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Vent
Recording of Frederick Szymanski's Vent. This is a sound and image piece that attempts to develop a dialogue between sound and movement. The visual part was created through the use of real-time non-standard 3D techniques. The resulting series of movements are accompanied by sound gestures. Sound and image are sometimes aligned, but at other times they diverge as the sound becomes increasingly active and complex.
Ka-Boom !
Recording of Aki Pasoulas' Ka-Boom !. This work is based on a recording the composer made of a fireworks display. The composition employs recorded voice that imitates fireworks and the text that was compiled is a combination of onomatopoeia, made-up language and words used in comic books. The structuring of the composition attempts to parallel the human brain's process, while at the same time puts all the information in the time frame of a real-life event.
The Alban Berg Album
Recording of Marcelo Ajubita's The Alban Berg Album. This is a work for electronics that includes train sounds and samples of violin.
Radiuum (topographie de la noirceur)
Recording of Martin Bédard's Radiuum (topographie de la noirceur). This is a work for electronics.
Tabula irrasa
Recording of Stefano Trevisi's Tabula irrasa. This is a work for tape that was inspired by the composer's experiences on trains crossing the Po Valley. While travelling, the composer found himself focusing on the landscape and drew inspiration from the fields, farmsteads, hedges, etc. The materials that have been used are based on the sounds of the language spoken by the river. The composer thanks Italo Formigoni and Wainer Melli for their helpfulness as well as the Istituto Mantovano di Storia Contemporanea for historical audio documents.
Shatter Cone
Recording of Panayiotis Kokoras' Shatter Cone. This is a work for violin and electronics and was commissioned by the MATA Festival 2004 to be performed by Mari Kimura. The title refers to the way the sound of the violin is formed into sonic structures from the impact of the bow's pressure, speed, and position on the strings in combination with their register. The pre-recorded material comes only from violin sounds, transformed to keep the gestural and spectral data of the original sound while losing reference to the original.
Multiplication virtuelle
Recording of Mei-Fang Lin's Multiplication virtuelle. This is a work for solo percussionist performing on a wide array of pitched and non-pitched acoustic instruments. Audio signals taken from microphones placed in close proximity to each instrument are used to control a real-time computer-based electro-acoustic component. This piece is dedicated to the French percussionist Jean Geoffroy, who premiered the piece on Oct. 14, 2004 at l'Espace de Projection at IRCAM in Paris during the Resonances Festival. This work was funded in part by the Composer Assistance Program of the American Music Center.
Aires Acondicionados
Recording of Lennart Westman's Aires Acondicionados. This is a work for solo-oboe and electronics that consists of recordings of one oboe d'amore and an English horn. This piece was commissioned by Jesper Harryson, a solo oboe player in the Royal Stockholm Philharmonic Orchestra.
Earth-Star Songs
Recording of Leif Brush's Earth-Star Songs. This work is considered a "stitching" of sounds and recordings taken from an array of the composer's analogue constructs and terrain instruments. These recordings have been paired with recordings produced by Jerry Chamkis' Kosmophone. The result is an inexhaustibly complex amalgamation of hard-edged terrestrial and tactile phenomena contrasted by cosmically sourced retro-futuristic synth interjections.
Hastening toward the Half Moon
Recording of Elainie Lillios' Hastening toward the Half Moon. This work strings together a series of vignettes on life's eternal mysteries; murmuring, wandering, yearning amongst the drifting tides of the unknown. This piece was commissioned by New Adventures in Sound Art and premiered during the Octophonic Concert of the Sound Travels Festival of Sound Art on Toronto Island, Canada.
Banchory Ears
Recording of Pete Stollery's Banchory Ears. This work was commissioned by Woodend Arts Association and is a concert version of the music that the composer made to accompany the Banchory Faces photography exhibition in September 2003. The composer collected sonic photographs from various areas of Banchory in Aberdeenshire, Scotland. The composer thanks Bertha Forbes, a local historian, for her recollection of sounds and for the use of the interview with her in this piece.
Nuit Electronique opus 33
Recording of Peter De Moncey-Conegliano's Nuit Electronique opus 33. The composer states that this work was inspired by intimate memories from the last night of the Bourges festival 2003. He describes this piece as a "kind of cosmic electroacoustic jukebox quiz".
Motion and Glitch Study
Recording of Shintaro Imai's Motion and Glitch Study. This is a work for dance, visual image processing, and electronic sound. It was commissioned by Inventionen 2004 and was a collaborative work with Kazue Ikeda (dance improvisation). The main purpose of the piece is to experiment with the relationship between the gradual/sudden transformation of a dancer's motion, electronic glitch sounds, and visual textures as a result of modulation.
