Cycle "Pour ne plus taire" (2e pièce)

Je marche sur des sentiers battus
C'est plein.
Plein de vide et de mots non dits.
C'est là.
Et tu n'entends pas comme c'est.

Cette pièce s'inscrit comme le second volet, électroacoustique, de la pièce documentaire "Pour ne plus taire les jours où". Elle entre en résonance avec une série de paroles de femmes écoutées et collectées autour de l'incorporation du sexisme et de la culture du viol. Elle cherche à faire entendre les strates de silence accumulés depuis des années, à les creuser jusqu'à ce qu'elles percent et laissent jaillir les colères enfouies.

Concert sur acousmonium à la Cité de la Musique de Marseille, Tintamarres#17, 17 janvier 2022
Diffusion au Café de la loire, programmé par Kiosk et Ultra Sonore, Label Fair Play, 18 juillet 2021

Pour ne plus taire / https://auderabillon.wordpress.com/pour-ne-plus-taire/

image©Aude Rabillon

C'est. Et tu n'entends pas comme c'est

DeepBlue
for ensemble and electronics
Klangforum Wien
Impuls Festival 2021

Yiqing ZHU - DeepBlue

Maud Herrera : chant, alto.

Tal Coal est un concert solo qui s'écoute comme on regarde une carte géographique : on se promène à travers différents paysages, des filtres de couleur nous permettent d'imaginer d'autres époques, d'autres temps. A partir des mélodies occitanes du Haut-Agenais collectées par Pèire Boissière, Tal Coal tente de développer un langage musical, entre chansons folk et expérimentations sonores.

Contact booking : talcoalmusica@gmail.com

Cruèla

Opening of Act 4, Scene 1 from Rameau's 'Dardanus'
Harpsichord and MIDI input performed by Satoko Doi-Luck, programmed and edited by Neil Luck.

Realised mostly on a Buchla 200 modular system, captured at EMS Stockholm.

Project supported by the RPS Enterprise Fund

Rameau - Dardanus

Played & Recorded at Burnout-Regula by Idal

Idal | Studio Mondial #70  - Radio Bollwerk - 10.11.2022

L'emprunte d'Encyclie

Euangelion

Textures Arc The Points is dedicated to my late teacher Mark Chambers, who was a great composer that often introspect about music. Thank you for introducing me to the world of “Spectra and Pixies” and the world of electronics

Textures Arc The Points was commissioned by the Debris Project; utilizing sound solely from their database.

Engulfed by the many points, as these materials conglomerate within the plane 
Matter as figurative and external

Conglomerates veil the arcs

Meandering through the flow, at times with extreme exaggeration Flow that is never the same
As flow is made up of impermanent elements

Cyclic material that occurs “once”; an ephemeral quality 
Often unfair

Endure with an inner rhythm of
Textures of a phantom-like movement
Veiled by the engulfment of the points

We endure through perception of, not form, but rather

Yielding the flow
And respond to the “through” material

Texture Arc The Points

À l’aube,
Un petit duc sonne la cloche du village et réveille les rossignols,
Solo de mobylette qui dessine le paysage,
Un bourdon drague un saxophone,
L’eau capricieuse se fraie un chemin jusqu’au vignoble d’un mélomane, 
Le boulanger guette le vent…
Au commencement était le son.

Avec la participation de Vincent, Georges, Stéphane, Victor, Emma, Jacques, Marc et Myriam.

Création sonore collective réalisée par Ana Sany, Anaïs Binggeli, Celia Dessardo, Cicely Fell, Déborah Benarrosch, Irazema Vera, Jacob Redman, Léa Roger, Marie Casanova et Mathias Arrignon.
@kovisuel @cicelyfell @irazeman @lea_roger @user-653640218

Réalisée durant le stage de prise de son animé par Félix Blume à Azillanet (Avril 2023) dans les locaux du Couvent géré par le Foyer Rural d’Azillanet.

Remerciements à Nicolas Darzacq, Sara Lana, Martine Rousseaux, les membres du Foyer Rural et la Mairie d’Azillanet.

Le Chòt

dj set @  berlin trxxxtr 09.02.2024 & 15.02.2024 (idion't) idiont
dj trashmediale festival played dj set .
#auslandercore.     " Dear White People , No one asking you to apologize for your ancestors . We are asking you to dismantle the systems of oppression they built, that you maintain and benefit from."

DJTRASHMEDIAL Dj Set @ TRXXXTR BERLIN 02.2024

"Disiecta Membra" (2014)
for six voices

Live Recording 
February 5th 2015 
Festival ECLAT Theaterhaus Stuttgart
Neue Vocalsolisten

Disiecta Membra, latin for “scattered fragments” is an expression used to refer to surviving fragments of ancient poetry, manuscripts and other literary or cultural objects, but can also literally means "scattered limbs" or "scattered members". 
The membra this piece is dealing with are the different cuts of Grunnius Cocotta, the imaginary pig whose last wills are summoned in the Testamentum Porcelli, a parodic middle-age text. The short excerpt of this text that I decided to use is an inventory of twelve body parts that the pig, right before being slaughtered, bequeaths to twelve categories of will beneficiaries.

