Adrian Moore - The Battle - 15’20” 5.1
Dedicated to my mother and her fighting spirit.
This work began very traditionally, developing stereophonic materials towards something abstract in early January 2013. The Battle is clearly a programmatic title. The abstract work is in two large sections filled with pulsed activity, accelerating gestures, granular textures, swift cut-aways, natural and forced spatialisation in 5.1 often with heavy reverberation. The Battle conjures a number of battle 'scenes', often cloaked in darkness and mist (a well used acousmatic analogy). It comprises a number of clearly marked attacks, reinforced by skirmishes and feints, large-scale phalanx movements and close-quarter hand-to-hand combat. As we become more 'involved' in the action, so we feel increasingly drained by the uncertainty and battered by the inevitability of the battle.
Adrian Moore is a composer of electroacoustic music. He mainly composes music for fixed formats (CD, DVD), music intended for ‘sound diffusion’ over multiple loudspeaker systems. He also writes for instruments, often with a live processing element using PureData and custom built software. He directs the University of Sheffield Sound Studios (USSS) where researchers and composers collaborate on new musical projects.
Alistair MacDonald - Scintilla - 9’00” 2ch
Scintilla - a spark, a glimmer, a particle of fire, a glittering speck. Scintilla recalls the hand made, flame-worked, glass instruments created by Carrie Fertig for her Torcher Chamber Arkestra, and is a further development of Glimmer for glass percussion and electroacoustic sounds.
Alistair MacDonald is a composer and performer of electroacoustic music. His work draws on a wide range of influences reflecting a keen interest in improvisation, transformation of sound, and space. Many of his works are made in collaboration with other artists from a range of media, and explore a range of contexts beyond the concert hall, often using interactive technology.
Andrew Reeman - Building Layers - 16’28” 2ch
Building Layers explores time, pulse and rhythm. This piece was realized in the composer's home studio in Sheffield, England in 2013.
Andrew Reeman was born in Blackpool in 1988. He gained a BSc in Music Technology at Leeds Metropolitan University followed by an MA in Sonic Art at Sheffield University. He is greatly interested in using abstract material to create interesting structural forms and developing real-time systems that create relationships between sound objects. He is also interested in the development of various software to aid creativity, composition and learning.
Mohamed Amin Hammami - Analogue Agony A1010 - 7’50” 2ch
Remembering and forgetting.... Analogue systems (TV, radio...) are one by one disappearing... Digital systems are replacing them... Listen to the departure of the analogue in pain.... Listen... and imagine... remember the agony of analogue... but analog systems reincarnate into digital. Remembering and forgetting their death... they appear again... for our pleasure. This piece is a mix between sound field recording, sound design and acousmatic music.
Mohamed Amin Hammami is a musician, musicologist, cultural scientist in music & new technologies, sonic and sound designer, and engineer in electronics from Tunis (Tunisia). His specialty is "Computer and Signal Processing Applied to Music." He uses natural and biological sounds in his electroacoustic work and soundscape projects.
Giorgio Klauer - HAAR - 13’34” 4ch
Decomposing sound into particles, sensitivity and masking effects in auditory perception, friction in bowed instruments are the themes getting intertwined in this composition and signed in the title: HAAR, like Pferdehaar, Haarzelle, Alfréd Haar. The sound actuation model, as a matter of fact, is the bowed instrument's, yet it was implemented through 50-70 cm long, black, thick human hairs gently rubbed against a moving magnet phono cartridge cantilever. The sonic characterization was afterwards dramatically emphasized by means of a granular composition environment programmed in sclang. In this implementation, envelope, pitch, spatialization and indexing controls were imposed by perceptual feature descriptors extracted by the very same sounds, with the result of an anamorphic and multidimensional editing process. The work was developed at the composer's studio and created at the Living Lab Concert 31.05.2013 in Padua by the SaMPL - Sound and Music Computing Lab group.
Giorgio Klauer (1976) was educated in composition, electronic music, choir direction and flute at the Trieste Conservatory of Music and in musicology at the University of Pavia. Already professor of Electroacoustic music practice at the Conservatory of Como (2006-2012), he currently teaches Music informatics and Electroacoustic music composition at the Conservatory of Padua. His works have been performed and presented at several festivals - Electric Rainbow Coalition (Dartmouth College 2001), Trois Visages de la musique électroacoustique (Brussels 2003), La Costruzione del Suono (Mestre 2004), Images Sonores (Liège 2004), musicaXimmagine (Firenze 2005), Radio Bremen (2006), Emufest (Rome 2010), Konzerte ÖGZM (Wien 2011), Eterotopie (Mantua 2011), l'Arsenale Nuova Musica (Treviso 2012), conferences - La Terra Fertile (L'Aquila 2000), International Computer Music Conference (Goteborg 2002, Barcelona 2005, Ljubljana 2012), New Interfaces for Musical Expression (Genua 2008), Arte Scienza (Rome 2004), and competitions - European Conference of Promoters of New Music (Hamburg 2011).
