New Music Unlisted 6

all-forgetting-is-retrieval (2019) by Jason Thorpe Buchanan
septet, augmented conductor, and electronics
July 8, 2019, Thailand New Music and Arts Symposium

Video: https://vimeo.com/386270819

TACETi Ensemble
Pisol Manatchinapisit, saxophone
Christhatai Paksamai, bass clarinet
Siravith Kongbandalsuk, trombone
Noppakorn Auesirinucroch, guitar
Pipe Kantapong, percussion
Tapanat Kiatpaibulkit, violin
Kantika Comenaphatt, cello
Piyawat Louilarpprasert, augmented conductor
Jason Thorpe Buchanan, electronics

Engineers: Book Pongtorn and Jason Thorpe Buchanan
Mix: Jason Thorpe Buchanan
Remastered Jun 7, 2021

This work explores the formation of human memory, retrieval, and failure, drawing from two sources. The first was a passage titled “Myth of Permanent Memory” from R.A. Chechile’s book 'Analyzing Memory: The Formation, Retention, and Measurement of Memory': “There is a common belief that forgetting is strictly due to a retrieval failure. It is curious why this idea of a permanent memory is so appealing...the storage of information is not perfect. Storage as well as retrieval is subject to failure. Thus, the hypothesis that all-forgetting-is-retrieval is incorrect. For information in this state of permanent [long-term] memory, all subsequent forgetting is assumed to be caused by a retrieval failure. Yet...there is no known biological mechanism to stop the adaptive changes in memory from continuing and thereby possibly destroying the prior learning record. If the learning environment changes, the same adaptive mechanisms that created the memory in the first place will continue to rearrange the structure of memory and potentially destroy the former memory representation.”
   The second source is dialogue from a 1978 ephemeral film, 'Human Memory', by Harcourt Brace Jovanovich, used as sonic material for the electronics throughout the work, written for eight musicians including a conductor and percussionist who have been augmented by contact microphones and wearable electronics to trigger and govern the behavior of temporal events and media, manipulated through the use of wrist-worn sensors and gestural tracking mapped onto discrete musical parameters. The title is both perplexing and quickly disproven in the above passage, reflecting the strange and unfamiliar space that, for me, the piece inhabits, with “failures” both large and small. Artistically, my apprehension toward falling into familiar patterns and relying on my past compositional work shares a similar cognitive and emotional space as “lost” experiences—the inability to be truly present in a moment, or failure to commit to memory experiences that are simultaneously both formative and fleeting. The rapid loss of their fidelity is staggering, and this work attempts to confront that impermanence and decay. To reflect this, I was interested in both paraphrasing and sampling elements of my past work, alongside the recontextualization of “found” media and sonic material deeply familiar to me. How can we be certain of things we have experienced, and that the events that took place were not, in fact, radically different than what we remember? These inaccuracies and discrepancies that form over time through internal repetition, how information storage and retrieval may be influenced by context, and what kind of experience might interrupt a memory from being formed, are explored.
   “The subject of our film is memory. Imagine what your mental life would be like if you had no memory at all..

More at www.jasonthorpebuchanan.com

all-forgetting-is-retrieval (2019) - TACETi Ensemble

¿Qué se llama cuanto heriza nos?
What Do You Call Everything That Bristles Us?
for flute + alto flute, clarinet + bass clarinet, oboe, horn, piano, percussion, violin, viola, cello, and double bass. (2001)
The title is a line of the poem Trilce II by César Vallejo.
Premiere Recording.

Qué Se Llama Cuanto Heriza Nos (2001)

