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etc. > other works > Other works (F)Fall (1988) 18m31s nil.10099 | 10099 |Premiere: April 29, 1988, University of Moncton Art Gallery (Moncton, New Brunswick, Canada) Composer: Jean-François Denis An electroacoustic moment linking three types of sonic events. By imitation and complement. And by the nature of the gesture begun. Fall is an electroacoustic work for tape composed for the choreography of the same name by Lee Ann Smith. When presented with the dance duo, the piece acts as a third character, provoking the dancers and reacting to their movements. In concert, the piece projects a space and time dimension where sonic and sensual imagination plays with and against it. The basic sound textures articulate matter in friction: sounds of simple objects and moved air. Transformation of those textures—especially the sustained ones—generated a repertoire of shaded sonic timbers. Those are superposed along the entire piece. The discrete gestures articulate the different moments of the work—where the dynamics of the dance or of the sonic image create activity, suggest or transform. Series of gestures and colors were also created by sound synthesis. These are used in similar ways to the textures of friction: to color certain moments in the background and animate space in the foreground. Fall was realized at the Electroacoustic Studio of Concordia University in April 1988. It is a revised and extended version of Influences (1986), a piece composed for the first version of the choreography of Lee Ann Smith. The dance version of Fall was premiered at the University of Moncton Art Gallery on April 29th, 1988 and the concert version at Concordia University on February 24th, 1989. Fantaisie urbaine (2005) 17m04s nil.18404 | 18404 |Premiere: March 18, 2005, Festival Archipel (Geneva, Switzerland) Composer: Roxanne Turcotte 3 comedians, and 8-track tape Réalisé à Paris dans le cadre du 6e concours international d’art radiophonique La Muse en circuit. La femme des sables (2002) 60m00s nil.10150 | 10150 |Premiere: March 13, 2002, Agora de la danse (Montréal, Québec) Composer: Louis Dufort Choreography by Jocelyne Montpetit. Fields of Silence (2005) 9m00s nil.18920 | 18920 |Premiere: November 2005, Thainstone Centre (Inverurie, Scotland, UK) Composer: Pete Stollery Fields of Silence is part of a larger project called Gordon Soundscape, which is an attempt to map the sonic diversity of the former Gordon District in Aberdeenshire, Scotland. The project comprises acousmatic/soundscape concert pieces Still Voices and Fields of Silence, an interactive website (www.gordonsoundscape.net) and a sound documentary/installation (Resound). I’ve always thought that fields fall silent once they’ve been harvested. They’re not making a great deal of sound when they’re full of crops, admittedly, but, as a child, seeing fields ready to be harvested always produced a particular sound in my mind, even though I couldn’t hear it. In this piece I use sounds recorded in fields before harvesting and also sounds made from what is left afterwards, particularly plucking the short lengths of stubble, some of which produce pitched sounds. As well as this, there is a second concept of a field… that of a previously empty space which is defined by the sounds that are put in it. There are many such fields in this piece and the opening is a good example - a recording of the ambience prior to an auction gradually fills the performance space - particularly effective in the first performance when the piece was performed in the space where this recording was made. Fields of Silence was commissioned by Gordon Forum for the Arts, with funds provided by Aberdeenshire Council and the Scottish Arts Council. It received its first performance in one of the auction rings at the Thainstone Centre (Inverurie, Scotland) in November 2005. Filling (2007) 15m00s nil.23023 | 23023 |Composer: Laurie Radford videomusic …flock and fill the line and circle [xi-07] Fils de chien (1996) 8m00s nil.10102 | 10102 |Composer: Monique Jean [English translation not available] À l’origine, une musique pour un spectacle théâtral conçu et réalisé par Alain Pelletier sur le thème de l’exploitation de l’homme par l’homme. Un homme a faim. Il vous offre de devenir votre chien si vous voulez bien lui donner à manger. S’y déploie un espace froid, électrique, répressif, parcouru du souffle des machines, de fracas et d’éclats. Fire (1996) 3m44s nil.17092 | 17092 |Composer: Claude Schryer Vancouver Soundscape Revisited 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 for the Arts, the Conseil des arts et des lettres du Québec (CALQ), Hildegard Westerkamp, the Goethe-Institut (Vancouver) and Barry Truax (SFU). The Fire Inside (2000) nil.10296 | 10296 |Premiere: August 27, 2000, ICMC 2000 (Berlin, Germany) Composer: Åke Parmerud audiovisual installation The Fire Inside is an interactive sound and video composition/installation/instrument based on the sound and image of a burning fire. The basic idea of the piece is to give a performer or user a virtual “soundshuttle” which enables her to travel unharmed into the fire, thus exploring different levels of (primarily) the sound universe created by the flames. The navigation process involves movement through a 3D soundspace created by building a huge mixing matrix. This matrix has three basic arrays of elements each of which are separated into a discrete number of layers of sound objects. Each layer represents a specific domain of the sound of fire. The main dimension of the matrix is the depth array, depicting the “magnification” factor of the sound. For instance, being on the top level depth gives the overall summed sound of a burning fire, while