Browse Items (868 total)

• White/Waves

• White Turbulence

  When I first started thinking about this piece, I thought it might be interesting to have water as a unifying theme. I recorded many sounds involving water with microphones and hydrophones and processed them using phase vocoding, convolving, and extreme equalization. As I started putting the piece together, I thought it might be playful to incorporate some obvious quadraphonic effects (the convolved airplane at the beginning) in addition to the more subtle spatialization techniques I used such as continuously varying phase relationships. Other sounds include waves lapping against the shore, an old toilet tank slowly filling with water, a brass ball spinning very fast in a stainless steel bowl with a small amount of water, etc. There is a mix of recognizable (although processed) sounds and sounds processed beyond recognition. While working on this piece I recalled the difficulty of layering complex sounds which were spatially oriented with other complex sounds of another spatial orientation. The space tends to become confused or to simply collapse when layering the sounds. This piece is therefore reminiscent of many of my early quadraphonic pieces (1973-1985) which are more episodic rather than thickly layered.

• White Canvas

  I woke up one morning after a performance in Connecticut, and I realized that everything I had recently composed was following a similar pattern and, to some degree, was actually just the same piece slightly reimagined. White Canvas was a compositional exercise in which I challenged identify each of these characteristics, and then intentionally do the opposite.

• Where Water Meets Memory

• what i am not

• Weav-Weav-Weaving for harp and interactive electronics

  Three movement work for harp, electronics, and motion sensor inspired by the poetry of Edna St. Vincent Millay

• Warmth for Fixed Media and Video

  Justly-tuned guitar harmonic samples composed with rhythmic ratios and pleasant squares.

• walkside, lost

  walkside, lost
  by Jason Thorpe Buchanan
  Text by Darcie Dennigan

  Commissioned by Gaudeamus Muziekweek for Slagwerk Den Haag.
  World Premiere: Utrecht, Netherlands – September 13, 2015

• Vox Metallica

  VOX METALLICA (2006), for fixed 2-channel digital media, uses a collection of recordings of non-singing sounds from several different voices, plus recordings of guitars, bass guitar, drum set, and organ as sound sources. Context being a critical part of our memory and pattern-recognition processes, Vox Metallica plays with familiar and non-familiar juxtapositions of elements from “classical” electro-acoustic and popular music. After all, it’s both a short walk, and a very long walk, from uptown to downtown…

• Vous l'Inaccessible

  Vous l’Inaccessible is for soprano and electronics, and was inspired by the Guillaume de Machaut virelai “Douce Dame Jolie.” Machaut’s melody and text are presented in a variety of forms, as a chant, spoken word, and a direct quotation of the melody. As the piece unfolds, the voice becomes more free and independent of the original melody, creating a process of development followed by deconstruction and finally reconstruction into completely new material free from the original melody. The final spoken text is a modern text, related to the theme of unattainable love (like the Machaut text), but presented in modern French as opposed to Medieval French text of “Douce Dame Jolie.”