COMPEL Omeka Dev

Browse Items (868 total)

  • Eight channel acousmatic composition awarded First Prize in the 2014 ASCAP/SEAMUS Student Commission Competition.

    Completed in 2013, GATES is an electroacoustic composition that was partly inspired by the Pleiades constellation. A musical mapping of an image of the constellation occurs in the middle and at the conclusion of the composition. One can hear this depiction in the “wood block” timbres. This representation of Pleiades relates to a passage from Ignatius Loyola’s autobiography, St. Ignatius’ Own Story as Told to Luiz Gonzalez de Camara (1555).

    It was his [Ignatius’] greatest consolation to gaze upon the heavens and stars, which he often did, and for long stretches at a time, because when doing so he felt within himself a powerful urge to be serving our Lord.

    (From A Commentary on Saint Ignatius’ Rules for the Discernment Of Spirits, Jules J. Toner, 1979.)

    I chanced upon this unique passage after an evening of stargazing. Initially, I did not think much of it, but re-evaluated the occasion after unintentionally opening to the following passage in Vladimir Solovyov’s essay, “Nationality from a Moral Point of View” (1895). … “the Spanish genius Ignatius Loyola founded the order of the Jesuits for the struggle with Protestantism on peaceful grounds” (Ed. & Trans. Wozniuk). Following this discovery, and seeing as it was one of two mentions of Ignatius in Solovyov’s entire collection of essays, I resolved to use the musical mapping of the constellation as a central and unifying element in this composition. The title refers to the use of noise gates during the creative process. Bending string and brass timbres, time stretched voice, and layers of filtered noise contribute to the drama of this composition. The composer is grateful for the assistance of the many musicians who participated in recording sessions that were utilized in this composition; especially Chicago-based musician, Tyler Beach, for his valuable insights and session performances on the acoustic and electric guitars.
  • Three movement work for harp, electronics, and motion sensor inspired by the poetry of Edna St. Vincent Millay
  • This piece is an expression of the duality of human beings, torn between desire and solitude.

    This piece is an expression of the duality of human beings, torn between desire and solitude. The bigger the desire becomes, the tougher the solitary confinement of our minds becomes. The marble in a glass plate and a large closed door in the piece represent desire and solitude respectively. The marble slowly rolls towards the desire. It rolls faster and faster–and louder and louder–but cannot depart from the confines of the plate. The marble stands before solitude. When solitude vanishes, the marble rolls again. The closed door is human solitude. The door is attempted to be prized open but remains shut still. It is pushed against more strongly, to the point of being dented. The door groans in pain. It still remains shut as if being full from within. It defies any entrant. The marble and the door are unified in their isolation. Self-confined space is sad.
  • In this work, the flute and live sound processing are threaded together seamlessly to create rich textures of multiple sonic stories, performed by a single performer on stage. The composer/performer recorded all the sounds from many parts of the world: street vendors in Kyoto, an ancient On-Matsuri festival in Nara, construction sites, coffee shops, the Humpback whales of Alaska as well as glaciers calving are manipulated by the flutist in real-time. This open-structured work reinvents itself in every new performance and recording.
  • Centered around the story of the “hero’s quest” (inspired by Joseph Campbell’s writings on the subject) this open-structured, five-movement quadraphonic work relays the musical journey of a hero and her inner/outer struggles.
  • for moving flutist and pre-recorded electronic part

    Influenced by the movement of traditional Noh actors, Convexed Origins links ancient Japanese gestures as both sound and movement. This is a summoning to one’s ancestors through the simplicity of line, shape and texture of sound and body. The pre-recorded electronic part dictates the form, the flute outlines the body and the movement extends the boundaries of the music.
  • This is a work for piano modeled on a Baroque keyboard suite. There are five movements, any of which can be performed in any order.
  • This is a work for trumpet and live audiovisual media based on an idea in quantum physics.
  • This work reflects on human impacts on biodiversity.
  • Greed models itself on processes of accumulation.
Output Formats

atom, dcmes-xml, json, omeka-xml, rss2