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Anton Killin  

A Priori

Duration: 06' 00" Year: 2008
electroacoustic

  • Programme Note

    The term “a priori” in philosophy refers to that which is already known or presupposed before any kind of inquiry has taken place.

    This piece organises vocal sounds into a specific trajectory and juxtaposes these sounds with electronically manipulated material and recordings of nature and machinery. I recorded speakers of various languages – Polish (Andrzej Nowicki), Japanese (Andy Tate), Russian (Liz Platova), French (Clare Tattersall), Luo (Beryl Matete), English (myself), Dutch and German (Duncan Nairn). These languages were ‘altered’ during the recording process to accommodate the trajectory (from vowel sounds to whole words to consonant sounds to percussive voice sounds to breath sounds) and thus, while the grammar structures of each language still inform the ‘words’ of its speaker, the original meaning of word-combinations is tainted and often lost.

    Much of the electronic sounds were created from these voice recordings. Moreover, a lot of only subtle electronic embellishment was employed at times – an aesthetic decision that ‘holds back’ on many opportunities to modify sounds and thus foregrounds the inverted linguistic function of the spoken languages into a purely aural sensation by presenting the recordings as they are, often without electronic manipulation.

  • Availability

Gillian Whitehead  

Arapatiki

Duration: 06' 00" Year: 2004
a "landscape prelude" for piano

Lyell Cresswell  

Chiaroscuro

Duration: 06' 00" Year: 2005
a "landscape prelude" for piano

James Gardner  

Given what we gather takes place

Duration: 07' 00" Year: 2003, r. 2004
for clarinet and percussion

  • Instrumentation
    can be performed on any of the clarinets; choice of percussion instruments left to performer
  • Programme Note

    This is the “permanent exhibit” from the work in progress called ‘given what we gather takes place’. The model for the whole work is that of a museum in which some exhibits are on permanent display, and others are brought up from the storeroom. In other words, some sections of music are always to be played, while others are chosen by the performers from a pool of material to present a unique exhibition for each performance. The percussionist’s instrumental collection is similarly assembled; some categories of instruments are specified while others are chosen by the percussionist with the added stipulation that some aspect of the instruments chosen must be unique to the location of the performance. The music of this particular “exhibit” alludes to, but does not use, folk-like material and is conceived as a playful sparring match between two friendly opponents. ‘given what we gather takes place’ was commissioned by Resonate Duo, to whom it is dedicated, with funding from Creative New Zealand.

  • Availability

Michael Norris  

Machine Noise

Duration: 06' 00" Year: 2006
a "landscape prelude" for piano

Eve de Castro-Robinson  

this liquid drift of light

Duration: 05' 00" Year: 2004
a "landscape prelude" for piano