Bords et débords, voyages autour de mon bureau
Recording of Saur Etienne's Bords et débords, voyages autour de mon bureau. This is a composition that is meant to be used for theatre. The narrative of the play centers on the daydreams of a man stuck in the closed world of his office. The first part of the music for this composition was created by Stéphanos Vasiliadis who passed before completing the work.
prayer of a king
Recording of Stefan Klaverdal's prayer of a king. This is a work for saxophone and computer that was extracted from the suite "On Being". It is thematically derived from the classical play of Hamlet, and was originally composed to a dance performance on the play. The notation is quite open, allowing the players to freely choose several aspects of interpretation, such as some rhythms, tempo, etc. for both of the musicians, both saxophone and computer.
Des imaginations pareilles
Recording of Mario Mary's Des imaginations pareilles. This is a work for electronics that includes the sound material of flute.
Redshift for 4 channel tape
Recording of Dominique Schafer's Redshift for 4 channel tape. This is a work for electronics.
Voix captives, résonnantes, multiplles
Recording of Pierre Marietan's Voix captives, résonnantes, multiplles. This work consists of 3 untitled movements, each of which contain some vocalizations that were recorded by the composer himself. This composition results from constantly changing sound relationships. The composer states that each unit corresponds to a single sound which is sustained as long as possible in a single breath, a silence of equivalent duration then follows.
Painting music
Recording of Etienne Saur's Painting music. This work was created to explore the poetic intentions of all artistic creation. The composer asked several different artists if they could use some of their works to create this composition. This work consists of three movements, each one inspired by a work of art by the following artists: Catherine Jourdan and Sarah Debove, Jean-François Grégoire, and Jean Detrémont.
Move sweet move
Recording of Bruno de Chenerilles' Move sweet move. The approach for this work was to produce images and sounds by means of hand and arm gestures. The cameras used to capture these gestures are used as paintbrushes that trace the still or moving image. All sounds in this piece are played on a synthesizer and sampler by gestures in an infrared midi controller. This piece is accompanied by projected pictures.
Tradurre - Tradire
Recording of Frank Corcoran's Tradurre - Tradire. This is a work for electroacoustics that includes German spoken word. It also includes sounds of screaming and whispering.
What the bird saw
Recording of Suk-Jun Kim's What the bird saw. This is a work for electronics that the composer states was inspired by a dream in which they were the bird, flying through bits of oblivious memories and watching what it saw and heard.
Anechoic Pulse
Recording of Panayiotis Kokoras' Anechoic Pulse. Most of the sound material for this piece was recorded at the anechoic chamber at the University of York in England. The sound material, not easily recognizable most of the time, undergoes a simple transformation in terms of sound processing. The piece ends with a pulse drone created with tiny strokes of a metallic stick on a 19 inches timpani. This work is dedicated to the composer Sungji Hong.
Lamenti
Recording of Edson Zampronha's Lamenti. This is a work for electronics and octophonic speakers.
Figures d'espace. Etude pour la spatialisation.
Recording of Annette Vande Gorne's Figures d'espace. Etude pour la spatialisation. This work is a study for spatialization and was written for Claude Lenners. This work was created to be listened to in a concert setting.
Zapping Zappa
Recording of Felipe Otondo's Zapping Zappa. This work was created as a humoristic tribute to the composer Frank Zappa. The composer uses different types of samples from the music of Zappa. Within this piece there is a development in terms of timbral rhythmic layers that evolve gradually, changing in sonorities.
Todos os Cantos
Recording of Florivaldo Menezes' Todos os Cantos. This is a work for electronics that includes sound samples of spoken word and voice. There is a small sample of the aria "Queen of the Night" by Mozart.
Rojo
Recording of Hans Tutschku's Rojo. This work was commissioned by Rundfunk Berlin Brandenburg and is dedicated to Jonty Harrison. The composer describes this work as an imagining of simultaneous musical activities throughout the world. Sound materials include recorded memories from several trips. As the piece unfolds, the composition creates an imaginary ritual where many sources meet and play together.
Object obstacle
Recording of Hans Tutschku's Object obstacle. This is a work for electronics.
Inside the pipe
Recording of Massimo Biasioni's Inside the pipe. This is an electronic work whose main sound material includes the flute and "slaps" of the basset horn. The form of the piece is a path leading from the slaps of the basset horn to those of the flute; moving from the pipe of one instrument to the pipe of another.
Indeleble
Recording of Gabriel Gendin's Indeleble. This work was created as a result of the composer's personal research on voice resources, the object of which was certain voice inflections. The composer used the sound of the word "complete" and percussive attacks for the electronic processing. The electronic and editing processes were extremely careful so as to establish a dialectical process between source and result, respecting both the magic and sonority.
Symphony No. 1
Recording of John Mickel's Symphony No. 1. This work was created through the use of spectral mutation audio processing techniques, in which the spectral components of sound files were combined to produce new frequency spectra. This work consists of three parts that follow one another in succession with little pause between. All featured material was derived from identical or similar source sounds. Although suitable for any performance environment, this work is suited for desktop audio, especially in conjunction with a sound visualizer program.
