Browse Items (868 total)

• along the eaves

  “along the eaves” is part of a series that focuses on my interest in translational procedures and machine listening. It takes its name from the following line in Franz Kafka’s “A Crossbreed [A Sport]” (1931, trans. 1933): “On the moonlight nights its favorite promenade is along the eaves.” To compose the work, I developed custom software written in the programming languages of C and SuperCollider. I used these programs in different ways to process and sequence my source materials, which, in this case, included audio recordings of water, babies, and string instruments. Like other works in the series, I am interested in fabricating sonic regions of coincidence, where my coordinated mix of carefully selected sounds suggests relationships between the sounds and the illusions they foster.

• Test Pattern

• On Occasion: an algorithm

  Using samples recorded in the University of Iowa’s anechoic chamber and constructed in Max, the title references the algorithmic nature of the coded probabilities.

• HarpMusic: an algorithm

• PianoMusic: an algorithm

• Singular: an algorithm

  Following the loss of a loved one, this piece attempts to capture that je ne sais quoi of someone dear. In a sea of similar pitch collections, a single chord answers.

• For Daniel Frantz: an algorithm

  Samples recorded by Daniel Frantz and Will Huff in the University of Iowa’s anechoic chamber by percussionist Andy Thierauf (theremin.music.uiowa.edu/MIS). The piece is algorithmically generated in Max and can last for any duration desired.

• Tintinnabuli: an algorithm

  This Max/MSP patch has been designed to commemorate Arvo Pärt on his 80th birthday. The “tintinnabuli” style that Pärt has become known for has had a lasting impression on me as a composer, especially in “rule-based” or algorithmic composition.

• Zelik

  On a Yiddish folk song. The fixed media for this piece was created by progressive equalization of triadic accordion samples, in addition to fully-composed klezmer fiddle and organ excerpts.

• a sense of who

  Recorded by the Bang on a Can festival at MassMoCa on July 27, 2015. Instrumentation is for fixed media, clarinet, electric guitar, cello, bass, piano, and drums. The fixed media track features Evan Chambers, folk singer.
  
  (c) Annika K. Socolofsky 2015. ASCAP. All rights reserved.
  
  About the piece:
  
  “I find that people who come from small places have a very
  strong sense of who they are.” – Nic Gareiss
  
  I have never come from a small place. I’ve spent my life jumping around from Edinburgh, to Chicago, to Pittsburgh—city after city after city. But in 2012, for the first time in my life, I moved to a smaller place. In Ann Arbor, Michigan my fiddle and I were swallowed, heads-first, into the traditional Irish music scene. Showing up to familiar faces and tunes and conversation at Conor O’Neill’s on Main St. every Sunday night provided a sense of community I’d never before experienced.
  
  Over the last few years, there’s been this microscopic point inside of me that has started to grow. That point is that sense of belonging, that sense of friendship, that sense of love, that sense of community, that sense of grounding, that inkling of a sense of who… It’s been growing. And that is everything.