fave listenings of this month

*

in the pic: Popol Vuh

"musica assoluta" (luglio 2025)

N/FT/O.II

[UNDER CONSTRUCTION]

Fantaisie track (courte) series no. 616

infinitely open ... except for the beat, no beat, or not enough to call it a beat, or too many of them either in succession or concurrent.

created: 2025/10/04

These tracks were uploaded in September and October 2025,
except for the following, older ones:
. . .

Capitalized tags are SoundCloud's suggestions.

Happy listening!

* Soundcloud time: 1 year = 12 - 23 months.

[TO BE COMPLETED]

hk_fantaisies_tracks_616

063025001

autonor

performed by Rosalind Ventris, for her album SOLA

Boreal (for sola viola)

TrillScape

Improv on top of layer and layers of guitars found lying dormant. 

An alley leading off of a main road to a restaurant (or other business) is what I found a striking urban feature as I wandered around Kyoto.

Multiple, mostly inaudible, enhancements implemented.

Enjoy!

tinalley

protesting
27th July 2025 at 22.00 CEST , Tencarola (Padova, Italy)

g.   a.   z.   a.  is  s.   t.   a.   r.   v.   i.   n.   g.

Ambient Bite 592

"Tightness" is a composer's value, a quality of music that more often revealed by score study than by casual listening.  Composers might call a score "tight" if its events and parameters turn out overdetermined, as do the answers to a crossword puzzle.  That means the little details all satisfy multiple constraints and the overall fit-together quality verges on the uncanny.

Here I have combined the serial logic with a minimalist's sense of decorum, to keep the listening experience as close as possible to a deep dive into the score.  Indeed, in the second and third sections the rhythmic invention helps you out if your relative pitch lets you down.

In particular, this piece is a love song to the only three tone rows that enjoy a property similar to but distinct from the row that forms the basis of my recent "Let Me Be As Clear As I Can."  

As with the row in that previous piece, each row, joined with certain rotations of two alternative forms of that same row, produces a succession of all 12 distinct trichord classes — and in each case, one can choose the alternative forms in four essentially distinct ways!  Where these rows differ, the succession of trichords always turns out essentially the same across all four solutions.  

Think of a jigsaw puzzle whose pieces can fit together in very different ways and yet strangely still form the same picture.

The three rows and all the solutions receive three different compositional treatments, each forming one of the sections of this work. 

I consider the work indeterminate in a limited way: other versions might replace any or all of the three rows with one of their 2304 = 48² forms (taking into account multiplications of pitch classes and position numbers, as well as transpositions and rotations), and versions can also shuffle, in six ways, which row receives which compositional treatment.




Music Tighter Than A Gnat's Ass Stretched Over A Rain Barrel, for solo piano

Fejervarya limnocharis (Grass Frog)

Polypedates colletti (Collett's tree Frog)

Recorded in the Ulu Temburong National Park, Brunei

Philautus tectus (Covert Bush Frog)

Hylarana megalonesa (White-lipped Stream Frog)

Recorded from Gunung Mulu National Park, Sarawak

Kalophrynus heterochirus (Variable Sticky Frog)

Poetry, Field recording and the More-Than-Human Human

'I use this space to offer an experience of Sonopoetry, the voice of verses combined with field/sound recording.
Writing and composition marked the passage from pre-history to history for human beings. I firmly believe that writing&listening (active care/empathy and full attention to each and every sound from each and every living and non living being) could inform, guide and represent the Posthuman era that I'll call MoreThanHuman Human era -from sapiens sapiens to MoreThanHuman Human.
The contemporary alliance between the disciplines of Art, Science and Philosophy elicits the conceptualisation of the Posthuman that to me also implies the transition from the Anthropocene to the Age of Art as a driver of thought and vision. I advocate the responsibility to assign a 'more than human' meaning to the Posthuman concept, that's why More-Than-Human Human, in order to emphasise the human core and the genetic connection to bio and non-bio diversity as per the Biophilia Hypothesis.
Are we listening?'

Born 6 January 1972, Ilaria Boffa is an Italian poet and sound recordist. 
She has published four poetry collections and she is one of the eight authors included in the North East American Association publication ‘Writing in a Different Language’ Vol XL 2018.
Over the last years, she has been experimenting with field recording, blending her spoken word with sound.
Publications:
Beginnings & Other tragedies/Inizi e Altre Tragedie, 2023, book of poems (Eng/Ita)
https://www.valleypressuk.com/shop/p/beginnings-tragedies

About Sounds About Us/Di Suoni e di Noi, 2019, book of poems (Eng/Ita)
http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/

Writing in A Different Language, volume XL NeMLA publications (Northeast Modern Language Association), College of New Jersey, 2018
http://www.buffalo.edu/nemla/publications/nis/past/volume-xl.html

The Bliss of Hush and Wires/Periferie, 2016, book of poems (Eng/Ita)
http://www.samueleeditore.it/periferie-the-bliss-of-hush-and-wires-ilaria-boffa-2/