Faculty of Computing, Engineering and Media
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Browsing Faculty of Computing, Engineering and Media by Type "Recording, musical"
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Item Open Access Abwesenheit(2017-09-24) Young, JohnThe material that inspired this work was a short audio recording made in the garden of the Beethoven Wohnung Heiligenstadt where, in 1802, Beethoven spent the latter half of the year seeking respite for his failing hearing. Although Heiligenstadt must surely not be as quiet a spot as it was 215 years ago, the historical resonance of the Beethoven Wohnung with its sounds and artefacts—distant chimes, a death mask, creaky floors, the resonance around hushed conversation—imparts a profound sense of absence. The work aims to embody this sentiment through amplification of spatial envelopment, growth and transformation of sonic energy, and submission into silence. The title is borrowed from the second movement of Beethoven’s Piano Sonata op. 81a, and the work was composed specifically for the Vienna Acousmonium.Item Metadata only Aeolian(2016) Emmerson, SimonI have for many years had ideas for a piece based on the notion of Odyssey, that original story of journey – often frustrated – and eventual return. In recent years it has developed and become a multi-part project, encouraged by several trips to Greece to perform and lecture. One part will be a live electronic piece, a quartet for solo flute player (playing concert flute, piccolo, alto, bass). These instruments produced the source sounds used in the part performed tonight, the acousmatic work Aeolian. Aeolian develops my idea of ‘concert installation’ – works that are in fact mobile and may run in repeating loops which present shorter constituent ‘moments’ in different orders. For tonight I have created a fixed concert version of about 10 minutes which includes eight short ‘moments’. Reading the Odyssey, sometimes I think the many episodes are indeed moments that might have occurred in a different order as Odysseus is continually blown off course at the whim of one god or another, waylaid by a fabled character or faced with an impossible dilemma in how to move forward. My special thanks to Katrin Zenz (flutes) and Apostolos Loufopoulos (who lent us his Athens studio for source recording).Item Open Access Allting Runt Omkring(1998) Young, JohnAllting Runt Omkring (Everything Round and About) grew out of my encounters with the Stockholm soundscape, which surprised me with its clarity and vitality — both above and below the ground… the chimes of church clocks audible across very large distances… the tunnelbana (subway) with its caverns hewn out of granite, where even quiet shuffles of feet are etched with clarity… skaters on the open air ice rink… footsteps on granite stairs and creaking floors. Along with these I integrated a number of field recordings made in my own country… a fairground, with ghost train and house of mirrors… wind gently resonating a flagpole… I found many of these sounds so captivating that I realized I was carrying impressions of them in my head, and frequently imagining the presence of one sound ‘inside’ another as I was hearing them (both in and out of the studio). Allting Runt Omkring attempts to project some of that sensation by creating a new context in which field recordings from the natural world are integrated and transformed. All sound sources in the work are environmental in origin. I work exclusively with my own field recordings, since for me it is important to have a connection with the original context of my sound sources. In this piece the context in which sounds are heard and shaped was an important stimulus, while the tape medium allows me to forge new contextual relationships for the sound. For example, in Stockholm there are a large number of churches and public buildings in the main city area, especially Gamla Stan (the old town), but also across to the islands of Kungsholmen and Söder. At quarter hour intervals the clocks of Stockholm chime, and from a single vantage point one can hear an astonishing depth in the soundscape. The Stockholm tunnelbana also has a great acoustical presence and range of sounds, and in this piece I have tried to fuse sounds of ‘above’ and ‘below’ ground (for instance by linking the bell resonances to the