Search Music:

The association and rich sounds of a Malay gong, Korean gong, small Japanese gong, Japanese bells (like large sleigh bells), small Chinese gong, a necklace of very small bells worn in the Chinese dragon dance, tubular bells, tamtam and piano (inside out), form the basis for Gong Agong. Many of the instruments were collected in Hong Kong and Malaysia.

The Gong Agong is the large gong in the Malaysian Terengganu Joget Gamelan. It literally means ‘King gong’ and the instrument plays an important structural role in gamelan music, marking off the largest sections. This role is retained in Gong Agong. Rhythmically and texturally, the piano reflects and imitates some of the CD sounds before embarking on an interlocking section which draws on fragments of a Malay Terengganu gamelan piece ‘lagu’ Perang.

The percussive and digitised sounds were created from recordings of improvised performances by the composer which were edited in Protools, convolved and mutated with piano impulses in SoundHack then imported back into Protools for compositing. This process was repeated until a structure was created which was then used as impetus for the piano composition. From then on in, the process became very collaborative with the two composers editing their components as required. Gong Agong was one of the three finalists in the Music Nova International Electroacoustic Music Competition in 2006 (Category B: Compositions for acoustic instrument/voice/ensemble and electroacoustic media).

Sounds for the soundbed (CD) were originally recorded in the Main Studio, Music Area University of Western Sydney, Australia.

• Blom: Gong Agong; electroacoustic part 

  Part - recorded | CD
  

• Blom: Gong Agong; computer-set  Year: 2009 

  Full score | Hardcopy - computer set
  
  • Borrow

• Diana Blom: Gong Agong 

  CD
  
  • Borrow

I welcomed this commission to write a small piece for Stephen De Pledge, but baulked a little at the idea it that should be related to landscape, a concept that can easily fall into cliché. But then all physical places are in fact landscape, including the street where I have lived for the last 35 years (echoes of My Fair Lady), in the city I love.

This work creates a counterpoint between my own voice and its ‘musical analogue’, as played on the piano.

• Body: The Street Where I Live; recorded part 

  Part - recorded | CD
  

• Body: The Street Where I Live; computer set 

  Score and parts | Hardcopy - computer set
  
  $27.00
  • • Quantity:
  • Borrow

• Body: The Street Where I Live; computer-set 

  Full score | Pdf - computer set
  

• Landscape Preludes  Year: 2011 

  Full score | Hardcopy - computer set
  
  $40.00
  • • Quantity:
  • Borrow

• Jack Body: The Street Where I Live; audio 

  Media on Demand | Embedded
  

• Jack Body: The Street Where I Live; video 

  Media on Demand | External - video
  

• Jack Body: The Street Where I Live 

  CD
  
  • Borrow

• Stephen de Pledge - Landscape Preludes  

  CD
  
  • Borrow

• Stephen de Pledge plays The Street Where I Live by Jack Body 

  DVD
  
  • Borrow

The Voice of Experience was composed as a tribute to John Rimmer on his 60th birthday. It contains fleeting images: a piano part derived from the dedicatee’s name; re-synthesised kokako; granulated water sounds from a quiet rock pool on Rangitoto Island; and granular time-stretched recordings of a singer whose name was Experience.

• Elmsly: The Voice of Experience; computer set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Elmsly: The Voice of Experience 

  Part - recorded | CD
  
  • Borrow

• New Zealand Sonic Art 2000  Year: 2000 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

• Sound Barrier  Year: 2006 

  CD
  
  • Borrow

• Sunrise: Music from New Zealand for Young Pianists  Year: 2008 

  Full score | Hardcopy - computer set
  
  $20.00
  • • Quantity:
  • Borrow

• Sunrise - Music from New Zealand for Young Pianists  Year: 2008 

  CD
  

Two Soviet Love Songs for Vocalizing Pianist were composed in December 2003. The idiosyncratic mannerisms of performers have long fascinated me. Often I find myself guilty of habits potentially disturbing a performance. The unconscious movements or noises one makes while performing, however, are inevitable and, perhaps, better not to be avoided. They are there for a good reason. It would be unthinkable if Glenn Gould were asked to play without humming of gesticulating. In fact these two pieces were inspired to some extent by watching a video tape of Gould’s performance, as well as hearing the composer-pianist Frederic Rzewski performing his The Road. The pieces were originally meant for the private entertainment of accomplished pianists who also like to sing, but, as I played them after their completion, I felt that their theatricality seems to demand an audience.

The two Soviet tunes are something I grew up with. They are still extremely popular in China and often heard in karaoke houses. In Katyusha, besides the tune itself, I also quote Shostakovich’s Tenth Symphony (the Scherzo movement) as well as a familiar American show-tune which Shostakovich himself once arranged for orchestra.

Gao Ping, Gao Ping – Chamber Music, NAXOS

• Gao: Two Soviet Love Songs for Vocalizing Pianist; facsimile 

  Full score | Hardcopy - facsimile
  
  $7.00
  • • Quantity:
  • Borrow

• Gao Ping: Two Soviet Love Songs for Vocalizing Pianist; video 

  Media on Demand | Embedded
  

• Gao Ping: Chamber Music  Year: 2006 

  CD
  
  $16.00
  • • Quantity:
  • Borrow