Browse Items (868 total)

• Harmonibots

  A sonic and kinetic installation of harmonica-playing inflatable sculptures

• Hallelujah

• Hajiki (Pluck)

  Fixed media piece using recordings of a Japanese shamisen. Best diffused over a multi-channel playback system.

• Gujari Todi

  Bregman Electronic Music Studio.

• 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).

• Greed

  Greed models itself on processes of accumulation.

• Graveyard Shift

  Graveyard Shift is a piece inspired by the events that I experienced while working overnight at a retail store. I filmed the videos over the course of two days and then spent one week editing the video and one week writing the music. All videos were shot in Lincoln, Nebraska and in an abandoned pioneer-cemetery in western Iowa called Slates Cemetery (est. 1878). Layers of film and sound are combined in various ways to complement one another or cancel one another out.

• Going With the Fire

  Written for and recorded by flutist Mary Posses.
  
  Composer contact: mobberleyj@umkc.edu
  
  Website (scores, recordings and info): http://jamesmobberleymusic.com
  

• Glassy Metals

  A continuation of my fascination with the sounds of metal objects, Glassy Metals explores the sounds of tungsten filaments in burned out incandescent light bulbs, magnetic (iron oxide) tape rushing across a head stack, small ball bearings, ball chains of various sizes, sheet metal, tiny gear motors, bikes, BART (which permeates the sonic landscape of the San Francisco Bay Area), freight trains, and other metal objects.

  Some sounds are used in their raw state; others, such as the BART train, which now sounds like the wind, are transformed beyond recognition. Selecting only small portions of the spectrums of several sources and layering them results in new constructs with constantly fluctuating details. The ending exaggerates these perturbations, as sources emerge from the texture and fold back in as if they are fluttering insects hovering close by briefly, then flitting away, only to return later. Although several sources are cyclic, none are precisely so, nor are they synchronous with other sources combined in the layers, so apparent synchronous relationships occur only briefly, then drift apart. Glassy Metals takes its title from non-crystalline (amorphous) metallic materials.

• gimme shelter

  gimme shelter
  by Jason Thorpe Buchanan
  Text by Darcie Dennigan
  

  Commissioned by Eklekto Percussion, Geneva, Switzerland
  World Premiere: Geneva, Switzerland – November 14, 2015
  

  gimme shelter is the second in a cycle of compositions for three percussionists, electronics, and live video processing on texts by American poet Darcie Dennigan written specifically for these works, and was commissioned by Eklekto Percussion Geneva. The piece revolves around the obfuscation and recontextualization of semantic content in speech, and the way in which confusion and ambiguity distort a participant’s perception. The live processing generates a reservoir of data that can be drawn from, manipulated, and re-composited against itself through parameters that control its behavior, resulting in visual, aural, and temporal dissonances between multimedia and human performance. Poet Darcie Dennigan writes: It was Halloween when the New York Times showcased their story of a German town and its 102 inhabitants “bracing” for their mandated embrace of 750 asylum seekers. Catastrophe visits the world’s inhabitants unevenly, disproportionately, and then its victims, costumed in their catastrophe, must visit us. gimme shelter evokes three starkly contrasting sociopolitical viewpoints in a text written concurrent with the mass exodus of citizens of poor, war-ravaged, and environmentally unstable countries seeking home elsewhere. No single perspective or line is more important here than the other. Rather, consider the accretion of speech in overlapping entreaties alongside the stagnant drone of statistics and rhetoric. We are not free to listen to one side, to make one account readable, livable– hospitable.