John D’Arcy - Hi - 30’00” 2ch
Hi is a radiophonic work that explores the linguistics and phonologies of people living in Derry-Londonderry and its surrounding area. Drawing on aspects of radio documentary, sound poetry and electroacoustic music, Hi uses a mixture of narrative and musical devices that extrapolate the intricacies of accents and dialects in the North West of Northern Ireland. Hi is composed of voice recordings from interviews and conversations with locals. They address issues that relate to Derry City’s past, present and future. A trail of history has divided communities across Northern Ireland, the duality of Derry/Londonderry’s identity acting as symbol for lingering territorial behaviour in Ulster. While architectural redevelopments resonate with a growing cross-community empathy, the heritage of division is not easily wiped clean. How are locals initiating changes in the city? How are they reacting to changes imposed by others? How is the city dealing with its role as UK’s City of Culture in 2013? From these questions and more a dialogue emerges. Beyond the textual narrative lies intonation that tells a further story of the people beyond lingual semantics. A poetry of found sound, both documentary and musical.
John D’Arcy is a composer and artist, working predominantly with text and spoken word in a range of performance settings. Currently completing a PhD at the Sonic Arts Research Centre, Belfast, D’Arcy is producing intermedia artworks that explore the relationship between text, sound and places.
Juan Carlos Vasquez - Collage No 3 - 9’18” 2ch
Collage No 3 is part of a series of experiments conducted to prove the digital capabilities of tone expansion in a single acoustic instrument. In these particular piece, the composer recorded an original performance of Eugène Ysaÿe's Sonata No. 3 for solo violin, and reinvented the recording by de‐constructing the piece as a collage, using different and complex kinds of digital audio processes to create a entirely different work, expanding the usual violin timber into deep and rich atmospheres that uses the entire range of frequencies. No other samples than the mentioned were used in the making of this recording. As many of the mentioned processes used aleatory parameters, each time the track is exported creates a different result. The present recordings were selected by the composer himself after listening to near one hundred versions of the piece.
Juan Carlos Vasquez, awarded London‐based sound artist and composer from Colombia with a keen interest for electroacoustic composition and interactive installations. He has toured as a composer and performer in the United Kingdom, United States, Italy, Ireland, Colombia, Ecuador, Peru, Bolivia, Argentina and Chile.
Nils Potet - Reflets - 10’04” 8ch
Reflets is a piece composed for a virtual instrument in quarter-tones created from the sound of a wine glass. The piece was written after two other works using a piano tuned in eight-tones. In Reflets, the virtual instrument acts as a soloist, and develops a rhythm and melodic line in the specific harmonies of the quarter-tone system. The virtual instrument line is accompanied by a sort of mysterious and strange sound landscape in which it evolves and with whom it interacts. The piece was first created at Seoul International Computer Music Festival (South Korea) in October 2012.
Born in Grenoble (France), Nils Potet studied classical music then turned to electroacoustic composition. After he discovered microtonal music by listening to the works of composers like Yvan Wyschnegradsky, Julián Carrillo or Franck christoph Yeznikian, he decided to explore in particular the synergies that can exist between electroacoustics and micro-intervals. Nils Potet share his time between his work for the publisher Symétrie (Lyon, France) and his composition activities for which he works regularly with the GMVL (Lyon, France). His music has been broadcast in different occasions such as Seoul International Computer Music Festival (South Korea), New York City Electroacoustic Music Festival (U.S.A), GMVL, Salford Sonic Fusion Festival (Manchester) or in radio programs such as Électrain de Nuit on France Musique, Dissonances on Radio Aligre FM 93.1, Radioateliér on Czech Radio (Prague), on Radio CUCEI (Guadalajara, Mexico), on Radio Eterogenia (Cordoba, Argentine) and Radio Panik (Bruxelles).
Philip d’Alton - A Different Kind of Island - 15’00” 2ch
A Different Kind of Island is a historical and cultural journey through the life of Valentia Island, Co. Kerry. The composition utilises sounds recorded on the Island during the summer of 2012. The historical context is not supposed to be comprehensive or all encompassing but merely creates a basis for the compositional framework. The use of symbolism and metaphor within the piece is designed to bring the listener into an autocentric mode of listening, evoking an emotional response to the landscape.