tunnelbana, or by taking the noise of trains to the ice rink). Allting Runt Omkring was composed on the 8-channel digital sound system at EMS Stockholm while I was a visiting composer there in 1998.Item Metadata only Apparitions(2016) Young, JohnApparitions attempts to articulate a very personal response to the evocative qualities of four sounds, recorded in different locations: a train blasting its horns while passing through a small US town; part of the intoned Ave Maria from a church in Florence; an ensemble of hunting horns from Cathédrale Saint-Étienne in Bourges and; an evening chorus of cicadas from near Bolzano in Italy. In addition an impulse response of a single hand clap recorded in Mahler’s last composing hut in Dobbiaco (also in Northern Italy) participates in much of the audio processing. The attempt to amalgamate these sonic images emerged from an emotionally charged experience. In 2014 I spent one night in Bowling Green Ohio, where I was to have stayed for two weeks working on a composition project at BGSU. Early that evening I had the devastating and disorienting news that my father had died quite suddenly and I made immediate plans to travel to my hometown in New Zealand. What sleep I had that night was broken several times by the horns of freight trains slowly moving through Bowling Green, just a short distance from my 4th floor apartment. I returned there six months later to fulfil my original planned project to find that, as before, trains would wake me with their unpredictable appearances. Although inextricably linked to the trauma of that night six months earlier, my response was that, rather than being a disturbance, the wailing horns of these ‘beings’ took on a curiously comforting presence : a cry marking a moment in their inevitable passage to an unknown other place … solemn, triumphant, yet insouciant. I responded with similar sentiment to the calm, resolving strength projected by the ritual recitation of the intercession ‘Santa Maria, Madre di Dio, prega per noi peccatori, adesso e nell'ora della nostra morte …’ while the intensity evoked in the rich buzz of the Armistice Day french horns and the cool haze of evening cicadas seemed to complement the impression of a call receding into a deeper physical space or spiritual state. In the context of the work, fragments of these sounds become apparitions—as though torn from memory—foreshadowed, supplemented and thrown into relief by timbral colouration, hints of pitch and dynamic spatialisation. The work is in four subtitled sections : I Passage (from 0’00’’) II Hall of mirrors (from 6’56’’) III Emergence (from 11’51’’) IV To the ether (from 14’59’’)Item Open Access Arioso(2021) Young, JohnArioso (2021) develops a musical form from the instantaneous aural analysis of a natural 'soundscape’ experience. The formative event was a humid September night in Tappan Square in Oberlin, Ohio where a chorus of crickets and the constant electronic beep of pedestrian crossing signals formed an interlocking texture of distinct pitch and pulsing granular noise. My field recording of this unlikely duet between the purity of an artificial pulsing tone and the spatially rich stridulation of insects underpins the structure of the piece. A flock of jackdaws circling in flight near my home just after dawn provides another window on the world of natural sound, supporting the work’s emphatic rhythmic shapes. While the form might be loosely thought of as reflecting the traditional recitative-like ‘arioso’, the title (arioso = ‘airy’) is also intended to be more deeply indicative of the atmosphere of sensual mystery I found with the air set in vibrant motion that night in Oberlin. Arioso was premiered at St. Ruprechtskirche, Vienna, 13 June 2021, diffused by Thomas Gorbach.Item Open Access Assemblance(s)(empreintes DIGITALes, 2019-04-26) Andean, JamesCD of acousmatic tape music compositions, 2010-2018. https://electrocd.com/en/album/5846/James_Andean/Assemblance 1) Déchirure (2013), 7:32 2) Hyvät matkustajat (2012, 14), 9:03 3) Valdrada (2018), 15:26 4) Psygeío (2013-14), 9:56 5) Spores (2014), 7:00 6) Maledetta (2011), 6:08 7) Medusan Torso (2010-11), 9:09 8) Between the Leaves (2012), 5:14Item Open Access At the First Clear Word(Huellkurven, 2015) Andean, JamesItem Metadata only Autarkeia Aggregatum for computer-realized video and sound (2004, 