Tynajas
Recording of Santiago Tomas Diez Fischer's Tynajas. This is a work for electronics.
Précis d'Errance
Recording of Bérangère Maximin's Précis d'Errance. This is a work for electronics.
Bellscape
Recording of Mario Verandi's Bellscape. This work was commissioned by the ZKM Institut für Musik und Akustik, Karlsruhe. This piece premiered as part of the European Bell Days Festival 2004. The composer's goal was to explore the spectral and morphological characteristics of bell sounds as well as their manipulation and transformation through the use of computer software. The sound material in this piece consists of bell recordings done by the composer as well as recordings of the Carillon at the Haus der Kulturen der Welt in Berlin.
Cenzontle
Recording of Roberto Morales Manzana's Cenzontle. This is an interactive piece in a multiplatform environment, which incorporates music and movement gestures from an improviser. The gestures of the flautist are captured in real time via microphones and a set of sensors detecting proximity, acceleration, and switching. A computer program is then responsible for capturing the gestures and reacting to them in a similar way. This piece has also been created with a visual element in the form of a video.
Interplay
Recording of Abdul Wahid Hasnizam's Interplay. This work explores the sounds of various activities that can be found on the streets of Alum Rock (Birmingham, England). The composer has also exploited the interplay between real and imaginary sounds, blending them together in dreary and lively ambiences.
Inscape 5
Recording of Thanos Chrysakis' Inscape 5. This work is a series of compositions based on the timbral affinities of various sounds. The articulated micro-sonorities and their micro-modulations within their textural counterpoint create a dynamic aural space.
That which is bodiless is reflected in bodies
Recording of Matthew Burtner's That which is bodiless is reflected in bodies. This is a work for electronics that was created for 8 mono-tracks. The composer has included speaker schematics for live listening.
Maschinerie der Polarlandschaft
Recording of Werner Cee's Maschinerie der Polarlandschaft. This work is a remix of another song by the same name that was produced for DeutschlandRadio Berlin. For this piece, musicians were invited to record in a water reservoir recorded in multi-channel sound. The composer states that this piece can be viewed as a soundscape due to the emphasis on the relationship between the musicians and the location.
The Cemetery of Lucifer
Recording of Marcelo Ajubita's The Cemetery of Lucifer. This is a work for amplified string quartet, electric violin loops, and percussion. It represents the place of the living dead which the composer describes as "the culture officials of all governments".
La vuelta hacia arriba del aire de la manana
Recording of Jorge Luis Sad's La vuelta hacia arriba del aire de la manana. This is a work for electronics that includes sound samples of flute.
L'aube Assaillie
Recording of Hector Parra i Esteve's L'aube Assaillie. This is a work for electroacoustics and cello. The composer has attempted to create a distinct/varied polyphonic language for strings which has been inspired by avant-garde physics, contemporary dance, and collaboration with the instrumentalists. This work was create in collaboration with the French choreographer, Frédéric Lescure.
Cordes Invisibles
Recording of Roderik De Man's Cordes Invisibles. This work was created by request of Doris Hochscheid and Frans van Ruth, it was also commissioned by the Fund for the Creation of Music. The text spoken in the work was written by the composer and refers to the ideas expressed by the German philosopher and psychologist, Carl Stumpf. His ideas explained that while listening to music we may not always be able to follow the structure of a piece, however, our subconscious understanding compensates this.
Unheimlices Wasser vol. 4
Recording of Blas Payri's Unheimlices Wasser vol. 4. This is a work for electronics that includes German spoken word and atmospheric sounds.
Cold Storage
Recording of Janek Schaefer's Cold Storage. This is a work for electronics that includes a theme of machinery sounds. The recording includes 5 untitled movements.
Un grand ensemble
Recording of Sébastien Roux's Un grand ensemble. This is a work for electronics that includes English and French spoken word.
Tranquility
Recording of Kyong Mee Choi's Tranquility. This piece was inspired by the image of a tranquil pond at dawn. While the essence of the piece, tranquility, is presented, subtle tension is still achieved through dynamics and articulations of sonic gestures. The majority of sound samples are processed by CLM.
A Romance of Rust
Recording of Antonio Ferreira's A Romance of Rust. The composer states that rust can be seen as a metaphor for time's arrow or a well-worn image about the perceived flow of time in music. The decay of materials correlates to the decay of sound objects and gestures in our memory while we listen intentionally to some piece of music. This piece was commissioned by Miso Music Portugal.
Cronicas del tiempo
Recording of Diego Losa's Cronicas del tiempo. This piece is an acoustic transcription of memories - the past, present, and future in the form of a story of a travelling man. This work, composed and played through a multi-channel system, deals with the unconscious; a reflection on sensations drawn from original sounds of Buenos Aires recorded at various times and then transformed with GRM Tools.
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