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Matthew Davidson  

#5

Duration: 06' 00" Year: 1991
analogue tape piece

• Programme Note

  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.

• Availability

  • Stolen Music - New Compositions by Matthew Davidson  

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    $30.00
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  • Stolen Music - Chamber and Electronic Music by Matthew Davidson  Year: 1996 

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Philip Norman  

A Christmas Carol

Duration: 1h 41' 00" Year: 1990
three act ballet with music for computer controlled keyboards

John Rimmer  

Beyond the saying

Duration: 21' 00" Year: 1990
electronic music

• Availability

  • John Rimmer: Fleeting Images  Year: 1993 

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    $30.00
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David Downes  

Blood Wedding

 Year: 1990
incidental music

Juliet Palmer  

Citrus

Duration: 25' 00" Year: 1993
for tape, voice, food blender, electronics, grapefruit and slides

• Availability

  • Mix-up - various works by Juliet Palmer 

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  • Juliet Kiri Palmer: selected works 

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  • Palmer: Selected Works I 

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Ross Harris  

Harmonicity

Duration: 08' 00" Year: 1990
an electroacoustic work

• Availability

  • Ross Harris: Harmonicity 

    Digital sound file - MP3
    
    $4.50
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  • Ross Harris: Inner Worlds  Year: 1993 

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Matthew Suttor  

He Gives What He Likes

Duration: 11' 12" Year: 1996
electroacoustic

• Programme Note

  In He Gives What He Likes, I explore musical ideas I heard in mbira music. He Gives What He Likes was composed for Columbia University’s Music Department’s centennial celebrations in 1996/97. The material is derived from a soundtrack I composed for a Theatre at Large production of King Lear in New Zealand August 1996. It is also featured in an hour-long tape piece for Pina Bausch’s dance company at the Folkwang Hochschulle in Essen in 1998. He Gives What He Likes was realized at the Composition Studios at Auckland University and at the Computer Music Center at Columbia University in New York City.

  I think of computer technology finessing a special relationship between a composer and his or her music through the privilege of being able to create a performance. In He Gives What He Likes, I let myself be seduced by performance impossibilities, while at the same time hoping to express musical ideas — especially those I heard in mbira music — that would seem evocative of an actual performance. He Gives What He Likes was composed for Columbia University’s Music Department’s centennial celebrations in 1996. The material is derived from a soundtrack I composed for a production of King Lear in New Zealand August 1996.

  Matthew Suttor

• Availability

  • New Zealand Sonic Art 2000  Year: 2000 

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    $30.00
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Susan Frykberg  

Hums

Duration: 18' 00" Year: 1990
for live mixed and diffused tapes

Ross Harris  

Mosaic (Water)

Duration: 07' 00" Year: 1990
an electroacoustic work

• Programme Note

  The water sounds for Mosaic were collected by the composer from Paekakariki on the Kapiti Coast of New Zealand and from Örö in Sweden. They are transformed into their electronic equivalents and juxtaposed with a slowly evolving pitch structure.

• Availability

  • Ross Harris: Mosaic (Water)  

    Digital sound file - MP3
    
    $4.00
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  • Ross Harris: Inner Worlds  Year: 1993 

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  • Sound Barrier  Year: 2006 

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David Downes  

Questions Reasons Boundaries

 Year: 1991
experimental music video