9'30)(2004-11-01) Battey, B.Item Open Access Between the Leaves(MUU, 2014) Andean, JamesBetween the Leaves began when an output error turned John Cage reciting a series of small stories into a dense tapestry of noise; a fitting tribute, perhaps, for a piece created in the centenary of Cage's birth. The work presents a foreground of clicking gestures – every one following the same trajectory, yet every one unique, with subtle differences in timbre, velocity, and so on – layered and sequenced to provide a balance between monotonous repetition and detailed counterpoint. Behind this foreground layer is a soundscape struggling to be heard, sometimes masked by the mechanical foreground, sometimes spilling forward with a burst, cry, or distant wail. Formally speaking, the piece slows to a halt at about the two-thirds mark, and then turns back on itself: the click trajectory changes direction, and we move back through the piece in reverse, gaining speed as we go, to finish where we began.Item Metadata only Black Cats and Blues(Metier Records, 2019-10-14) Vear, CraigBlack Cats and Blues (2014-18) is an extended composition by Craig Vear for improvising cellist and digital technology. It is inspired by Boris Vian’s collection of 10 short stories and creates a unique hybrid performance environment for each. All the electronics components (processing, score generation and visual imagery) that form the “score” are generated live or are controlled by interaction with the cellist Craig Hultgren. His response is entirely in-the-moment and improvised, although it is guided by the imaginary worlds from within each short story.Item Open Access Broken(2013-10) Smith, Sophy; Dickinson, TimBroken premiered at Warwick Arts Centre on 02 October 2013 and has been touring extensively to great acclaim ever since. Visually thrilling and full of trickery, Broken erupts onto the stage. Building on the success of international hit Scattered, Broken probes our precarious relationship with the earth, luring the audience into a world of shifting perspectives. Highly athletic dance is submerged within intricate digital imagery and original music in an unashamedly visual and adrenaline fuelled spectacle, contrasting the caves of our ancient ancestors with modern apartments of glass and steel, juxtaposing the mythical underworld where our hopes and fears are amplified with the visceral overworld of light and speed, questioning our ambivalence towards our world, that is, until disaster strikes. Hanging in suspense, diving for support and scrambling to safety, the dancers negotiate the cracks and craters of a world of illusions where nothing is quite as it seems. Broken is an unashamedly visual spectacle: ravishing, delicate and poignant taking the audience, on a journey into the earth as you have never seen it before. Following two UK tours Broken will be performed in China in autumn 2014 with future tours to Europe and the USA in the pipeline for 2015. A third UK tour is also being planned for spring 2015.Item Open Access Déchirure(Association PRESQUE RIEN, 2017) Andean, JamesItem Metadata only Dendrophone(2024-09-01) Batchelor, PeterDendrophone (2024) is a site-specific multichannel sound installation that transforms subtle ecological processes into an immersive auditory experience. Developed as part of the AHRC-funded Sensing the Forest project, it sonifies environmental data—such as humidity, solar radiation, temperature, and carbon dioxide absorption—rendering complex and often imperceptible ecological processes audible. By doing so, Dendrophone aims to deepen public engagement with climate change and the fragile balance of forest ecosystems. The installation is designed to integrate seamlessly with the natural soundscape, layering environmental with complementary electroacoustic sounds: drones, granulated textures, and ‘breathing’ characteristics. Built with a DIY ethos, it prioritises accessibility and sustainability, ensuring that the system is reproducible and adaptable for various public engagement contexts. Live-streaming capabilities extend its reach, allowing remote audiences to experience the installation in real time, reinforcing its role as an ongoing, interactive exploration of ecological sound. For more information, see https://sensingtheforest.github.io/exhibition/your-sonic-forest-dendrophone-peter-batchelor/.Item Open Access