In my familiar environment of multi-task-research-juggling, I was setting up a recording platform, plucking out a melodic figure, inspired while listening to Roni Horn's "Saying Water" essay (which is amazing and should be heard in full https://www.youtube.com/watch?v=fkvoe7s1NVg).  I just pressed record and let theses sources flow together, beginning with passage from my soundscape poem "The Problem of Our Laws" from last year (available on this same soundcloud page if you wish to hear it in full.

Black Water Impromptu

Ambient with cigarboxguitar and bow, bansuri flute and some synthsounds octatrack as a looper.

Endgane

For a December Night (naviarhaiku413)

Crab Nebula

Colorists are epic poets: a slow movement 
3 violins, 3 violas, 3 celli, double bass and harpsichord | 2021
Premiered by Klasik Keyifler in Cappadocia, Turkey

Recording by Kıvılcım Konca
Mix and Mastering by Murat Çolak

Colorists are epic poets

Cleansing (day 7)

Singes Hurleurs - Mono Aullador - Howler Monkeys(Alouatta Senniculus)- Tairona Park - Caribean coast - Colombia - Jul 19

Senheiser 8020 AB - Sound Device Mix Pre 6

Howling. Passing. Pissing...

4 OROSHI

I've recently discovered (at long last) the music of Danish composer Per Nørgård. He developed a compositional techniques based on what he called the "infinity series", which is a simple formula for developing a series of numbers based on an interval such as a minor second. The series takes the initial interval and then slowly expands upon it both upwards and downwards in pitch, getting broader in scope as it progresses. This idea can be used to generate melodies, rhythms, or other aspect of a composition.

I decided to try playing around with this, but applying it to microtonal intervals, using Csound and a Python script to generate the Csound score according to the series. I ended up with this brief study, which takes the first 256 terms of the series and applies it to three of my favorite intervals simultaneously:
 - 9/8 (major whole tone from the 9th harmonic)
 - 11/8 (unidecimal tritone,from the 11th harmonic)
 - 7/4 (septimal minor seventh, from the 7th harmonic)

The starting tone (240 Hz) plays throughout the piece as the other notes unfold above and below it. I used sine waves processed with a touch of tanh distortion to add a slight amount of harmonic content.

Csound and Python source code: https://github.com/DaveSeidel/music-src/tree/master/infinity-study

References:
 - https://en.wikipedia.org/wiki/Per_N%C3%B8rg%C3%A5rd
 - https://web.archive.org/web/20071010091253/http://www.pernoergaard.dk/eng/strukturer/uendelig/uindhold.html

Infinity Study

Song taken from the album "The basic sharpness of emotions"
Release date: January 23, 2021

Whenever winter arrives, I am always amazed by the beauty of the colours that the sky can create. I will never tire of looking at the infinite beauty of nature; colours and emotions that I love to associate with sounds of a certain type. 
That's why I really want to present some albums during this season.The first release of 2021 describes in an excellent way the tonal range of this winter, so uncertain, cold and melancholic. That Which Is Not is a beautiful project that combines the sound experiments of Nicola Fornasari (Xu, La Petite Vague, etc) and the instrumental ramifications of Pier Giorgio Storti (Morose, Belaqua Shua, etc) who, with notes of cello and many other instruments, adds nuances to a rich picture of pulsating introspection. "The basic sharpness of emotions" is genreless music, the soundtrack of those timeless winter days, when the snow and the ground are still unknown but are aware they have already met millions of times. A debut that I strongly advise you to listen to in solitude …

KS47 | THAT WHICH IS NOT The Basic Sharpness Of Emotions

This track is me practicing eurorack performance using the Beatstep Pro as the major sequencer and keyboard. Étude Béat, meaning a blissful study. The Beatstep Pro design promotes dance oriented music and its built in probability appears to use heuristics typical for the genre. In a way, the sequencer has its inherent cantus firmus.

The track is mastered by Fredrik Uppsäll.

A video of the performance is available here:
https://youtu.be/HjkaytmaX5g

Étude Béat

On the border between listening to the soundscape and "in situ" compositions, in the porosity proposed by a work who rubs the real,his artistic, ecological and spiritual paths approching each day a little closer to the silence.

/////
The originality of the company "Espaces Sonores" is based on a radical approach to sound and musical composition developed in close collaboration with the sites where we work.
The sound is always the driving force behind our work, which then opens up to other artistic disciplines. The latter then blends with the sound, music and text, to offer new vistas, new perspectives.
Proposing sound based site specific shows where the notions of spaces crossed, paths travelled, and text entwined, are the fields explored played with, developed & inhabited.

~~~~~~~~~~

L’originalité de la compagnie Espaces Sonores repose sur une approche radicale
de la composition élaborée en lien étroit et au contact des espaces où seront
entendues les oeuvres.
Le son est le premier moteur de propositions artistiques qui s’ouvrent au partage à
d’autres disciplines. Celles-ci viennent alors à la rencontre de l'écriture sonore et
musicale pour lui offrir de nouvelles échappées, de nouvelles perspectives.
Nous proposons des créations contextuelles où les espaces traversés sont les
champs d’investigations de pratiques artistiques transversales.

Stéphane MARIN:
Acteur du développement de l’art sonore en espaces libres (Espaces Sonores - Lieux Publics - Décor Sonore), ​​​compositeur de musiques électroacoustiques multiphoniques pour le spectacle vivant en espace public (2ème Groupe d'Intervention, Osmosis Cie) Stéphane Marin s’investit depuis plus de 10 ans dans ces aventures artistiques qui prennent la ville comme lieu de résonance, comme matériau vivant pour la composition de nouvelles formes musicales et sonores.

Il crée en 2008 ESPACES SONORES, dont le travail repose sur une approche radicale de la composition élaborée en lien étroit avec les espaces où sera entendue l'oeuvre. Il y conçoit des créations sonores contextuelles pour sites spécifiques.

C'est à la frontière entre l'écoute du paysage sonore in situ et la composition, dans la porosité que propose l'oeuvre qui se frotte au réel, que s'engage son travail.​​​
Sa trajectoire artistique, écologique et spirituelle le rapproche chaque jour un peu plus près du silence.





Howling. Passing. Pissing...

Espaces Sonores

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