Browse Items (868 total)

• Murmurations of the Krell

  Experimental hardware-based live performance electronic drone piece.
  
  I’ve always been very interested in the idea of limitations when it comes to creating music. Whenever I start work on a new piece, I begin by establishing meaningful limitations to work within. I find this to be very freeing. (Stravinsky was right when talked about the freedom of limits.) Last Summer I did a live electronic music performance that involved a large amount of equipment in an elaborate setup. At some point shortly after that performance while discussing it with a friend, I mentioned, (kind of half jokingly) that I could do an effective live performance with a Quad Oscillator and a wah wah pedal. Though I had meant it as a joke, the more I thought about the idea of working within that kind of extreme limitation, the more attracted I was to the idea. So, I set about creating this piece.
  
  Murmurations of the Krell is improvisational, though it is following a general plan and has been rehearsed. I would call this an experimental electronic drone piece. The only sound source being used is a Quad Oscillator that was built by Tim Kaiser. It has only a single output that I am splitting multiple times and running through a couple of loopers and various hardware signal processors, (including a wah wah pedal). The piece is notable for what it does not use. There is no computer, no sequencer, no keyboard or other conventional musical instrument interface. Just knobs, switches, faders and pedals. I found this to be a challenging set of limitations, but at the same time, stimulating.
  
  The title of the work is a direct reference to the classic 1956 sci-fi film, “Forbidden Planet”. In this film, the Krell were an ancient, long-extinct race of beings with highly advanced technology – a technology which eventually lead to their own demise. The electronic score for the film was created by Bebe and Louis Barron, and I feel that some of the general aesthetic character of my piece is evocative of their work.

• Rotational Asymmetries

  Electronic work for two vintage instruments. Slowly evolving. Warm. Buzzy. Minimal.
  
  This piece involves the first use of my recently acquired vintage model 31H Leslie speaker. I played my Hammond M3 through it and recorded various elements that were used in the construction of the finished piece using my fragment-based compositional process. I also generated some repeating and evolving short patterns using a Dot Com Q960 sequencer driving my Moog Model 12 modular synthesizer.

• mesospherics

  red sprites, blue jets, noctilucent clouds, whistling air, diffuse, faraway haze
  
  In the mesosphere – too high for aircraft and too low for spacecraft – fleeting electrical phenomena like red sprites, blue jets and noctilucent clouds consistently elude careful study. Higher still, in the thermosphere, are gas molecules that vibrate furiously in isolation, superheated by the sun but so thinly spaced that they cannot collide with one another to properly constitute a gas. Mesospherics musically inhabits these strange, poorly understood places. The piece uses ambisonic spatialization techniques to situate a wide variety of sounds, both processed and synthetic, in a very large three-dimensional virtual space. Some of these have clear images attached, such as the whistling air sounds of the opening, while others have less concrete associations. Some are fixed in place, articulate and very close, while others resemble a diffuse, faraway haze, and still others fly rapidly and brilliantly through space. But all of these sounds are highly fragmented and elusive, much like the fascinating and bizarre phenomena we observe in the earth’s upper atmosphere.

• adagio for piano and soundplane

• Effusion

  micro-collage, polystylism, rock, electronica; 2 channel recording
  
  In “Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music”, Ben Neill describes how popular and art music are distinguished along rhythmic lines. He predicts a future music where such distinctions are less clear; where the rhythmic vernacular of pop music is spoken in artistic territory. Much of my recent creative compositional efforts, including this piece, exemplify movement in this direction, both in terms of rhythm as well as other musical elements. Here, a foundation is set with materials from the pop world: verse-chorus form, 4/4 time signatures, fuzzy synth basses, rock grooves and EDM breaks. These materials are then manipulated in electroacoustic-art-music ways: timbres are transformed, grains are made and re-ordered, meters are changed, and earlier materials are restated in discontinuous sequences. The result is less a fusion and more a congeries where non-ironic choruses and dizzying jump-cuts cohabitate. These combinations are not motivated by a desire to influence the language of art music for its own sake, rather, they are expressions of cultural heterogeneity that is not compartmentalized.

• and drift

• minim

• LOAM

• No Entry After Dark

• Green Shake

  A composition used Electronic music, Visual element and Interactive between performers and audience.
  
  Interactive of visual, aural and body movements is the idea of this one. Performers are audiences (to watch), audiences are conductors (perform), two groups are interacting based on a dialogue of visual and aural, answer each other by sounds (movements).