Sarah Angliss

‘A composer, multi-instrumentalist, roboticist and sound historian. Sarah’s work explores her obsessions with defunct machinery, faded variety acts and European folklore.

Sarah’s music mixes her own software patches (using Max/MSP, Supercollider, PRAAT and other tools) with her samples, field recordings and live performance on theremin, saw, recorder, waterphone, keyboard,  handbells and other instruments. On stage, she’s often accompanied by musical automata – machines she’s been devising and building since 2005 as she’s been seeking a more theatrical alternative to the laptop, sampler and loop pedal.

 

About “The Bows” (SEE BELOW) Angliss says: “This is an interpretation of a London folksong which I hope captures the mood of the original, even though it’s drifted far from its moorings. The bows in the title are the bends in the River Thames but could also refer to bows of a violin. In the original folksong (titled “The Cruel Sister” or “The Bonny Bows”), a woman drowns when she’s pushed into the river by her sister. Downstream, her body is dredged out of the water and her breastbone, fingerbones and hair are used to make a fiddle. Whenever anyone tries to play this fiddle, it speaks, revealing the identity of her murderer. (The Wire)

 

Hard to pigeonhole as an engineer, musician or kinetic artist, Sarah’s actually a little of all three. In fact, she’s been combing these interests since she was a child in the 1970s, building mini cable cars across the garden and put together soundtracks, on a portable Phillips cassette recorder, about futuristic trips to the Moon. Sarah’s first degree in engineering (electroacoustics) was followed by a masters in biologically-inspired robotics (evolutionary and adaptive systems) and an Associateship in Early Music Performance from the Royal College of Music. On graduating as an engineer, Sarah had a brief spell in the building industry, where she assisted the chief acoustician in a busy London engineering company,  There, she fell for the peculiar charms of vintage electronics, when she was asked to work on an ancient, hybrid thermal-modelling computer. She later found her way to the Science Museum, London, where she was encouraged to combine her interests in the history of technology, interactive design and live performance. In 1995, Sarah opted to leave the Science Museum and work independently, focusing on performance, writing and the sonic arts. She worked solo and collaborated with other makers, most notably the sculptor and cartoonist Tim Hunkin who introduced her to PLCs and other control systems for machines.’ (Bio from Sarah’s website)

>>> http://www.sarahangliss.com/ <<<

 

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Franziska Baumann

“Franziska Baumann, an internationally acclaimed vocalist, composer and sound artist is experienced in a diversity of improvised and composed music.

As a vocalist she explores the human voice as a multi-faceted instrument expanding traditional boundaries. She has developed an extensive vocabulary of experimental and extended vocal techniques such as multiphonics and glottal clicks, and a variety of unique microtonal, timbre-modifying and percussive techniques that have become her “signature sounds”. Her research interests include the voice as a medium between instrument and potentials of human feelings and human society by causing unusual ways of listening and consciousness..

Gletscherklang. Glacier Sound Space

As a composer her repertoire is diverse and includes commissions for electroacoustic and improvised projects to experimental radioworks, large-scale site-specific sound environments and installations…

As artist in residence in the STEIM “Studio for ElectroInstrumental Music”, Amsterdam, she developed an interactive SensorLab based Sensorglove. This interactive cyberglove gives her total control over her articulations and the acoustics via gestures and movement.

She is a professor for non-idiomatic improvisation-composition and vocal performance at the Berne University of Music, Switzerland.”

www.franziskabaumann.ch

Maryanne! Maryanne!

a note from John Cage to Maryanne Amacher …

A Portrait of Eliane Radigue

Meredith Monk – Songs of Ascension 2008

Selected Discography of Women’s Electro-acoustic Music

Selected Discography of Women’s Electro-acoustic Music compiled by Elizabeth Hinkle Turner. Click on image below to view –

Ruth White – Evening Harmony 1969

“Ruth White (born 1925) is an American composer known for her electronic music compositions. While most of her career was dedicated to educational recordings, she is perhaps most famous for being an electronic music pioneer, most notably for her early explorations of sound using the moog synthesizer…”

Elizabeth Keathley

“…a defining moment of my high school education happened in this wise: in mychemistry classroom, before the beginning of class, a small group of boysgathered around the teacher and laughingly tried to persuade him to sign a petitionrequesting that Walter Carlos come to our school to play all of the Well TemperedClavier on the Moog synthesizer. Thinking that that sounded pretty neat, I offeredto sign the petition. “You don’t know anything about Moog synthesizers,” thealpha boy sneered. “Yes, I do.” “Then you don’t know anything about Bach.”Thus dismissed on both technical and musical grounds—surely because of mygender—I was unimaginably delighted in the late 1970’s when Walter became Wendy.” – Elizabeth Keathley 2001

Charlotte Moorman performs with Paik’s TV cello

Nam June Paik collaborated extensively with cellist Charlotte Moorman (1933-1991), including in their 1976 Kaldor Public Art Project, in which they presented an exhibition of Paik’s objects and more than 40 performances in Sydney and Adelaide. In one of these performances at the Art Gallery of NSW, pictured here, Moorman plays Paik’s ‘TV cello’

Making Spaces: Feminist Contexts in Sonic Arts

A superb paper by Holly Ingleton, click H E R E to view PDF

Katharine Norman

“Katharine Norman is a composer, sound artist and writer, currently an independent scholar and research fellow at De Montfort University’s centre for Music, Technology and Innovation. She has an especial interest in listening, sound and place, and her creative work traverses several disciplines with an emphasis on music and sound art, often involving text…”

Visit her website here : www.novamara.com

Katharine Norman – Soundscapes

Presentation by Katharine Norman on soundscape music analysis for the AHRC funded project ‘New Multimedia Tools for Electroacoustic Music Analysis.