This “reverse theme and variations” was realized in Studio B of the Experimental Music Studiols at University of Illinois, Urbana, USA. Distorted beyond recognition, and then increased in speed to the point of white noise, the “theme” or sound source is revealed in the final moments. And, as should be the case, John Barrymore has the last word.
This suite of short pieces aims to juxtapose several different compositional styles relevant to the medium of electroacoustic music. Most of the source material is drawn from Allan Thomas’ Karanga Voices audio library, MTM’s open source samples, recordings of Kylie Nesbit’s bassoon and viola sounds, and recordings of local Wellington rock band Keller Kinder of which I am a member.
‘Another Day’ Miniatures was premiered at the Adam Art Gallery in Wellington at ‘Karanga Voices’ – a concert celebrating both the Karanga Voices audio library project of Allan Thomas (which documents New Zealand heritage in sound, after which the concert is named) and five generations of electroacoustic composers in Wellington.
eau [o] n. (F, = water) 1. … [o] seeks to establish a metaphorical relationship between music and water. The meaning of this metaphor, as is the case with all metaphors, is endlessly open to interpretation. Completed in Berlin, February 2001 in the Grosse Tonstudio of the Technische Universitat Berlin, thanks to a DAAD stipendium.
Credits – Interviewees: Katrin Becker, Robert Frances, Guinevere Narraway, David Prior Voices: Isobel Bolter, Lee Differ, Antti Saario, Gareth Thomas, Richard Whitelaw, Michael Wolters; Musical Excerpts: Britten Sea Interlude No. 3 (from Peter Grimes); Debussy La Mer; Handel Water Music; Schumann Symphony No.3 (Das Rhenisch); Smetana Die Moldau (Vlatava); Instrumentalists: Iain Armstrong, violin; Alistair Bannerman, piano
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.