Jane Rigler, all flutes. Recorded and edited by Jane. Mastered by Mike Yach from Immersive Studios. Dedicated to Nobuko Awaya. 2013©Jane Rigler

Dance for Nobuko

flute, electronics made in December 2020, an improvisation as a study of unfulfilled dreams of a shapeshifter

Witches Eve

A study of resonance and piccolo (tiny) sounds + electronics, performed live, no edits, by Jane Rigler, piccolo and electronics (December 2020)

tiny worlds made big

This is a live performance that was broadcast using Netty McNetface to ensure low latency and high audio resolution: Jane Rigler (flute/voice/electronics) performed in Colorado Springs, while Scott L. Miller (electronics/Kyma) was in Minnesota, during the ICMC (International Computer Music Conference) concert in July 2022  (located in Limerick, Ireland). This is a Binaural Mix designed by Scott L. Miller
Jane performs flute and electronics (Ableton Max4Live) while reading from the Guardian article "Sex on the beach: a beloved California fish wriggles ashore to spawn" (by Katharine Gammon). https://www.theguardian.com/us-news/2022/jul/02/california-fish-beach-sex-rare-climate-crisis-danger

Scott creates and manages an ecosystemic sonic environment, programmed in Kyma, that analyzes, samples, and responds to Jane’s performance while also performing synthesizer with iPad and keyboards.

As equal composer/performers in this project, Jane performs flute and electronics, Scott performs synthesizer and manages an ecosystemic sonic environment, programmed in Kyma, that analyzes, samples, and responds to Jane’s performance.

Their sonic world-building aesthetic creates a liminal telematic space accessible only on the internet.

We invite listeners to creatively incorporate scientific knowledge that promotes connections to our environment, ancestry and dreams. In order to access non-logical/non-linear/non-rational other worlds of fantasy and play (i.e. playfulness)

Glitchy Ec(h)o Systems: Rigler/Miller

Created for the Polar Sounds project, a collaboration between Cities and Memory, the Helmholtz Institute for Functional Marine Biodiversity (HIFMB) and the Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research (AWI). Jane Rigler creates a new world that mixes the call of a Blue Whale with bass flute and electronics. Blue whales are the Earth's largest animal, and therefore they also have the largest beating heart on the planet, weighing 400 lbs (or more). Will we be the cause of its cessation? Or, will we help take care of this vulnerable being?
 
 Explore the project in full at http://citiesandmemory.com/polar-sounds.

In Reverence of a Blue Heart

This multi-track piece for piccolos (all acoustic) is from my album, Rarefactions (Neuma 2015.) Jane Rigler, piccolos

Multiverse

Two Seaming... (2001/1998) Jane Rigler
The ambiguity of the piece begins with the title.  I wrote this piece with the Inuit women’s vocal games in mind, where two women face each other so closely that the mouth cavity of one is the resonator for the other.  While using a frying pan or other such device to help resonate their vocalizations, each begin to breathe, sing and vocalize gestures into the other’s face.  This spectacular game ends when the first person begins to laugh, she, then, becoming the loser of the game.  
This flute piece was written for two female flutists, but men using the falsetto voice have proven perfectly wonderful performers of this piece.  When performed in public, the intention of this piece is that neither the audience, and perhaps neither the interpreters, really know who is playing or singing what, being that the timbres and tones match so well between the voices and flutes. The improvised sections evoke the game: who will play next?  Who will have the last word?  Although, in this game, there are no losers.



Two Seaming (for two flutes)

This is a live performance with Michel Doneda on soprano sax and Jane Rigler on flute. In this track, we are exploring our instruments as "tubes of resonators". I am using two microphones, one is very close to the embouchure (mouth) and the other is very close to the end of the flute, using the flute as a resonator for the key clicks, mouth noise, breath, and various percussively generated sounds of the flute.

Doneda - Rigler (soon to be released) Track 10

Performed/composed by Jane Rigler, on piccolo and pump organ (simultaneously) on August 26th, 2016, at the Civitella Ranieri chapel. Made in one track, no over-dubbing or other edits, besides minor mastering/mixing.
Gratitude to Composers Now and Civitella Ranieri for making this piece possible.

St. Christopher's shoulders (for piccoloist playing the pump organ), 2016

Conceived in 2013, this generative work takes on new iterations with every performance, transforming itself through the sounds collected and absorbed as I travel and make connections between various cultures, languages, and sonic experiences. This is a live performance in Faux la Montagne, in the Creuse region of France in the Fall of 2016... deep gratitude to the wonderful audience, Lê Quan Ninh and Martine Altenburger for hosting me, and a travel grant from NewMusicUSA.

Faux la  Montagne: The Calling, for flute and live electronics

This is a compilation of two text scores by Pauline Oliveros: The Tuning Meditation and Rhythms, which I guided the students, faculty and public at the end of my solo concert at California State University Monterey Bay in March 2017. Listening through the space-time continuum...with Pauline...

Monterey Voices: two text scores

This is the current version of a piece I'm working on for live performance for flute and Ableton Live.  In it you can hear traces of people talking, coffee machines, a construction site, the street vendors in Kyoto and Tokyo, the Alaskan sounds of the humpback whales off Resurrection Bay and the Holgate glacier... and of course, yours truly on flute(s).

The Calling (version 9/30/12)

This is the second of a series of electronic-music etudes I am working on that use the audio from a single recording session of a student Irish harpist from Cork, Ireland. With this etude I severely limited the material I used, really trying to see what I could do with minimal effects and sounds.  What do you hear/notice about this instrument in this track?

Harp Etude #2

This is the third etude that focuses on very limited audio material I recorded of a harpist scraping the strings with her nails. I love the otherworldly voices of this amazing instrument. I think this is my favorite etude so far. What about you?

Harp Etude #3

This is the first of a series of electronic "etudes" in which I limit the audio material, the duration, the use of specific effects and try to expand my knowledge of Ableton. One of my goals was to bring out sonic elements of this instruments that we might not otherwise notice or pay attention to when listening to it being played in a traditional fashion. All the "extra" sounds, remnants, sub-tones and after effects are what interest me. When I bring them out, I hear animals, the trees, and wind. What do you hear?

Harp Etude #1

This is my version of "A Stor mo Chroí" which uses my voice and my flutes. I don't expect a full understanding of the text, as I'm more interested in the combination of resultant textures that emerge from the voice, flutes and electronics. For those interested, this is the 2nd verse of the song: "A stór mo chroí, in the stranger's land there is plenty of wealth and wailing. Whilst gems adorn the great and the grand, there are faces with hunger pailing. Oh the road may be weary and hard to tread, and the lights of her cities blind you, Oh turn, a stór, to Erin's shore and the loved ones you've left behind you." Performed and recorded in Cork, Ireland, 27 of March 2020. Please be safe.

A Stór mo Chroí

This is an arrangement of an Irish song "Siúil a riúin" in which I only use the chorus (lyrics in Irish), to explore textural sonic worlds.

Siúil a rún

2020 shattered the dream to visit my friend Kitty at her home on the island of Crete. Each of us had already felt secluded and alone, so she sent me the sounds of her environmental experiences so that we could feel closer. This work re-sonifies our shared reverie into a new soundscape of Crete: shepherds calling their flocks, the clamor of goats’ bells, a sacred song heard through the church loudspeakers, birds singing. The result is my performance (flutes & electronics) playing with and transforming her soundscape, reimagining the sonic geography...into a new communal sonic dream, glitches and all.

As Long AsThe World Stands

Flutist, Composer, Improviser, Deep Listening Facilitator, Educator, Listener, Dreamer, Collaborator, Producer of Events

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