I composed electroacoustic music for live performance by writer and artist Sarah Tripp.
Sarah created three spoken word/gesture performances: customs, objects, people, as part of ‘(Sim-poze-um)’, a collaborative installation event by four Glasgow-based artists created for Glasgow International Festival of Visual Arts. The performances took place in the Jeffrey Room, Mitchell Library, Glasgow. The music for the performances was projected and diffused through a four-channel speaker system.
Hold Your Breath was a large-scale visual/sound art project set up to improve the entrances/exits to the Clyde Tunnel, with the participation of the Whiteinch and Linthouse communities at each end of the tunnel.
I composed the various contributions of source sound and music into one large 40-minute work, which was to be projected by radio into the cars traveling through the Clyde Tunnel.
Various groups were involved in creating sound/music source materials for the soundscape: Paragon Ensemble working with St Jerome’s and Whiteinch Primary Schools; Art Form with Bryan Tolland; Tigerstyle and Dhol Infusion drummers; and the MacAlpine Family all contributed. I worked with Paragon Ensemble in the schools, gathering up sounds/songs from the children, the playground and surrounding streets, and recorded songs at the MacAlpine’s (four generation) family party
Sustenance is an acousmatic work (14’37) that explores human interaction with objects and processes that make up our daily existence. The sound materials progress through sections, each defined by a specific sonic/material character drawn from the objects and processes used in cooking. At a higher level of structure, the work traces a general transformation from dry to wet, reflecting decay.
Basic.fm, broadcast by Pixel.Palace, Newcastle upon Tyne, UK
Elektramusic ‘Radio Show for Experimental Music’, Web Radio, summer playlist
‘Soundgate’, Aalborg, Denmark
SONUS online listening library, CEC Website listen Selected for NAISA Deep Wireless 7 CD, produced in Toronto, Canada
Elektramusic ‘Radio Show for Experimental Music’, Web Radio, month of January
The Dwelling Series is a triptych of vocal works. Multiple concepts arising from the notion of the title Dwelling gave rise to an interactive process of improvising and recording with MAXMSP, through which I sought to explore a sense of ‘inhabiting’ the work. As inspiration for generating improvised material under this complex umbrella concept of ‘dwelling’ I used three general metaphors to articulate events or states: dust (essence), cycle (flow/journey) and echo (memory).
The compositional process
The compositional process consisted of creating successive vocal improvisations, which were merged together, fully intact, after each improvisation was captured. Manipulation of the captured improvisations was strictly limited to the editing of gestures and textures in time and space to enhance or magnify relationships/conflicts that emerged by chance as each layer was added.
(i) Dwelling/In Dialogue: studio composition (17′).
(ii) Dwelling/Encounters: pre-composed sound and live performance, in which two live performers merged and improvised with a pre-composed soundtrack projected through multiple loud speakers. Swiss vocalist Céline Hänni and I undertook a short intensive residency to explore extended technique vocal improvisation that culminated in the final performance. (12’30)
(iii) Dwelling/In Reflection: live interactive solo performance (18′)
I composed electroacoustic music for Move Mood, an observational documentary film by writer and artist Sarah Tripp.
X-Ray at the Persevence in London
Diversions Film Festival, Edinburgh Filmhouse
Artists Film & Video at the BBC in Pacific Quay, Glasgow (in association with the National Gallery of Modern Art and the Glasgow International Festival of Visual Art)
Breathing Space(7’56) is an acousmatic work that uses the human voice as the only sound source. As the title suggests, the driving force of the work is the breath and its potential to evoke different sensations of space.
The piece explores the voice both as an expressive, humane tool of communication and as a more abstract, purely sonorous instrument. In general, Breathing Space continually overlaps the border between literal and metaphorical implications and also the ambiguous relationship between ‘natural’ and processed sounds. The form proceeds as a relatively free exploration of these multiple vocal possibilities but comes to pivot on a transformation from intense saturation to extreme reduction.
‘Sonic Diversions’, Roundhouse Radio, London
In the Dark, London, UK (diffused by Anna Raimondo)
Acoustic Frontiers Radio, Ottowa, Canada
RadiaLx, Radio Art Festival / 88.4 FM, Lisbon, Portugal
Institut de Culture de Rabat, Morocco
Khoross Audio Dramas, UK
ICMC, New Orleans
DMRN Conference, Goldsmith’s, University of London
Musica Electronica, University of Glasgow Concert Hall