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etc. > autres œuvres > Autres œuvres (B)Back to Square One (2007) 10m00s nil.23259 | 23259 |Commande: IMEB Création: 1 novembre 2007, sound — North East Scotland’s festival of new music, Picture Gallery — University of Aberdeen (Aberdeen, RU) Compositeur: Pete Stollery [traduction française non disponible] I have always been fascinated by radio sports commentary and the differences between them and their TV counterparts — how the radio commentator is required to provide visual clues for the listener. I’ve also always been struck by the apparent musicality of sports commentaries, particularly horse racing and track athletics with the gradual rise in pitch and intensity and the subsequent fall back to rest position, but also other sporting events with their frequent changes in intensity and the commentator’s reaction to them. I wanted to make a piece that would reflect these two aspects and, using recordings of commentaries from sporting events from 2007 (Grand National — horse racing, England v India — cricket, US Open — tennis, France v Argentina — rugby), I was able to use the shape and frequency of events to create a structure for the piece. These sounds (unrecognisable from the original recordings) are interwoven with sounds made by a crowd in a Parisian bar in 2006 when France beat Brazil to get to the finals of the 2006 Football World Cup. The title refers to a phrase used in early radio football commentary where a numbered grid representing the pitch was provided for listeners whilst a second commentator would call out the number on the grid where the ball was situated. Back to Square One was composed in Studio Circé at IMEB in April and September 2007. bande 8 pistes [traduction française non disponible] These three miniatures bring together the sounds of Baoding Iron Balls, originating in China during the Ming dynasty and rotated in the palm of the hand for therapeutic benefits, with sounds from Beijing and Kun opera. I imagined the delicate musical chimes encased within the Iron Balls to magically conceal the dynamic and theatrical opera sound worlds. Each miniature evokes a different characteristic of these art forms — the ecstatic and acrobatic nature of Beijing opera, the intimate soundings of the more aristocratic Kun opera, and the inherent energy of both. A theme of vibration emerged as I composed the work — naturally evident in and underlying the opera samples, sonically cultivated from the recordings of the Baoding balls (the metallic points of contact and impact as well as the musical chimes), and developed in unique ways in each of the miniatures. Presented here, the suite is framed by a very brief prologue and epilogue.
Box (1989) 9m14s nil.10028 | 10028 |Création: 17 novembre 1990, Kobe International Contemporary Music Festival (Kobe, Japon) Compositeur: Jean-François Denis Box est constituée de trois mouvements inter-reliés—chacun d’une durée de trois minutes—où des matériaux sonores bruts ont été traités et combinés par le jeu «en direct» en studio. Ainsi Box est à la fois une œuvre électroacoustique en direct et de studio. Par juxtaposition ou superpositions des mêmes matières sonores de base, la pièce recrée l’effet de se retrouver à l’intérieur d’une boîte ce qui cause un genre de claustrophobie sonore—temporaire—particulièrement durant le 2e mouvement. La nature de certains éléments sonores offre une cadence qui n’a pas été retenu. Ainsi le 3e mouvement utilise l’aspect rythmique et répétitif (en boucle) d’une sonorité très riche. Box est aussi la trame électroacoustique d’un «vidéo clip» réalisé en collaboration avec le vidéaste canadien Robert Hamilton. Cette bande vidéo est, d’une certaine façon, une extension de l’électroacoustique dans la vidéo où le sonore et le visuel ont un apport égal à l’ensemble et se complètent pour créer un expérience temporelle intégrée. La bande électroacoustique de Box a été réalisée au studio électroacoustique EARS du Banff Centre for the Arts (Banff, Alberta) en novembre 1989. La bande vidéo du même nom a été réalisée au studio vidéo du même centre d’octobre 1989 à février 1990. Celle-ci a été finaliste au 2e Festival international de vidéo de la ville de Vigo (Espagne) et s’est méritée une mention dans la catégorie «vidéo électroacoustique» du 1991 Stockholm Electronic Arts Award. Breath Control nil.23923 | 23923 |Compositeur: Darren Copeland [traduction française non disponible] Breath Control is an interactive audio-visual installation by sound artist Darren Copeland that relates the visceral experience of one’s last breath to the sounds of everyday life. Breath Control also confronts the conventions of the gallery experience by altering the gallery’s interior design in order to re-structure the sensory hierarchy. Breathing measures time. It is a rate of control, a rate for balancing input and output. R Murray Schafer once pointed out that the human body is one of the best engineering examples of refined acoustic design. In order to best hear the sounds around one, the sounds of the body are minimized. Could you imagine trying to listen a long distance away if your heartbeat thumped loudly in our ears? Yet, in our society we tune out the sounds that exist in the distance and even in our immediate midst and replace them with an artificial soundtrack by wearing ipod earphones. In the process, we not only encourage the world to be louder but we chip away decibel by decibel, frequency by frequency, at the quality of our own hearing. No wonder the world needs to be louder. There are two components to the work: the breath of the artist and the breath of the visitor both of which control the sound environment of the installation. The breath of the artist is represented by a video abstraction of his lips breathing. The sound of the breathing is heard in the distance through long tubes that peer out like smoke stacks. This breathing also controls the rise and fall of sounds derived from nearby environs. The breathing of the gallery visitor seated on a yoga matt is used to control the volume of the destruction of a nearby building, recorded earlier in Parkdale. The artist’s initial inspiration for the piece comes from a sound memory of his mother when she was dying from respiratory complications caused by melanoma. The sound that plays in his mind is the sound of her breathing through the oxygen tubes. Since sound is the center of his artistic work he would often record sounds that intrique him, but this sound he could not bring himself to record. Almost two years later this still plays in his memory and has influenced the way he hears the environment. Now instead of listening for interesting timbres or reverberations, he finds himself listening more and more to rhythmic oscillations in sounds from the everyday environment. In a sense, he finds himself searching for how an environment breathes and speaks over time and pays less attention to its mere acoustic spectra. Brouillard (1997) 3m00s nil.10031 | 10031 |Compositeur: Ned Bouhalassa Pièce de format «clip» réalisée pour le concours Radio-Mix de Phonurgia Nova (France). Bruxelles bivoque (1997) 6m00s nil.18368 | 18368 |Compositeur: Annette Vande Gorne Création radiophonique avec les voix de Dimitri Coppe et Thierry Génicot. electrocd.com Autres œuvres (B) |
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