Philip d'Alton is currently a PhD research student at the School of Creative Arts in Queens University, Belfast. He is researching Electroacoustic/Soundscape compositional techniques relating to documenting the historical and cultural impact of important places Landmarks in Ireland. The ideas of imagined past, metaphor and literal historical journeys are explored via the means of Electroacoustic composition and endeavour to create a relationship between these places and the listener.
Andrew Harrison - Rivers - 9’00” 2ch
Composing Rivers started as a way of recycling my own past as a composer and quickly became an exercise in nostalgia. In the course of assembling previous pieces I have accumulated a large number of audio recordings, and most of that material has gone unused. In Rivers I aimed to revisit and reuse some of those recordings; an ethereally bowed vibraphone, chance conversations caught in lifts, interviewing a friend, the chatter of various public spaces in Belfast and delicate piano motifs amongst others. Each is an orphan left behind when a creative process went in a different direction, but the recordings are indelible reminders of those moments that remain unchanged after being forgotten and later revisited. A river has many diverse tributaries that eventually flow into one source; an apt metaphor for a piece that has grown out of recordings of different places, people and instruments made over several years.
Andrew Harrison is a composer of electroacoustic music based in Belfast, Northern Ireland. His works often embed locally recorded soundscapes amongst a shifting milieu of ethereal drones, fragments of melody and noise.
Simon Belshaw - Music Machine 29 - 6’00” 2ch
Music Machine 29 is computer generated, it consists of two parts and works in the following way. The first part plays a C major scale (both ascending and descending) and arpeggio. The second part remembers each note that the first part plays and stores them in a list. It will then choose a note from that list to play back simultaneously with the first part. Occasionally the programme will delete (forget) some notes from the list and then start remembering again. There is also the chance that notes will be sustained allowing chords to build up.
Simon Belshaw has studied composition with Gavin Bryars and Andy Hugill. He completed his PhD, Generative Systems and Disruptive Processes in Musical Composition, at the University of Hertfordshire with Gavin Bryars in 2005. He has had pieces performed by Exeter Contemporary Sounds, the Schidlof Quartet, PM ensemble, Gemini, Double Image and 3 Orm (amongst others).
Adam Stansbie - Point of Departure - 22’04” 2ch
The formal character of Point of Departure was largely predetermined, being based upon a single (sonic) shape that has simple geometric features, such as points, lines, planes, curves, and so on. The shape emerges gradually – at the start of the piece disparate micro-sounds slowly gather, eventually fusing to establish a unified spectral mass. Later on, the apparent dimensions of the mass start to fluctuate; defined pitch-centres emerge and spatial boundaries are articulated by shifting spectral contours. Ultimately, I wanted to transcend these boundaries and I spend a considerable time searching for an appropriate point of departure...
Point of Departure was composed in Studio Circé at the Institut International de Musique Electroacoustic de Bourges (IMEB), France.
Adam Stansbie is known for his electroacoustic/acousmatic compositions, which have been widely performed (throughout Europe, Asia, North and South America and Australasia), published (Elektramusic, Musique et Recherche, Taukey and Sargasso) and prized (IMEB, Musiques et Recherches, Destellos Foundation). Adam has written extensively on the performance of acousmatic music and is currently lecturing at The University of Sheffield where he is the director of the MA in Sonic Arts and the MA in Composition. Website: www.adamstansbie.com
Pablo Sanz - Limnee - 9’55” 4ch
"Extraite des limbes des flaques, des mares et des étangs, se déploie une biodiversité fantasmagorique. Baissez-vous, un peu plus bas, un peu plus près de la surface, et buvez le bouillon par les oreilles."
Commissioned by Silence Radio, Belgium for their edition 'Hiver 2012: In the end'. The piece is based on hydrophone and above water recordings made in ponds and subaquatic environments at various locations in Spain and Slovakia between 2007 and 2012.
Pablo Sanz - Precipitations - 10’42” 4ch
The piece is based on field recordings made at multiple locations in Spain and The Netherlands between 2008 and 2012. Composed in The Hague in the Summer 2012.
Pablo Sanz (Madrid, 1981). Pablo’s activities are engaged with the act of listening and the exploration of aesthetic and spatial aspects of sonic perception through phonography, site-specific projects, installations, live performances and compositions. His work has been presented internationally, being awarded in the ‘5th On-Air Radiophonic Art Prize’ (2009, Círculo de Bellas Artes, Spain) and the competition ‘Europa – Ein Klangpanorama’ (2011, Goethe Institute, Deutschlandradio Kultur, ZKM-Karlsruhe). Currently he is a PhD candidate at SARC (Queen´s Univ. Belfast) where he is developing a portfolio of spatially-engaged acousmatic and site-specific electroacoustic works. http://www.pablosanz.info