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Pedro Rebelo |
Forking Parths Virtual Mix (1996) (in 3 rooms) |
20:25 |
UK |
Forking Paths Virtual Mix is music for an installation with the visual artist Nettie Burnett. The installation explores ideas of structural openness: the large scale construction and formal control is given to the listener/viewer. By travelling through the piece, which consists of three rooms/musical spaces, each person performs their own understanding of the work.
The piece presented here is no more than a "virtual" aural visit to the installation where concepts of "sonic transparency", chance relationships and "active listening" are present.
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Peter Stollery |
Altered Images |
12:00 |
UK |
The aesthetic images which occur in the mind of the listener during the performance of a piece of music and how they relate to the way the music is perceived are the concern of the composer. The placement of sound images in three dimensional space when performing electroacoustic music on tape over a number of loudspeakers and how this imaging relates to the way the music is perceived by the listener is the concern of the sound diffuser. As a composer and performer of electroacoustic music on tape, I wanted to create a work in which I could investigate and explore these two aspects of "image". There is an interplay between the real image and the altered image throughout the work. Sometimes a sound may be recognised and associated with one in the real world, but these images change over time, as does their associated "meaning". Similarly, the position of the sound image is constantly changing, sometimes slowly, at other times rapidly, and the breadth and depth of these changes are of course enhanced when the piece is performed over a multi-channel diffusion system.
Altered Images was realised in the Electroacoustic Music Studios at Northern College, Aberdeen and at the University of Birmingham in August 1995. It was premiered in Montréal in January 1996. It won 2nd prize at CIMESP '97, the International Sao Paulo Electroacoustic Music Competition.
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Clare Laronde |
Even Stones Will Speak #1 Even Stones Will Speak #2 Even Stones Will Speak #3 |
7:00 4:30 6:00 |
France |
IF YOU LEND YOUR EARS...EVEN STONES WILL SPEAK (1993)
new time
new space
the quality of an instant
listening to sound, but also listening with all your senses
listening within mirror without,
perceiving Creation
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Garth Paine |
Bell Syntax |
6:45 |
Melbourne, Australia |
Bell Syntax plays with the essence of communication signals, bird calls, two-way radio, whispered codes and intimacies only known to selected people. It uses granular synthesis and music concrete techniques to layer and collage sounds in an effort to develop a variety of textures, densities and timbers.
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Dr John Palmer |
Beyond the Bridge |
13:00 |
UK |
Beyond The Bridge is a composition constructed upon a system of superimposed and multi-dimensional form: the large tripartite structure appears in superimposed combinations of the three main sections in three independent spatial layers. The theme consists of a single note, D, which is developed by the notes constituting its harmonic series. The cello symbolises a journey that starts on a very distant place, gradually gets nearer and nearer, and finally returns to the initial place. Beyond The Bridge was awarded second prize at the 1994 Bourges International Electroacoustic Competition, France.
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Douglas Doherty |
Neptune's Child (on the edge of chaos) |
12:50 |
UK |
This piece was composed in March 1996. It is not a programmatic work, in that there is no specific story shaping the development of the work. It is made up of very dynamic, almost physical sound objects, but these are not based on any particular visual of narrative images. Nevertheless there is a very clear sense of unfolding development and resolution. The sounds used are nearly all synthesised. Simple sounds are combined and shaped to create complex movement around a three dimensional space. As the piece develops these are combined with other series of sounds: often there may be as many as 50 or more generations of material creating what have been described as "lush" dynamic textures, building to a climax, which leads into a more stable relaxed resolution. Invisibly underpinning the whole structure is a very simple harmonic progression and hints of a melodic fragment.
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Trish Anderson |
On Ice 2 |
9:00 |
Melbourne, Australia |
Trish Anderson delivers a palette of eccentric sonic theatre. In this, a snippet of the recent On Ice show, she joined forces with the 'third eye', Caitlin Newton-Broad, engineer/musician Fran Power and video manipulator and musician Gary McKie.
on ice stretches the boundaries from heart to the computer, glimpse the creative process inside
the ice palace....freezes........snap, the kill......chill.
Sampler and interactive computer software and live video mixing combine with voice and body to create a theatrical experience rarely seen in these pragmatic years.
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