Name: Now - performed by the Robinson Panoramic Quartet by Jenn Kirby
Duration: 4 min 43 s
Description: Now performed by the Robinson Panoramic Quartet in the Kevin Barry Room, National Concert Hall, Dublin.

lovely music, Jen - I love the huge dynamics!

This is very spirited and at the same time has nicely introspective parts.

Love it Jenn! So many of your compositions are very intelluctually curious ;)

Avec cette balade audio commandée par le CCI, Rachel Ní Chuinn nous emmène sur les pas de Joyce à Paris... Quelle a été l’influence de la Ville lumière dans l’écriture d’Ulysse ? Quelle est l’importance de l’espace public pour Joyce (qui souffrait de problèmes de vue) ? Pour répondre à ces questions, l’artiste sonore et compositrice s’est entretenue avec des spécialistes de l’auteur : Declan Kiberd, Barry McCrea et Katherine O’Callaghan.

On déambule de la rue de l'Assomption, premier lieu parisien de résidence de Joyce, à Passy ; du square de Robiac, où les Joyce ont longtemps habité, au 9 rue de l’Université, là où se situait l’Hôtel Lenox, où la famille a quelquefois séjourné ; du 29 rue du Cherche-Midi, adresse du cabinet médical de l’ophtalmologue de Joyce, le Dr Louis Borsch, à la place du 18 juin 1940, où se trouvait son restaurant préféré Les Trianons ; du 8 rue Dupuytren, adresse originelle du Shakespeare & Co de Sylvia Beach, au 12 rue de l'Odéon, deuxième adresse de la librairie ; du 71 rue du Cardinal Lemoine, où Joyce a achevé Ulysses dans l’appartement de Valéry Larbaud, à la statue de Sainte-Geneviève sur le Pont de la Tournelle…

Écrit, produit et raconté par Rachel Ní Chuinn
Commandé par le CCI dans le cadre de la Saison Joyce 2022
The Brown and the Yellow Ale est chantée par Ruth Clinton
Merci aux conseillers académiques Declan Kiberd, Barry McCrea, Katherine O'Callaghan et Lola San Martín Arbide
Merci à Mary Hendriksen, Catherine Wilsdon, ainsi qu'à Declan McCavana et Julie McDonald.  
Soutenu par le DFA, Culture Ireland et Notre Dame

---------------------------------------

How did Paris influence the final stages of Ulysses? As we celebrate the centenary of the publication of Ulysses in Paris, this commissioned audio tour looks at the importance of public space to Joyce, who had to negotiate it with very poor eyesight, and how our movement through the city can bring us closer to the ideas in the book. Sound artist and composer Rachel Ní Chuinn teamed up with Joycean scholars Declan Kiberd, Barry McCrea and Katherine O'Callaghan to help answer these questions.

The places and addresses that are evoked in the audio work are rue de l'Assomption, Joyce’s first real residence in Paris; Passy; square de Robiac, where the Joyce family lived for longest; 9 rue de l'Université, the site of the original Hotel Lenox where the family stayed from time to time; 29 rue du Cherche-Midi, where Joyce’s optician Dr Louis Borsch practiced; place du 18 juin 1940, the site of his favourite restaurant Les Trianons; 8 rue Dupuytren, original location of Sylvia Beach's Shakespeare & Co; 12 rue de l'Odéon, later address of Beach's Shakespeare & Co;  71 rue du Cardinal Lemoine, where Joyce finished writing Ulysses in Valéry Larbaud's apartment.  Another location of significance is the statue of Sainte Geneviève at the Pont de la Tournelle. 

Rachel penned the poem below, to read if you want, before journeying with her through the streets of Paris from wherever you are sitting now!

A Shout in the Street
An Audio Walking Tour  - James Joyce in Paris (24'40")
Written, produced and narrated by Rachel Ní Chuinn
Commissioned by the CCI as part of the 2022 Joyce Season
The Brown and the Yellow Ale is sung by Ruth Clinton
Thanks to academic advisors Declan Kiberd, Barry McCrea, Katherine O'Callaghan and Lola San Martín Arbide
Thanks to Mary Hendriksen, Catherine Wilsdon, and also Declan McCavana and Julie McDonald  
Supported by DFA, Culture Ireland and Notre Dame

Balade audio - James Joyce in Paris

The music industry today, and with it the art industry in general, focuses on the finished product. This focus is unfounded. Art is not an object, either sound, image, or thing. Art is a process, a happening. When we focus on the finished product we miss the 'happening' itself. Releasing an album is akin to giving it its funeral; a farewell. The music happens in the process, and if we're lucky the fruits of that process are captured within the music and are there for the listener to experience; like a memorial at a funeral.

With my next E.P 'A Man on His Tornado Learns the Importance of Space' scheduled for release over the next few months through iH! Audio﻿, I have decided to show you some of the 'becoming' of that release, not with songs from the E.P. itself, but with music I both worked and collaborated on in the interim that developed, changed, and evolved my approach to creating music allowing for the becoming within the E.P, and with it furthering the becoming of Gregory the Asshole.

The first of which I will share is a collaboration project with Jeshua. Where as my approach to music was always adding as much sound in as I could, Jeshua functions in the reverse. If I were a gangster from Brooklyn spitting fierce rhymes down the mic, Jeshua would be a poet, sensitively shaping each words. Both forms have their merits, but working with him thought me the value of subtraction rather then addition. 

Finally, this song is not a finished piece of music. Alas our different approaches rendered our collaboration impossible to finish, but the process itself was truly beautiful. Here's one of the songs we worked on; 'Now I Know How to Care'.

