Browse Items (868 total)

• Stereopticon

  Bregman Electronic Music Studio. Composed using the Synthi 100 synthesizer on loan from EMS London. Awarded a prize by the Groupe de Musique Experimentale de Bourges.

• Star Map

  Star Map (2014) is an electroacoustic piece for flute and quadraphonic playback that is inspired by the Forsyth Petroglyph, a rock with carvings that was first discovered in Forsyth County, Georgia in the early 1800s. The carvings consist of circles and other designs that are thought to be astronomical in nature, representing the constellations Draco, Scorpio, and a fragmenting comet. A comet event occurred around 3300 BC, and the carvings may represent this event due to the presence of other symbols that could be interpreted as the Cosmic Crocodile from Mayan mythology, which was decapitated, leading to a massive flood. The comet impact of 3300 BC caused tsunamis that destroyed coastal civilizations of the time.

  The piece is in three sections: the first features the constellations Scorpio, Draco and Sagittarius, and more specifically, the red giant star Antares in the Scorpio constellation (evoked by the drones and flute centered around the pitches B and C) and x-ray flares sent out by the constellation Sagittarius. The second section illustrates the comet breaking into fragments, and the manipulated recorded flute signifies our perspective of time. The third section returns to the environment of constellations from the first section.

• Star Chant

  Premiere: Electronic Music Marathon, Center for the Visual Arts (Boulder, CO), November 8, 1986. Work is an arrangement of the third movement of the composer’s Series Two (1976), for solo Bb clarinet.

• Stairway Fragments

  Flute, Clarinet, Violin, Cello, Piano, Fixed Media

• Spuyten Duyvil

  Columbia-Princeton Electronic Music Center.

• Spring Tides

  Spring Tides, scored for amplified Pierrot Ensemble (fl, cl, vln, vc, pno) was called '...a rich and evocation of the power of nature..." by the New York Times
  
  Spring Tides, scored for amplified Pierrot Ensemble (fl, cl, vln, vc, pno) and interactive electronics, was inspired by the pull of the moon and sun on the flow of the tides, highest when the moon and sun are directly lined up with the earth. The very highest, or spring tides, occur when the moon is either full or new, and the gravitational pull of moon and the sun are combined. In Spring Tides this process animates the pull between acoustic and electronic sound, between controlled improvisation and exactly specified elements, between slow and surging motion, and between shifting fields of timbre and pitch. Spring Tides was commissioned by and is dedicated to Da Capo Chamber Players.

• Spontaneous Combustion

  Spontaneous Combustion (1991), was commissioned by and is dedicated
  to saxophonist Timothy Timmons, and is the ninth in a series of
  works that combine soloists with a computer-generated
  accompaniment that is comprised solely of sounds from the solo
  instrument. The effect is rather like a concerto for performer and
  him/her self, exhibiting all the dramatic relationships of any
  concerto, such as solo and “tutti” passages, changing relationships between the participants (leader, follower, antagonist, partner), etc.
  The saxophone sounds were recorded, edited, and stored on a 386 machine, manipulated and mixed using Csound software, and
  converted using Micro Technology Unlimited’s DS16 ADA
  converter.

  The title describes the volatile, unpredictable, and highly charged
  character of much of the piece, which is built on horizontal and
  vertical layerings of small ideas that interact and interlock to form
  a whole which is, I hope, greater than the sum of its parts.

• Spinning Zone

• Space-time Julienne

  As Einstein showed us, time and space are intimately linked. Space-time Julienne seeks to draw upon this concept by presenting a phenomenological experience that tugs at our understanding of this relativistic drama. In more musical terms, this is music that attempts to use space as a contrapuntal axis – a source of tension, development, and drama.

  An incredibly condensed history of painting would tell the story of perspective: how a two-dimensional surface can give the impression of the third. (Modern painters have abstracted and subsumed this concept in the best possible ways.) Over the past hundred years or so, the history of sculpture shows a similar yearning. From Calder’s mobiles, to Smithson’s earthworks, to the kinetic sculptors of the present, sculptors have broken down the three-dimensional constraints of their medium by adding the fourth dimension – the temporal. Can music, which has always existed in this four walled arena, achieve a similar goal?

  What these advancements offer to these other mediums is a reflexive perspective. The perspective that asks, “What is a urinal?” A perspective that allows the medium to abstract upon its potentials, so perhaps you can see it for what it really is. In this way, I want to write music that looks at music. Music that uses time to explore what it is inside of space. A ball of energy that extrudes itself from time.

• Sound of the Baskervilles

  A fixed media sound collage, whose title was granted permission by Milton Babbitt.