| << |
to add to your cart, click the price (price always includes handling + shipping)
1. Kevin Austin: Static Gestures II (Formant Pulses) (1987) 10m00s pep_001-1.1 | 17081 |Composer: Kevin Austin This oxymoronicaly titled algorithmic piece was created in the studio of the University of Saskatchewan in Saskatoon in the fall of 1987 with an old EMS Synthi 100. When played over a multi-speaker system, the basic complexity of the spectrum of the signal creates the illusion of movement, and the sound splitting apart. 2. David Berezan: Zirkus Zirkus (1996) 3m01s pep_001-1.2 | 17082 |Composer: David Berezan The wonder and ‘other worldliness’ of the travelling circus and carnival as seen through a child’s eyes. That is essentially what I wanted to capture in this textural composition, and the music presents a playful examination of the awe, fear, and ever changing experience of childhood sensations and awareness. 3. Steve Bradley: Tape Measure (1996) 5m27s pep_001-1.3 | 17083 |Composer: Steve Bradley Tape Measure was created using a quarter-inch metal tape measure that I altered by soldering a small sewing needle to the tip. Then I pulled the steel quarter inch tape out approximately 15 inches and positioned the end with the needle onto an LP record which was placed on a record player. I played an old classical music LP Rigoletto-Questa o quella, which is barely audible or distinguishable. 4. Rémy Carré: La Trace du Souffle (1989-96) 9m26s pep_001-1.4 | 17084 |Composer: Rémy Carré From the Bull of Lascaux’s Caves to Joseph Beuys’ Coyote, the breath of the animal remains the sign of life, the sign of a vital force which also brings us to life. La trace du Souffle is a composition where the grain of the digital "sound machine" bears the energy of the breath. Whatever the tool or the instrument that is shaping the sound material, we will always keep in mind this animal presence. Commissioned by GMVL in 1989, adapted for publication in 1996. 5. Martín Alejandro Fumarola: El peregrinar de la araña (1995) 4m10s pep_001-1.5 | 17085 |Composer: Martín Alejandro Fumarola El peregrinar de la araña means the traveling of the spider. The conception of the piece is based on a typical navigation through the World Wide Web of the Internet. The composition was produced at the Laboratorio de Música Electroacústica of the National University of Cõrdoba (Argentina) in 1995. 6. Martin Gotfrit: Magic is Chance (1995) 4m12s pep_001-1.6 | 17086 |Composer: Martin Gotfrit This is the second in a series of three pieces which explore music from the perspective of the machine. In thinking about the meaning of magic in my own life, I imagine that for the machine it is only chance elements (random numbers, component failures) which may conjure up the miraculous. 7. James Harley: Voyage (1985-86) 14m45s pep_001-1.7 | 17087 |stereophonic version Composer: James Harley Voyage was created on the UPIC computer music system at CEMAMu in Paris, with the mixing onto 4-track tape carried out at the Experimental Studio of Polish Radio in Warsaw (Ewa Guziolek — sound engineer). The piece takes inspiration from a fragment of Savitri by Sri Aurobindo: "A maenad of the cycles of desire / Around a Light she must not dare to touch…" Voyage was premiered at the International Computer Music Festival in Gothenberg, Sweden, and received honorary mentions at Bourges and Ars Electronica in 1987. 8. Bentley Jarvis: Where was I…? (1995) 10m30s pep_001-1.8 | 17088 |Composer: Bentley Jarvis Where was I…? is a work about interrupted trains of thought, imperfect memories, and deja-vu. 9. Jan Jarvlepp: Buoyancy (1977) 14m12s pep_001-1.9 | 17089 |Composer: Jan Jarvlepp Buoyancy was composed at the McGill University EMS using acoustic cello sounds exclusively. These were modified by speed changes, tape echo, layering, pitch to voltage conversion, ring modulation and filtering. White noise was produced by recording the highly amplified sound of the bow moving lightly on a string. 1. Monique Jean: IF (1995) 2m06s pep_001-2.1 | 17091 |Composer: Monique Jean Based on a found object-phrase, IF articulates in its form the paradoxical alloy of the spontaneity of the gesture — the voice — of the urban tag and time deceleration in contact with engraved writings behind closed doors. 2. Frédéric Kahn: Tous Azimuts (1996) 2m52s pep_001-2.2 | 17097 |Composer: Frédéric Kahn Tous Azimuts is a contemplative piece, sound atmospheres follow one another, guided by the voices. A tribute to children, to their spontaneity, their freedom in play, the piece keeps in memory the concern for expressing certain psychological states which hide, beyond, as a presence. 3. Christopher K Koenigsberg: Squeaky Chair (1993) 11m25s pep_001-2.3 | 17098 |Composer: Christopher K Koenigsberg Soundtrack to Megan Nicely’s dance video, Michael and Jim Don’t Live Here Anymore. Actual performances on a magnificently squeaky chair. A bit of breathing and Yun Wang’s poetry in the background, at one point. I humbly acknowledge the influence of Pierre Henry’s classic Variations pour une Porte et un Soupir. 