers, and processing equipment<\/h5>\n
Wesleyan University
\nConnecticut<\/h5>\n<\/td>\n
\n
Computer control within an unpredictable situation<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
The Line Theater<\/a>
\n<\/span><\/strong>1984
\nA large black vertical screen upon which white strings and ropes are manipulated to form changing patterns of lines in performance<\/h5>\n
Wesleyan University
\nConnecticut<\/h5>\n<\/td>\n
\n
Visual movement as music<\/span><\/h5>\n
<\/h5>\n<\/td>\n<\/tr>\n
\n
Eight Cellos: Close Together \/ Far Apart
\n<\/span><\/strong>1984
\nCello ensemble<\/h5>\n
University of Connecticut Storrs<\/h5>\n<\/td>\n
\n
Graphic notation: sound follows shape<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Moving Shapes
\n<\/span><\/strong>1983
\n2-channel analog recording for dance<\/h5>\n
Wesleyan University
\nConnecticut<\/h5>\n<\/td>\n
\n
Electronic sounds as control voltages<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Inside Lines
\n<\/span><\/strong>1982
\nPiano keyboard and bowed piano strings<\/h5>\n
Wesleyan University
\nConnecticut<\/h5>\n<\/td>\n
\n
Visible lines as sound<\/span><\/h5>\n<\/td>\n<\/tr>\n
\n
Outside Lines
\n<\/span><\/strong>1982
\nFor dancers among trees<\/h5>\n
Wesleyan University
\nConnecticut<\/h5>\n<\/td>\n
\n
Human movement as music<\/span><\/h5>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Scores @ Material Press selected performances & archive Hidden Encounters The Global Composition 2018 conference Interactive sound installation – animal vocalizations Dieburg, Germany Ultrasonic Range Finder, Arduino, and laptop computer are hidden in a box. Sound files, and real-time alterations … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"onecolumn-page.php","meta":{"footnotes":""},"class_list":["post-2066","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages\/2066","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/zsonics.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2066"}],"version-history":[{"count":211,"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages\/2066\/revisions"}],"predecessor-version":[{"id":3317,"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages\/2066\/revisions\/3317"}],"wp:attachment":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2066"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}