detuning a tuning(Carpal Tunnel, 2023-02-11) Xambo, AnnaYou wake up in the middle of the night. In your dream, you lived along with other creatures inside a huge piano. The piano was being tuned and detuned at the same time. Strings snapped, and large pieces were breaking off, making a range of screeching, banging and scratching noises, with the occasional note. There were some voices outside, and you worried about finding a new place to live. You remember playing the piano as a kid, and wonder how it would be to take it again, then go back to sleep. detuning a tuning by Anna Xambó was released on 11 February 2023 by Carpal Tunnel.Item Metadata only Diffusion Enhanced Network of Inspired Sounds (DENIS)(Premiered October 13, 2009, Concert Room, City University London., 2009) Young, John; Harrison, JontyAn electroacoustic work created by John Harrison and John Young to mark the occasion of Denis Smalley's retirement from City University. The work was created from 63 sound files sent by composers from all around the world.Item Open Access Dirty Dialogues(pan y rosas, 2021-10-01) Dirty Electronics Ensemble; Ogara, Jon; Xambo, AnnaDirty Dialogues is an encounter between Dirty Electronics Ensemble, Jon.Ogara and Anna Xambó in a free music improvisation session after a long pandemic lockdown. Thirteen musicians on stage combining analogue and digital instruments, acoustic and electronic materials, live coding and DIY sound-making techniques. An intense polymorphic journey of sonic exploration and chaos, which is especially recommended for noise music lovers.Item Metadata only Dirty Electronics Mute Synth 4.0 Synth(Mute Records, 2018-12-07) Richards, JohnThe Dirty Electronics MUTE 4.0 SYNTH is a synth with inputs, a digital wavetable synthesiser, an analogue noise circuit, and programmable sequencer. These features can all be combined in an environment to experiment with sound. Being hand-held, battery-powered and with headphone and line out, the synth is ideal for music making on the move as well as in the studio. At a turn of a knob and press of a button, sequences, control voltages, and cut-up loops can be programmed; or listen to the Voltage Collection by Dirty Electronics. The MUTE 4.0 SYNTH is on-going research by Dirty Electronics into making music with wires and code, objects and materials; and an artwork printed circuit board collaboration with Adrian Shaughnessy and Regular Practice. Printed circuit board meets album cover. Expand the Synth with a limited edition chip by Dirty Electronics and Max Wainwright with mangled waveforms and accompanying fold-out booklet on microcomputer music.Item Metadata only Dirty Electronics: Dommune Live Broadcast (Tokyo, Japan)(2017-09-12) Richards, JohnLive broadcast and video stream of Dirty Electronics performance of new work with Kanta Horio, Dark Electronics, for Sapporo International Art Festival (SIAF) 2017.Item Metadata only Espaces Lointains(Empreintes DIGITALes, 2024-02-28) Young, JohnThis compact disc contains six acousmatic compositions: Sweet Anticipation (2018 rev 2021), dur: 17:26 (stereo reduction from 16-channel original) Arioso (2021), dur: 9:38 (stereo work). Hidden Spaces (2019), dur: 9:46 (stereo work, in three movements: Räfstad, Montréal, Dobbiaco). Filaments and Phases (2022-23), dur: 11:37 (stereo reduction from 8-channel original). Three Spaces in Mid-Air (2017), dur: 10:56 (stereo work, in three untitled movements). Le Chant en Dehors (2021-22) , dur: 10:08 (stereo reduction from 18 channel 'dome' format original). Programme notes and purchase information at https://electrocd.com/en/album/6578-espaces-lointainsItem Metadata only Espaces Lointains(Empreintes DIGITALes, 2024-02-28) Young, JohnThis downloadable album contains six acousmatic compositions: Sweet Anticipation (2018 rev 2021), dur: 17:26 (stereo reduction from 16-channel original) Arioso (2021), dur: 9:38 (stereo work). Hidden Spaces (2019), dur: 9:46 (stereo work, in three movements: Räfstad, Montréal, Dobbiaco). Filaments and Phases (2022-23), dur: 11:37 (stereo reduction from 8-channel original). Three Spaces in Mid-Air (2017), dur: 10:56 (stereo work, in three untitled movements). Le Chant en Dehors (2021-22) , dur: 10:08 (stereo reduction from 18 channel 'dome' format original). Programme notes and purchase information at https://electrocd.com/en/album/6578-espaces-lointains