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PLAYER 8 BASIC
13 | JOHN KEFALA-KERR | MIRACLE | 3 MINS 5 SECONDS
This short but ambitious panegyric brings together diverse
auditory images. The Bhaktinian sonic of the fairground
and the compulsive clatterings of the secular world
computer keyboards, loose change, the dance floor
find themselves defined, like children, as inhabitants
of a miraculously configured world. Miracle was commissioned
by Northern Stage Co.
TRACK 14 | CORYN R SMETHURST | BIRTHDAY PICNIC ON
THE MUDFLATS Ð A POSTCARD FROM MY CHILDHOOD | 1 MIN
Why my friends parents should choose the local
mudflats for a birthday picnic is still beyond me. The
food ended up swarming with insects, all, or so I imagined,
munching their way through the party fare. A small world,
teeming with life and seemingly chaotic rhythms, a microcosm
magnified by circumstance and perhaps by the fickle
memory of ones childhood.
Coryn R. R. Smethurst's recent music, often polychromatic
and polyrhythmic, emphasises gesture and rhythm as expressive
means, whilst being very short in length (between 23
seconds and four minutes). Recent works include Delirious
Dreams (1997), Density 0'58" (1998), Crab Nebulae (1998),
Sun has Wrinkled the Peach Skin Sand (1999-2000) and
Porton Down for trumpet and tape (2000), which will
be given its second performance at the Bangor New Music
Festival by Stephen Altoft for whom a second work for
trumpet and tape is being written. Coryn's music has
been performed at the Hebden Bridge Arts Festival, in
addition to performances at Huddersfield, Leeds, Manchester
and Newcastle Universities.
15 | PAUL SPRECKLEY | BERLIN POSTDAMER PLATZ | 1 MIN
I received a postcard from Berlin. It showed the skyline
of Postdamer Platz the new centre of Berlin. I decided
to use the pattern of this skyline as a compositional
tool for Sonic Postcards. The image was scanned and
imported into Metasynth and then split into four parts
from top to bottom. These parts were then used to play
back different tones and sounds I had synthesised in
Turbosynth using additive and FM techniques. The relationship
between the parts and sounds is as follows: Top = an
assortment of metallic squeaks mapped out as a sample
instrument, different parts of the cranes play different
sounds from left to right; high middle = a high pitched
bell sound; Middle = a mid pitched prepared piano/tuned
percussion sound; Low middle/bottom = a deep sub bass.
The duration of the image sections was set to 60 seconds
and appropriate micro scale tunings were used. The structure
of the piece was left entirely up to the image although
some manipulation was needed on certain points to enhance
attacks/shorten sounds etc. The image was also use to
filter different parts. The piece was mixed and mastered
sin Cubase, Protools and T.Racks.
16 |JAMES WELBURN | DOM | 1 MIN 36 SECONDS
This piece is a short edit of recordings collected from
the Dom Church in Lubeck, North Germany. The town dates
from the middle ages and contains 5 churches from that
period. Church Dom was for me the most impressive of
all five, with its huge acoustic. Any movement
made was amplified so massively that the sound seemed
to wash over you like a liquid. I therefore went recording
there many times, sitting down and just waiting for
things to sound. The caretaker putting chairs, tourists
murmurs, the huge doors, the beautifully tuned bells.
Some sounds I couldnt even tell what their origin
was as they had generated such an acoustic that just
made them seem unreal. The size of these sounds describes
the space and the bells at the end gives a clue to your
whereabouts (The bells themselves are uniquely tuned,
anyone that knows Lubeck will recognise them). All sounds
in the piece are genuine and unprocessed.
17 | JOHN ASHTON THOMAS | MUSIC OF THE EARLY 21ST CENTURY
| 3 MINS 3 SECONDS
The piece, written in January 2000, is for amplified
live Alto Saxophone and recorded stereo sound. This
is a complete recording of the piece featuring Martin
Speake playing Alto Saxophone. He plays both the live
part and the source material for the recorded part,
which is drawn entirely from the sounds of the Alto
Saxophone, and has been manipulated and controlled using
a Macintosh computer and an Akai sampler. The piece
has a type of circular form and lasts for 3 minutes.
It received its first live performance at Hinde St.
Church, London W1 in February 2001.
John was born in South Devon in 1961. He studied Composition
at T.C.M. with Richard Arnell and at Goldsmiths' College
with Stanley Glasser. He debuted as a Composer with
his Ballet Score score "Meeting Points" which was performed
at The Place in 1984, and his work has been promoted
by the S.P.N.M. He has composed for several Film, T.V.
and Radio productions including over 100 commercials.
He teaches at the Royal Academy of Music and Trinity
College of Music and he leads the Contemporary Jazz
Group "Heading Out".
18 | JONAS RUDDLES | TIME BOMB | 2 MINS 7 SECONDS
19 | FRANCESCO GIOMI | ANEWMENU | 2 MINS 54 SECONDS
Sonic Postcard in five courses: Antipasti (appetizers)
-Sformatino di cavalo nero con passato di fagioli alluccelletto,
Bocconcini di baccalå al limone e porri fritti;
Primi piatti(First course) - Cannelloni di brocecoletti
in salsa bianca di coniglio; Secondi piatti (main course)
- Sella dagnello al timo con cipolline fondenti;
Dolci (Desserts - Mousse di nocciole piemontesi con
rondelle di banana flambé. The short piece derives
from a radiophonic soundscape composed for Italian RAI-Radio
3: It wants to be a homage to the sonic world of the
kitchen, one of the most important human activity. There
are three different types of sound from a real restaurants
kitchen according to Shaeffers theory of soundscapes:
1. Keynotes, sounds from the background of the kitchen;
2. Sound signals, sound and gestures in the foreground
which are able to draw listeners attention; 3.
Markers, specific and well defined sounds which have
a specific meaning for people who work in such an environment.
The formal structure is outlined by means of five phrases
taken from the real menu of an excellent Italian restaurant
and read by the author. Such phrases contribute to divide
the piece in several timbral parts, which cold be seen
as different points of view of the same environment.
Francesco Giomi (Florence, 1963) teaches the Electronic
Music course at the Conservatory of Music in Parma and
he is also the scientifical-musical coordinator of Tempo
Reale, the centre of musical production and research
founded by Luciano Berio in Florence. In this context
he has leaded the electronic music team for the production
of Berios important pieces as Outis (Teatro
alla Scala-Milan and Théâtre du Châtelet-Paris),
Ofanim (MilanoMusica Festival-Milan), Altra
Voce (Carnegie Hall-New York) and Geografia,
the sound installation designed for the Italian pavillon
of the Hannover EXPO2000 Hannover.