4. David Lindsay: Cetacean Progress (1996) 3m09s pep_001-2.4 | 17099 |Composer: David Lindsay Cetacean Progress is an excerpt from a live performance using a pitch-to-MIDI system for electric guitar, sound processing and two Yamaha FB-01 FM sound generators. This piece illustrates my interest in marrying the intensity and liquidity of processed electric guitar sounds with synthesized and sampled sounds in order to capture an electroacoustic wail. ;-) 5. Andra McCartney: Swimming the Reef (For Patrick) (1990-96) 5m43s pep_001-2.5 | 17100 |Composer: Andra McCartney Beneath the waves, I heard my breathing, heartbeat, pounding surf. The beautiful fish and coral were beyond my ears. This piece transforms their spoken names -tomtate, angelfish, barracuda, fan, brain- to mimic their movements, forms, and colors. Surf recorded at Palmiste, Grenada; All Soul’s Day, 1990. 6. Diana McIntosh: Processions (excerpt) (1993) 5m37s pep_001-2.6 | 17101 |Composer: Diana McIntosh This excerpt from Processions, by Diana McIntosh, for piano and two digital delays, is part of Murkings, a dramatic multimedia piece for text, piano, electronics and visuals. It concerns our relationship with the environment, particularly the on-going pollution of the Great Lakes. This performance is by the composer. 7. Scott Robert Morgan: parade (1996) 3m27s pep_001-2.7 | 17102 |Composer: Scott Robert Morgan parade is a piece composed of found memories. It is inspired by two main sources: an 8mm film of a parade from my Grandmother’s attic, and some recent recordings of my Grandfather made during a visit to his now non-existing hometown of Blakeburn, BC. For me, the piece explores the often blurred manner in which memories may be collected and handed down from generation to generation. 8. Jamie Philp: Lizard in the Garden (1988) 3m33s pep_001-2.8 | 17103 |Composer: Jamie Philp This is a section of a complete dance score from 1988. The sad thing is that after much work the dance was never performed due to injury. This was commissioned by Memi von Gaza. Flugel horn and French horn, Michael Fijal; Didgeridoo, Nik and Daryl Kozub; Xaaphoon and loops, Jamie Philp. 9. Jean Routhier: Face à claques (1995) 8m11s pep_001-2.9 | 17104 |Composer: Jean Routhier A merry-go-round of curious short stories are peeked at, not exposed. Ambiance are intertwined and scattered for you to dispose properly in your ear canals. 10. Claude Schryer: Vancouver Soundscape Revisited (1996) 3m44s pep_001-2.10 | 14363 |Eagle; Fire; DroneSong; Industry; Horns; Beans; Blowin’ Composer: Claude Schryer Premiere: June 7, 1996 (Vancouver, British Columbia, Canada) To Hildi VSR is an electroacoustic portrait of the musicality and poetry of the soundscapes of Vancouver using combinations, comparisons and transformations of archival soundscapes at Simon Fraser University (SFU). Thanks to the Canada Council, the Conseil des arts et des lettres du Québec, Hildegard Westerkamp, the Goethe-Institut (Vancouver) and Barry Truax (SFU). [ix-97] Vancouver Soundscape Revisited was composed at the Sonic Research Studio of Simon Fraser University (SFU) (Vancouver, BC) in May, 1996 as part of Soundscape Vancouver 96 and was premiered in its 8-track version on June 7th, 1996 in Vancouver as part of the Vancouver New Music Festival. The production of Vancouver Soundscape Revisited was supported by a Media Arts Audio Production grant from the Canada Council and a travel grant from the Conseil des arts et des lettres du Québec (CALQ). I thank all of the participants in this composition, many who have been recorded without their knowledge. In particular I thank Bob MacNevin and Barry Truax for use of the Simon Fraser University (SFU) recordings and my Soundscape Vancouver 96 colleagues: Darren Copeland (Toronto), Hans Ulrich Werner (Köln) and Sabine Breitsameter (Berlin) for their support and encouragement. A special thanks to Hildegard Westerkamp, to whom this piece is dedicated. Hildi was the heart and soul of Soundscape Vancouver 96 and helped me bring the piece, and my perception of Vancouver, to life. 11. Pascale Trudel: Flamingo! (1996) 3m00s pep_001-2.11 | 17093 |Composer: Pascale Trudel Flamingo! is the second piece in a series about animals (and human beingsä) in cages and free, realized in 1996 with sounds recorded by the composer in zoos, parks, etc. The first piece of the series, Le poisson qui cache l’oiseau, appears on DISContact! II (CEC). 12. John Wynne: $75 CDN (1996) 57s pep_001-2.12 | 17094 |Composer: John Wynne This piece consists of fleeting windows on other pieces and recordings made by the composer. The most tangible sounds are those of the equipment in the very studio in which the piece was created, their microscopic claustrophobia contrasting starkly with snatches of a Canada Day parade. 13. Mara Zibens: Whiteout (1996) 2m51s pep_001-2.13 | 17095 |Composer: Mara Zibens The title Whiteout may perhaps refer to snow and blinding light and serves as a departure point for this sound/escape. 14. Daniel Zimbaldo: Estudio Sobre Una Configuraciõn Fractal (1991) 12m16s pep_001-2.14 | 17096 |Composer: Daniel Zimbaldo Commissioned by CDMC-Fundaciõn Cajamadrid, this work is based fundamentally on the self-resemblance concept that is the feature shown by the systems of which the structures stay unalterable when observation scale changes (fractals). electrocd.com [va]: Présence I: track detail |
>> | |||
| << | >> |