Browse Items (868 total)

• Erin

  Chords voiced as beating sine tones.
  
  Erin (2014) is constructed from five chords. Their harmonic vocabulary borrows heavily from jazz, but their sequencing is non-functional. The progression as originally conceived is heard in its unaltered form voiced by electric guitar near the end of the piece; this small fragment was composed in response to the tragic death of a friend, an accomplish jazz vocalist. The rest of the work is that fragment re-imagined by beating sine tones, spectrally compressed and temporally stretched. The electric guitar, electronically processed, appears throughout, demarcating structural boundaries.

• Envelop (Premiere Performance- October 11, 2018)

• Envelop (December 2018)

• Envelop

  Interactive multichannel work that uses D4 spatialization library and the Sensel Morph controller.

• embed (live)

  embed (live) is a recorded improvisation for electric guitar and interactive electronics. When faced with a new electric guitar sound, some audience listeners might brush it off as just another effect. However, it is the effect itself that is the focus of their attention, which, in turn, minimizes the electric guitar and its role as a sound producer. Thus, in a sense, the effect supersedes its source. One way to get listeners to distinguish the instrument from that which is being processed is to invite them to confront the discrepancies between live and recorded sound. While recorded sound is a fixed representation or history of some sonic event, live sound is (sometimes) heard for the first and only time. In embed (live) the electric guitar acts as both an instrument that produces sound and a controller of another. While one sound is a live product of electromagnetism, the other, although composed in real-time, is a fabrication of fixed recordings contingent on the electric guitar input.

• EMANATIONS

  NoiseFold (Cory Metcalf & David Stout) perform EMANATIONS with cellist, Frances Marie Uitti at the CURRENTS International New Media Festival. This clip excerpts 4 movements from a longer work presented at El Museo Cultural in Santa Fe, NM in the summer of 2012.
  
  Vimeo
  SEAMUS Database

• EMANATIONS

• EleKtrIoN (music of diamond)

  EleKtrIoN I (music of diamond) is a composition based on the sonification, remix and artistic reinterpretation of diamond property data obtained by very sophisticated scientific computer simulations translated into music using a computer-aided data-driven composition environment developed by the composer in the materialssoundmusic project.

• El Perdido

  Art song for voice and electronics in Spanish
  As there are not many pieces for solo voice and electronic media, I wanted to take the opportunity to work toward making a contribution in this medium. “El Perdido” is my title for the setting of Alejo Valdés Pica’s poem, “El Amor de los Amores,” which is about a rejected lover so traumatized by a failed romance that his entire vision of reality has become lost to him: his world is falling apart around him. Everything has become an eternal wasteland to him with only a faint reminiscence to momentarily alleviate the pains that lie within. The sandstorm that envelopes him at the end of the song is therefore appropriate; it reflects the inner turmoil that has lead him to yearn to be free of his life, a yearning that becomes as infinite as all the grains of sand lost in the desert. Pica’s work is representative of the late Nineteenth and early Twentieth century Filipino poets who incorporated contemporary Symbolist imagery in an overwrought style of Spanish writing.

• 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.