Tag Archives: voice

HumDrum

 

Pop-Up Drumming and Singing Events

And Then She Said sister duo Nichola Scrutton and Erin Scrutton in association with Plan B Collective  created HumDrum to celebrate 100 years of International Women’s Day. Subsequent events included the West End Festival and the Royal Highland Show.

Big thanks to our sponsors above, and a HUGE THANKS TO EVERYONE WHO WAS INVOLVED – what a joyous day of celebration!!

Check out some photos  of the HumDrum event at the Royal Concert Hall steps in Glasgow to celebrate 100 years of International Women’s Day at Universal News.

110222 IWD flier

 

 

 

 

 

 

 

Performances

2011
5th March, Glasgow
5th June: West End Festival
25th June: Royal Highland Show.

 

The Arias

Opera Of The Seas
Opera of the Seas by Margaret Macdonald Mackintosh

Aria for Breath and Glass (4’09) and Aria for Voice and Plastic (4’42) are a pair of stereo, fixed medium works. The Arias were made for a Charles Rennie Mackintosh Festival concert held at the University of Glasgow. The compositions emerged as a material response to two gesso ‘Opera’ panels (Opera of the Winds, Opera of the Seas) created by Margaret MacDonald (Mackintosh), and drew further inspiration from the plastic debris crisis in the pacific ocean.

Opera Of The Wind1
Opera of the Winds by Margaret Macdonald Mackintosh 
Selected Performances

RadiaLx, Radio Art Festival / 88.4 FM, Lisbon, Portugal
Elektramusic ‘Radio Show for Experimental Music’, Web Radio, summer playlist
‘Soundgate’, Aalborg, Denmark
Sonic Art Oxford Jukebox online listen
Soundscape Room, Digital Arts Week, Zurich
International Electroacoustic Listening Room, Fullerton (CA)
RMA postgraduate conference, University of Bristol
CRM Festival, University of Glasgow Concert Hall

Hold Your Breath

Hold Your Breath 5


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

(photos courtesy of Kathy Friend)

Sustenance

 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.

Selected Performances

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

Dwelling 2


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′)

Dwelling 3