Browse Items (868 total)
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Zelik
On a Yiddish folk song. The fixed media for this piece was created by progressive equalization of triadic accordion samples, in addition to fully-composed klezmer fiddle and organ excerpts. -
Yuri Does America
Source material from Russian music, internet, and voice of Yuri Spitsyn and the composer. -
You can't have it both ways (I don't believe)
Written shortly after the congressional hearing regarding Planned Parenthood in September 2015, this work seeks to address the concept of duality while denaturing the toxic rhetoric that has dominated our political landscape. The audio samples used are from the hearing, and changes in the electronics are triggered by pitch input from a contact microphone attached to the oboe–no intervention on the part of the performer is required. -
Yamanotesen to Ko
Source material recorded in Tokyo, Japan and by Kojiro Umezaki, shakuhachi. -
Wunderkind
“Wunderkind” is a well-known German term historically applied to a person who possesses an extraordinary talent or brilliance (particularly musical) at an early age. The creative impetus for this work was the desire to explore the intellectual workings of a developing child prodigy, the electronic component used to expand the palette of such a restricted instrument while representing the mind’s ear of the child. The opening cadenza begins clumsily as the “child” seemingly explores the instrument for the first time. Musical ideas begin to mature, congeal, and find meaning. The fixed media playback begins after two minutes of solo, and a complex and harmonically-saturated sound world emerges from and interacts with performed gestures, meant to be perceived as imagined musical structures, astonishingly advanced for a mere child. All of the sounds in the fixed media were created by recording and processing my own toy piano.
Wunderkind was awarded First Prize in the 2013 Prix Destellos competition, mixed media category.
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Wood Machine Music
This piece is an exercise in distortion and overpressure. The string quartet is processed, while the clarinet and percussion are merely amplified.
Though the term noise describes a wide variety of sonic terrains, my interest is with what might best be described as disrupted resonance and distortion. The piece is made up of three basic material types, the most significant of which is the opening sound bed. This is expressed in the strings through various types of overpressure, on the clarinet with multiphonics, and in the percussion as grinding wood against metal. Though each of these techniques results in a certain level of unpredictability, the actions undertaken by the performers are highly prescribed. The second material type involves the contrapuntal use of pitch, and the third, percussive effects distributed across the various instruments. Each of these material types has its own developmental trajectory. It is these trajectories, along with the interaction between the material types, which guides the piece through its various distinct and cyclical sections.
Wood Machine Music is dedicated to the Callithumpian Consort.
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Wintersun
Bregman Electronic Music Studio -
Winnowing
Winnowing is a work for piano and electronics inspired by the movement of birds. The electronics part brings another layer to the piece by introducing synthetic piano sounds that follow their own laws of nature. In the culmination of the piece the acousmatic birds appear. -
Wind in Spring
(SCORE AND ELECTRONICS AVAILABLE BY REQUEST – jacob.sudol@gmail.com)
stereo and surround versions available
– Recording Carla Rees (alto flute) and Jacob David Sudol (electronics); Recorded February 2011 at the University of California, San Diego
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Program Note
Wind in Spring (2010-2011) is the third in a series of works for different instruments and electronics. All of these works use the same electronic techniques and explore nearly identical structural progressions. The first two pieces – “…wash yourself of yourself” (2009-2010) for piano and electronics and From Silence, I Rise (2010) for zheng and electronics – use open notations that allow the performer great flexibility in realizing the material. Wind in Spring, on the other hand, is notated with far more attention to specific details.
Wind in Spring was composed for flutist Carla Rees and the rarescale duo. It was premiered and recorded by Carla Rees, with the composer on electronics, in February 2011 at the University of California, San Diego
–Jacob David Sudol
March 2011
La Jolla, CA