Geometrías fugitivas para clarinete bajo, cello y piano (1998)
Recuerdo las aguas rojas del río Paraná bajando decididas y tiñendo los muros de contención del viejo puerto de Posadas. Hace poco me di cuenta que no pocas músicas mías pueden relacionarse metafóricamente con esta imagen de infancia. Ríos, su complejidad -en cuanto a forma, accidentes, velocidad, masa fluida, color, textura, densidad- abren nuevas maneras de pensar el material musical, sus procesos, su forma.
Geometrías fugitivas, con su flujo permanente de sonidos y resonancias podría ser una metáfora del río en la cual la superficie de la música, es decir la resonancia del piano, se integra, amplifica y distorsiona con las intervenciones microtonales del cello y el clarinete bajo que la anticipan o demoran creando remansos o cascadas de velocidades siempre variables. La evolución registral y el contenido armónico pueden ser unas de las tantas maneras de acompañar el paso fluido de estos tres instrumentos que crean zonas al ir cayendo hacia su obligado final. Cada zona emerge y se disuelve en la próxima de igual forma en que los ríos pasan a través de variados paisajes hasta disolverse ellos mismos en el mar.
Esta música está dedicada a Juan Mannarino, músico, pianista, actor, artista múltiple y sobre todo maestro de generaciones de seres que pasaron o vivieron en la zona Santa Fe. En el teclear indómito del piano intento hacer presente aquel toque de Juan. Una manera de hacer vibrar las cuerdas del piano como nunca volví a escuchar después.

Geometrías Fugitivas (1998)

En la impenetrable maraña de lo no nombrado (In the impenetrable tangle of the unnamed)
for 24 voices (2009)
Two or three things collaborated in the existence of this absented music.  A Zen garden motivated its possibility. It was concrete and clear.  Its layout of rocks and sand suggested materials and form. 
While composing, materials and form went through a process of transformation arriving to a state of disturbing immateriality. It opened the space to a calm empty mind sailing in the winds of uncertainty. Some objects came together and started to relate to each other not too different from the way rocks are related to sand. I had forgotten the Zen garden just to later realize that I was all the time "looking" at it.
While composing, the idea of Latin America randomly and persistently came to my mind. As usual, some places emerged, some people, some music, and the past. Surrounded by silence and snow I was frequently brought back into the present.
The poetry of Roberto Juarroz was a bright shadow walking with my steps. The title of this work is a line from his Poesía vertical.


En la impenetrable maraña de lo no nombrado

Resplandecencias de la Nada (2002) 
for flute, clarinet, violin cello, piano, harp and percussion
Premiered en New York City by Ergo Ensemble (2002)

Resplandecencias de la nada
Pensaba en la imagen que nacía de un poema que hablaba de la luminosidad del aire a las 4:40 de la tarde en algún lugar del sur del Sur. Los pensamientos venían vacíos de palabras, con formas y colores, fluctuaciones de densidades y materiales indescriptibles entre islas de silencios. Silencios con remoto fondo de sonidos no muy diferentes a los sonidos que creemos oír en sueños. 
Tendemos a pensar en la Nada al estar envueltos de silencio…pero pronto descubrimos todo un mundo allí. Lo más cercano al silencio es nuestro propio aliento, luego la carne de los vientos, más allá, los susurros del mundo que crean otros mundos.
A las 4:40 PM en el sur del Sur, la tarde se transforma en un enorme diapasón, todo se suspende, gravita a su alrededor reflejando una luz de un poder cresciente y nos invita entrar. Resplandecencias de la Nada que eventualmente deviene silencio de resonancias ocres. Silencio nunca deja de sonar. 
Pensaba en la imagen que nacía de un poema. Esta música es el residuo de esa experiencia.
Dedicado a Adolfo de Obieta, arqueólogo del Misterio.

Resplandecencias de la Nada

Mariana Stratta, Juliana Moreno & Patricia García, flutes.

