:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Tag: electroacoustic

Caroline Park

Caroline Park is a composer, musician, and artist working within the minimum in experimental electronic music. www.blanksound/org

“Echo, subversive difference, and repetition all play core roles in the way I create music. As a sound-artist and composer, I find that having less direct control in both performing and in composing allows me to listen much more deeply, with a greater sense of awareness of space and how sound can color it and non-aggressively explore a given space’s physical perimeter. The manner in which I let go of this control is through chance. My work is quite minimal — I work within the minimum — and by both limiting myself with specific constraints and juxtaposing a specific curation with chance procedures, the resultant work emerges simultaneously focused and open. I tend to listen and explore rather than take charge…”

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

OTO – “I began exploring “stock” MIDI piano sound with systems of very fast and/or changing rates programmed in Max/MSP. I found that these fast rates would produce expansive, blurred, organic textures — a digital, yet semi-natural resonance from the sound of MIDI piano. OTO allowed me to explore particular pitch combinations through such extreme rate-processing, the minimal pitch material acting as a portal into these simple and profound systems.”

“There is actually no such thing as repetition — every instance is a new one, our minds are not exactly the same as when we heard one iteration from the next. Our minds are constantly changing, time is perpetually in motion, space changes. I am interested in continuity via repetition, and often wonder what it means to become a “constant signal”. To me, a constant signal suggests so much of a micro-action, repeating over and over again, to give the sense that it is in motion, like frames of a film.” Supporting Statement.

 

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Ingrid Plum

Ingrid Plum is a Brighton-based Composer/Musician www.ingridplum.com

“I find that feminist context emerges as part of my practice through my eschewing of boundaries that would be projected upon my choice of roles, rather than by making work that individually and specifically addresses feminist issues… I do not usually frame my work as feminist in itself. I am a feminist who makes work and my practice infers these issues – not by addressing them directly by subject, but by making work that exists despite and in spite of any gender gap that would deny me a contextual space for my work.”

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

“I followed Alvin Lucier’s example in ‘I am sitting in a room’, using the piano instead of a room and Nils Frahm’s ‘Mi’ as the source…I set up 2 Neumann 183 microphones to capture the sound of a Yamaha C6 grand piano with the sustain pedal weighted to form a reverb unit. I played the track on speakers aimed at the piano, and recorded this with the reverb from the piano. I repeated this with each new recording and the layers of reverb added obscured the notes played in the original. After 15 repetitions I ended up with this version comprising of the last few repetitions layered, which I have played with so that the feedback from the higher harmonics is not uncomfortable to listen to.

“There is something to be said about a woman taking on the role of producer and remixing a male artist’s work. Remixes tend to be done more often by men, and I often get a reaction of surprise that I would assume the role of remixing & producer, as you need the confidence in your ability to believe you can bring something new, reimagine or improve someone’s work. I’ve used the piano, his instrument, to both transform his piece and remove the sound of his performance so his actions as a performer are a trigger for my choices in process & production.” Supporting Statement.

Caterina Barbieri

“Caterina Barbieri (b.1990, Bologna, Italy) is a composer and performer of electroacoustic music. Mostly interested in modular synthesis, three-dimensional spatialisation and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms, microtonality and the polyrhythm of harmonics, on the boundary between drone, minimalism and techno in multichannel systems.

Her minimalistic focus is rooted in the exploration of the stratigraphic potential of voltage-controlled synthesizers, in terms of polyrhythm and polyphony.
Synthesis, texture-based forms and immersive listening are three fundamental conditions for her to enhance an advanced cognitive and auditory art, not based on extrinsic links but solely built on the experience of the spectrum, able to develop our very limited ability of perceiving the vertical domain of music, involving us in a holistic way.” www.caterinabarbieri.com

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

Undular is an eight-channel piece composed by Caterina Barbieri. All sounds derive from a Buchla Modular System with almost no digital processing.

‘…Immersive listening experiences with multichannel systems greatly advance our cognitive and auditory comprehension of music. After a certain exposure to the sounds, the spectral spaces underlying the fundamental tones, at first almost ‘inivisible’, come to our consciousness, enlighting an hidden perceptive dimension, that may not be specified in a score but still exists in the mind and in the body of the listener. Such a listening process may enlighten the listener to live the music as an infinitely changing experience (not only as a form), where she/he takes an active position, even a performative role. One can investigate the density of the harmonics and the secrets of their variations in time. One can move the skull horizontally and vertically to evaluate how the perception of the spectrum varies in space; cranial movement offers alternative aural perceptions due to the filtering, phasing and reflection’s phenomena depending on the angular incidence of the wavefronts on one’s ears.’ Quote from Barbieri’s supporting statment

Mirjam Tally

“Sound is central in Tally’s creations. Her music is a flow of playful contrasts where a sense of humour and poetic use of sound are blended to mix. Beside writing works for contemporary music scene, she is active as a film composer. Her earlier works are mainly for chamber ensembles and electronics. In recent years, importance of orchestral music has increased in her oeuvre. Sometimes she uses elements of jazz, folk and pop, Nordic or exotic instruments (Estonian kannel, didgeridoo, tanpura, accordion and others) and treats sound material with a modernist open mind.

She has graduated from the Estonian Academy of Music as a student of Lepo Sumera in 2000. Since 2006, Tally lives on the island of Gotland, Sweden. In 2009-2010, she was Composer in Residence at Swedish Radio P2 channel. Since 2012, her orchestra works are published by Gehrmans Musikförlag.” www.mirjamtally.com

Submission to ‘Ekho:: Toward a Repetitive Sounding of Difference’

 

 

Breathe (2005) is realized at Visby International Centre for Composers, in Studio Alpha and it was part of the NOMUS scholarship. This work was premiered at Dark Music Days festival on Iceland in 2006. I have used pre-recorded flute sounds (mostly tongue-ram’s and breathing inhale/exhale) which I have processed in Pro Tools (mostly using transpose and reverse). These original flute sounds are recorded with Estonian flutist Monika Mattiesen at the electroacoustic studio of Estonian Academy of Music.

Agathe Max

Agathe Max is a French violinist/Composer based in Lyon

Agathe Max

After training in Classical music for 1O years and graduating at the Bourgoin-Jallieu School of Music, France, in 1995; Agathe was later exposed to improvised music and to the experimental scene. ‘Inspired by a world both enchanting and draped in darkness, she has developed a wide range of sound textures, unique and melodious, creating unconventional and magnetic musical pieces reflecting a personality in constant search of rareness in music’.

 

Since 2011, Agathe Max has been part of the Bernard Fort study program in electroacoustic composition at the National School of Music in Villeurbanne, France, where she continues to develop her talent and virtuosity to create soundscapes and music related to images and films. She has produced several projects in sound design for animated films, short movies,theater, contemporary dance and art exhibitions…’

Agathe Max & Cyril M. – Live at Herstmonceux Observatory 2013

www.agathemaxmusic.com

Purchase music via bandcamp here : agathemax.bandcamp.com

 

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..

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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