being on lower, or more magnified, levels will enable the sound of glowing fire in various conditions. On each of the magnifying levels, one may move up, down or sideways to explore a variety of variations on the basic sound. These variations may include granular processes, resynthesis, convolution, transposition, time modulation and other processes of the basic sound. Although most of these processes will be prefabricated (the amount of a certain process is governed by moving between layers) some amount of real-time processing is also envisioned. Moving sideways through a specific magnification of the sound will affect the “angle” of listening to the material. Finally, the performer/user could control the sensitivity of the “listening space” of the shuttle. This means that one could be listening anywhere from just the present position in sound space up to the limit of the processor's power to create more complex polyphonic layering of sound. Different levels of skill can be achieved by practicing and getting familiar with the sound space. In this sense the matrix can work as an instrument, with a closed but virtually limitless performing space. Guided by her own preferences of timing, gestures, development and musical dramatics, the piece could take on many interpretations, displaying the personality of the performer, while still keeping its basic identity intact. Flauto Dolce 91 nil.10103 | 10103 |Composer: Marek Piacek Flauto Dolce 91 was selected at the 4th International Rostrum of Electroacoustic Music (IREM) in Århus (1992). Flocking Filling Tracking (2006) 15m00s nil.21929 | 21929 |Commission: Festival MusiMars 2006, McGill Digital Composition Studios with support from The Daniel Langlois Foundation for Art, Science, and Technology Composer: Laurie Radford 6 instruments and digital signal processing [English translation not available] McGill Digital Composition Studios with the support of the Daniel Langlois Foundation Floden av Glas (1978-81) 13m00s nil.10105 | 10105 |Premiere: September 29, 1981, Fylkingen (Stockholm, Sweden) Composer: Åke Parmerud incidental music “Rarely has our present time been interpretated with such a
penetrating wish of honesty and with such brutal force… one is prepared
to call Åke Parmerud’s new
multimedia show a key work of the genre as well as a
milestone…” Folie de Vincent (1983) 17m00s nil.10107 | 10107 |Commission: Philippe Marannes Premiere: January 13, 1984, Stalker (Brussels, Belgium) Composer: Annette Vande Gorne In parallel to two plays — Henri IV (1922) by Luigi Pirandello and Sulphur Sun (1983) by Philippe Marannes, the latter about Vincent Van Gogh — I tried to express various states of madness, as expressed through the characters: scream, revolt, delusion, escape, confusion… Technical means are limited and I used poor, stripped-down materials. Everything resides in the near-improvised musical gesture, felt in psychological identification to the various states of the characters. The musician becomes an actor. Folie de Vincent — the incidental music for the play Sulphur Sun by Philippe Marannes — was realized in 1983 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), with sounds from the VCS3 analogue synthesizer by Electronic Music Studios (EMS), and was premiered on January 13, 1984 at Stalker (Brussels, Belgium). The piece was commissioned by Philippe Marannes. Force Fields (2006) 25m00s nil.20810 | 20810 |Commission: Thürmchen Ensemble with support from Kunststiftung (Nordrhein-Westfalen, Germany) Premiere: December 13, 2006, Barber Institute of Fine Arts (Birmingham, England, UK) Composer: Jonty Harrison 8 instrumentalists, and fixed sounds Commissioned by the Thürmchen Ensemble (Cologne, Germany) with support from Kunststiftung (Nordrhein-Westfalen, Germany). Fragiles territoires (1993) 18m00s nil.10109 | 10109 |Commission: More Ensemble (Lori Freedman, Peter Hannan, John Oliver, Sergio Barroso), with support from the CCA Premiere: October 22, 1993, Western Front (Vancouver, British Columbia, Canada) Composer: Jean-François Denis 2 MIDI wind, 1 MIDI guitar and
1 MIDI keyboard controllers, and 3 samplers (Akai S1000) Fragiles territoires was commissioned by the More Ensemble (Lori Freedman, Peter Hannan, John Oliver, Sergio Barroso) with the assistance of the Canada Council for the Arts. The Frenzy of Banging on a Can (1997) 13m17s nil.19501 | 19501 |Premiere: May 18, 1997, Bang on a Can Marathon, Alice Tully Hall — Lincoln Center (New York City, New York, USA) Composer: Paul Dolden piano, bass clarinet (B-flat clarinet), electric
guitar, vibraphone, cello, doublebass, and tape [This work was later withdrawn from the composer’s catalogue.] Frosty (2003) 8m56s nil.19885 | 19885 |Composer: David Berezan In January 2003 I went for a walk in the area around my parent’s home in Calgary, Canada. It was a typical January day (minus 20 C), freshly fallen snow and wide open blue sky. I walked through deep snow, on pavements that had just been scraped clear and on snow already compressed by passing cars. I heard the crunching and creaking snow beneath my shoes, thinking all the while that each step held a little microcosm of intricate sound. I went past large fields of unbroken blankets of white and through crisp air broken only by my breath and ringing church bells. I went home and cleared the snow from my parent’s sidewalks until my ears hurt too much from the cold and I retreated back indoors to some warming beverages. Frosty is made up of sounds recorded on that walk, transformed into something very different and removed from the original experience while retaining, I think, the qualities of the snow on that day. [viii-05] electrocd.com Other works (F) |
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