Estaciones

Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, electroacoustic, and intermedia works which explore fragmentation, multiplicity, intelligibility, behavior, and the integration of live performance with technology. He is Artistic Director of the [Switch~ Ensemble] and Artistic Associate/Lecturer in New Media and Digital Technologies for Music at the Hochschule für Musik Carl Maria von Weber Dresden, Germany in the Hybrid Music Lab. He served from 2018-2022 as Department Chair/Lecturer in Composition, Theory, and Electroacoustic Music at the College of Music, Mahidol University in Thailand, 2022 Interim Managing Director of the Mizzou New Music Initiative at the University of Missouri, and 2020 Visiting Lecturer in Composition/Interim Director of the Electronic Music Studios at the Butler School of Music, University of Texas at Austin. His works have been described as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong—in a good way.”
        Jason is the recipient of a 2010-11 Fulbright Fellowship at the Hochschule für Musik und Theater in Hamburg, Germany as a visiting scholar, commissions from the Mizzou International Composers Festival for Alarm Will Sound (2013), Iktus Percussion (2013), the International Horn Society for the Eastman Musica Nova Ensemble, soloists Jeff Nelsen, Michael Walker, and conductor Brad Lubman (2014), Ensemble Nikel/Tzlil Meudcan (Israel, 2014), the Blue Water Chamber Orchestra as winner of Iron Composer (2014), the NY Virtuoso Singers (2015), the Earle Brown Music Foundation for the Talea Ensemble and TIME SPANS Festival (NYC, 2017), the Thailand New Music and Arts Symposium for the TACETi Ensemble and augmented conductor (2019), and for TACETi and extended no-input mixer (2020), a fellowship and commissions from Royaumont for the Talea Ensemble+EXAUDI Vocal Ensemble (2016), and the Académie Voix Nouvelles Ensemble (2017), a German/American Fulbright Commission (2011), the Howard Hanson Orchestral Prize (2014), two ASCAP Morton Gould Young Composer Awards (2014 & 2015), an American-Scandinavian Foundation Grant (2015), 2017 Artist-in-Residence at the Brush Creek Foundation (Wyoming), and 2015 Artist-in-Residence at USF Verftet/City Council of Bergen, Norway.
        As a nominee for the 2015 Gaudeamus Prize, three works were presented by Insomnio, the New European Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek (NL). His works walkside, lost and gimme shelter (2015), commissioned by Gaudeamus for Slagwerk Den Haag and by Eklekto Percussion Geneva, both explore the structural intersection of precise physical gestures, fragile sounds, and speech alongside live audio and video processing. As 2018 Artist-In-Residence at the Embassy of Foreign Artists in Geneva, Switzerland, he developed a new, interactive processing environment for surface, tension (2018), responding directly to the discrete physical gestures of performers and governing the behavior of both signal processing and triggering through wearable technology, sensors, and gestural tracking. Scenes from his multimedia opera Hunger have received performances at Darmstadt (2014) with Ensemble Interface, The Industry’s FIRST TAKE in L.A. (2015) with wild Up, and the MATA Interval Series in New York City (2015) with the [Switch~ Ensemble]. “Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a wailing orchestra effects, cuts the ear like a knife. Buchanan delivers.” – L.A. Times
        Mentors have included Ricardo Zohn-Muldoon, Steven Takasugi, Pierluigi Billone, Chaya Czernowin, Raphaël Cendo, Peter Michael Hamel, and Georges Aperghis. Jason served for three years as Executive Director of the Valencia International Performance Academy & Festival (Spain), for two years as a Curator for the San Francisco Center for New Music, as founding Director of the TICF International Academy for Young Composers, and as a Faculty Artist at the International Composition Institute of Thailand. As a doctoral student, he served as course instructor in electronic music and composition, board member of OSSIA, and assistant conductor for the Musica Nova Ensemble with conductor Brad Lubman at the Eastman School of Music. 
        As a guest composer, conductor, and lecturer, he is widely sought internationally at institutions such as the University of Chicago, Stanford University, TRANSIT Festival (Belgium), TIME SPANS Festival (NYC), Chamber Music Campania (Italy), the Eastman School of Music, University of Miami Frost School of Music, Music Science Share Educators Conference (Shanghai), Queens New Music Festival, MATA, the Thailand New Music and Arts Symposium, Yong Siew Toh Conservatory (Singapore), the Bergen Center for Elektronisk Kunst (BEK, Norway), and dozens of Universities throughout the United States. He holds a Ph.D. from the Eastman School of Music, and degrees in Composition and Music Technology from San José State University (BM & BA, 2008) and the University of Nevada, Las Vegas (MM, 2010), where he taught courses in composition and theory as a graduate student. Current projects include "Ecology of Disruption" for Line Upon Line, a percussion trio with generative electronics, lights, and video, an immersive collaborative work for the [Switch~ Ensemble] at EMPAC, and development of new systems for gestural tracking and interactivity within the Hybrid Music Lab, Dresden. 
www.jasonthorpebuchanan.com