Et de meis visceribus dabo donabo sutoribus saetas, 
rixoribus capitinas, 
surdis auriculas, 
causidicis et verbosis linguam, 
bubulariis intestina, 
isiciariis femora, 
mulieribus lumbulos, 
pueris vesicam, 
puellis caudam, 
cinaedis musculos, 
cursoribus et venatoribus talos, 
latronibus ungulas

[And from my body I shall give and contribute to the cobblers my bristles, to quarrelers my head-parts, to the deaf my ears, to lawyers and the wordy my tongue, to sausage-makers my intestines, to makers of meat products my thighs, to women my little loins, to boys my bladder, to girls my tail, to poofters my muscles, to runners and hunters my ankles, to brigands my hooves]
	
One can easily draw a comparison between this parodic list and the amass of dismembered bodies of saints that (still) populate catholic churches all around Europe. 
Mikhail Bakhtin in his “Rabelais and his time” elaborated the concept of grotesque body and wrote extensively about these holy remains: 

"At the time of Rabelais ridicule relics were quite common, especially, of course, in the Protestant satire […]
Dismembered body of the saint in medieval literature has repeatedly given rise to grotesque images, and transfers. In one of the best medieval parody travesties - in "Treatise Garcia" (1099), the hero, a wealthy Simonist archbishop of Toledo, brings to Rome as a gift the miraculous relics of holy martyrs Rufus and Albina […] "… from the kidneys Albina, from the innards Rufina, from the stomach, from the back, from the backside, from the edges of chest from the legs, the hands, from the neck. What else? - From all the members of both bodies of the martyrs. " We see that already in the XI century relics gave rise to a purely grotesque anatomy of the dismembered body"

While the catalog of pig cuts of the Testamentum has a direct influence on the form of the piece - which is indeed a catalog of short pieces, each related to a different body part -, this reference to relics is suggested by the use of several musical quotations issued from Membra Jesu Nostri, the famous set of seven cantatas by Dietrich Buxtehude, which is also a catalog of limbs: feet, knees, hands, side, breast, heart, and head. Curiously enough, what is considered to be the first Lutheran oratorio has the form of a massive immaterial reliquary for a body that left no material remains. 

The contrast between this longing for the absent flesh and the carnavalesque exuberance of the Testamentum was the basic source of inspiration for the composition of Disiecta Membra. 


Mauro Lanza - "Disiecta Membra" (2014)

LE RENARD s'war uns

David Quang-Minh Nguyen is a composer of concert music.  Along with the concert music that he composes, he is also an audio engineer for music and post production.  His current interests lie in composing acousmatic works dealing with multi-channel loudspeaker expansion, sound spatialization, and immersive audio.

Being recognized nationally and internationally, David has had his pieces presented at the June in Buffalo New Music Festival, during which he received individual master classes with Harvey Sollberger, Martin Bresnick, Roger Reynolds and Brian Ferneyhough.  David was an active participant for Festival DME under the direction of Åke Parmerud, Musique & Recherches Académie d'été de composition éléctroacoustique under the direction of Annette Vande Gorne and João Pedro Oliveira, and the Sounds Around Me Festival under Thomas Gorbach.  He was also selected by Master Artist Robert Normandeau for a residency at the Atlantic Center for the Arts. 

Among others, his works have been performed at Electronic Music Midwest Festival, New York City Electronic Music Festival, SEAMUS, Toronto International Electroacoustic Symposium, International Computer Music Conference, 15th Sound & Music Computational Conference, 2018 MISE-EN Place Bushwick Open Studios, 2018 Third Practice Electroacoustic Music Festival, Spaced-Out Radia, Washington State Festival Of Contemporary Art Music, CEMI Circles, MOXSonic, and Diffrazioni multimedia festival.  He has been published on ABLAZE records Electronic Masters Vol. 7 and received an honorable mention for the XII° Destellos Electroacoustic Competition 2019 for his work Misprints as well as achieving 2nd place for XIII° Destellos for Adumbrations , a finalist for PRIX CIME 2019 and won 2nd for the ASCAP/SEAMUS award for his work Weight Stranding. 

   	David Q. Nguyen holds a BM from Old Dominion University where he studied with Andrey R. Kasparov and Mark Chambers.  He has received his Masters and is pursuing a Doctor of Musical Arts degree at the University of Illinois Urbana-Champaign, where his primary teachers are Sever Tipei and Scott A. Wyatt.

Texture Arc The Points

David Quang-Minh Nguyen

Recent comments

BARAS

Related tracks