COMPEL Omeka Dev

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  • This piece is included on the Six Projects CD/LP released on the Innova Recordings label in 2015.

    De Novo was created in 2013 for multimedia artist, Lynn Fellman. Lynn strives to communicate discoveries in human evolution and genomic science through art and narrative. The title of this composition comes from Lynn’s work associated with research being done on the Neanderthal genome. De Novo literally means “something new” and refers to genetic mutations that all humans and their extinct cousins, the Neanderthals, are born with. The overall form of this composition was strongly influenced by input Lynn provided regarding our current understanding of the human genome and how it has developed over time.

    This is another of my fragment-based compositions, where all of the performances were recorded separately and then heavily edited and used as source material for the final compositional construction in the computer. It was my very great pleasure to work with the phenomenal Dave King on this project. He is an exceptionally gifted drummer, who showed up to the session in the middle of a snow storm at night, (God bless him). Heather is of course a true stalwart, who I’ve been fortunate enough to work with on a number of occasions. She is a first-call Contemporary Concert music percussion guru and a local treasure here in the Twin Cities.

  • Stridulating, dub-like glitch with tilting planes of reverb and echo. Deckle was created as a pocket remix for Wyndel Hunt's album Sunshine Noir released in 2010 by Dragon's Eye Recordings.

  • This is a work for trumpet and live audiovisual media based on an idea in quantum physics.

  • Synclavier Concert, Lionel Hampton School of Music, University of Idaho, March 18, 1986.

  • “Densité” was written in the audio software languages of SuperCollider and Paul Koonce’s PVC. “Densité” documents the interactions between the density of samples being selected and the dimensions of the space in which they are realized. Depending on particular sets of heuristics, different exponential models and soundscape audio files determine percussion sample playback parameters which are, in turn, recorded. These audio segments are then convolved with varying types of impulses responses, resulting in different sonic spaces. “Densité” focuses on subverting the inherent sonic qualities of percussion instruments as a result of temporal sequence and their individual placement within particular spaces.

  • brought to you by Carl's Jr.

    One piece in six parts. There are no gaps between parts.

    Sampled piano in loops. Reverb. Random panning and amplitude according to a predetermined behavioral framework. Everything made in Pd.

    There exist a quadraphonic and stereo version.

  • Desert Presence reminisces on the landscape of the American West, dwelling on how the vast, open spaces of the region are both “quiet” and “loud:” silent and empty, but also overwhelming because of that very emptiness in such large space. The performer interacts in dialogue with an unseen presence. As this back-and-forth develops, the two voices begin to come together as echoes of one another, creating a fleeting sense of union between the known and unknown. The piece is performed through Max/MSP, using both recorded sounds and live processing of the guitar and electronics during the performance.

    Cues specified in the score determine the entrances of electronic elements; some sounds are triggered by volume choices made by the performer, while others use randomization. The cues may be controlled by the performer, with a pedal, or an outside person. The guitarist must be playing into a microphone, both for balance and to make use of the live electronics.

  • Written for my perennial partner in tomfoolery, trombonist and unfathomably funny fellow, John Leisenring.

    PROGRAM NOTE: This work attempts to define, by example, the inherent discontinuity that exists between silicon- and carbon-based life forms. If desired, the audience can, at the end of the performance, determine which is superior. Or not. Whatever.

    NOTE: This work uses both live processing and fixed media.

    Composer contact: mobberleyj@umkc.edu

    Website (scores, recordings and info): http://jamesmobberleymusic.com

  • The two places will audio-visually connected. Because of several layers of latency (LAN, audio processing, hardware transmission, etc.), the audience will not only see the time difference between the two but also hear the tuning difference between the instruments. Interval of the pitches, separation of the places and time difference are the three dimension of the piece. The audience can see and hear all the three dimensions from an objective point.

  • in collaboration with Paul Botelho
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atom, dcmes-xml, json, omeka-xml, rss2

If you see an error or would like to add content to COMPEL, please leave a comment or contact Hollis Wittman at hollisw@vt.edu.