Vocals: Gregory and Jeshua
Guitar: Jeshua
Synths: Gregory 
Produced, mixed and mastered by Gregory and Jeshua
Artwork by Cristina Stoica

Now I Know How to Care (with Jeshua)

Now performed by the Robinson Panoramic Quartet in the Kevin Barry Room, National Concert Hall, Dublin.

Now - performed by the Robinson Panoramic Quartet

"Old Minutes", from new duo album by Fergus Kelly & David Lacey, "Quiet Forage". Room Temperature RTCD13, November 2015.

Old Minutes

Bog Bog, The Electronic Ladyland Mixtape

Tracklisting & interview - http://www.infine-music.com/news/374/podcast-024-arandel

Check Arandel´s interview @ The Drone : http://www.the-drone.com/magazine/arandel-bog-bog-the-electronic-ladyland-mixtape/ 

Follow Arandel on Soundcloud : https://soundcloud.com/arandel

BOG BOG, the Electronic Ladyland

Infos

PODCAST 024 - ARANDEL : Bog Bog - the Electronic Ladyland mixtape

Another piece of music for life performance - it would be cool to do it with a real kitchen sink - or perhaps with water dripping into one of my Waterphones. The sound of water dripping was all it took to create this soundscape.

A while ago, Fluxus was mentioned on my favourite radio show (Nova - http://www.rte.ie/lyricfm/nova/). Rendering some of the Fluxes scores (curated by Danny MacCarthy) in the 1980s at the Triskel Arts Centre in Cork City (Ireland) was one of the activities which started me off on my present musical journey. This mention of Fluxus inspired me to compose and perform a fluxus-like event score.

>>>>>
Capture and play the sound of water dripping. The drops may be evenly spaced or not.

Make it so that the sound of each drop falling selects an electronic effect according to a selection algorithm of your choice. Any or all of the effects may be null effects, making no changes to the sound.

Route the sound of each drop to its selected effect.

Capture each of the resulting sounds into a continuously repeating loop of arbitrary length, sound on sound, while continuously playing back the contents of the loop

Add further effects or not as desired. 

When the output reaches the desired density, fade or cut off the sounds as desired.

Repeat as many times as desired.
<<<<<

I used four different delay effects and an envelope follower in order to side-chain a bass sound into the mix. To perform this music back in the 70s or 80s would have required at least five (ideally nine) tape machines and four synthesiser modules. I used a small computer and Max/MSP software for this single take recording.

Please feel free to perform or to record your own version and to credit me as the composer.

This is a tribute to the few survivors from those days with whom I am still in touch, and who are still making music: https://soundcloud.com/chewedupsounds , https://soundcloud.com/mixile , and Danny himself. It is inspired by the drip music of George Brecht, and it somehow seems resonate with Ligeti's piece for Metronomes.

A Kitchen Sink Event (composed from only the sound of water dripping ...)

http://www.sylviahinz.com for https://soundcloud.com/femalepressure

#femalepressure for #rojava #revolution #solidarity

4 great bass recorders and voice sample.
Voice sample source: anonymous female soldier @ https://www.youtube.com/watch?v=hx9FflnWy6Y ("I hope that kurdish women can inspire women all over the world.")

[Sylvia Hinz] - Sylvia Hinz - anonyma

Episode 60 of ADJ•ective New Music's podcast, Lexical Tones. Robert McClure interviews composer, performer, lecturer and music technologist Jenn Kirby.
http://www.jennkirby.com/

Visit www.adjectivenewmusic.com for more information about ADJ•ective New Music, the ADJ•ective Composers' Collective, and Lexical Tones.

60 - Jenn Kirby

It's There

Stretches II is the second piece from a series of compositions for Gametrak controller and Max/MSP. The series was first developed in collaboration with Swansea Laptop Orchestra in Ty Cerdd’s CoDI ELECTRONIC project. The composition explores a delicate sound world of white noise with multiple band-pass filters and technological translation of physical movements into sounds. With the gestural device, individual filtered noise is gradually layered on top of one another to form sounds with more distinct timbres. Sound masses are sent to different speakers and present the audience with rich electroacoustic sonorities that eventually fade into a single sustained band of white noise. 

Gametrak controller: Poumpak Charuprakorn

Live recorded in Cardiff University Composition Showcase 2019 (Cardiff, Wales)

Stretches II

‘Stretches’ is specially composed in collaboration with Swansea Laptop Orchestra (Jenn Kirby and Simon Kilshaw) in Ty Cerdd’s CoDI ELECTRONIC as part of Bangor Music Festival 2019. The composition aims to explore a delicate soundworld of white noise with multiple band-pass filters controlled by Gametrak controllers and Max/MSP. Two performers gradually layer individual filtered noise on top of each other to form sounds with various spectral spaces which later evolve into more distinct timbres. Sound masses later travel all over the performance space via quadrophonic speakers and fully embrace the audience with rich electroacoustic sonorities that eventually fade into a single sustained band of white noise. 

The premiere was performed by Jenn Kirby and Simon Kilshaw (Swansea Laptop Orchestra) at Pontio Arts and Innovation Centre, Bangor University in Bangor, Wales on 8 February 2019 in Bangor Music Festival 2019.

This version was recorded by Jerry Yue Zhuo and Poumpak Charuprakorn in the Postgraduate Studio, Cardiff University. Although the composition is for quadrophonic speakers, this recording has been adapted for a standard stereo setup.

Stretches

Jenn Kirby is an Irish composer, performer, software developer and lecturer based in London. Her work ranges from instrumental composition, to electroacoustic, to live electronics. 

This space is primarily for instrumental work. Electronic and experimental-pop works are available on bandcamp.

Now - performed by the Robinson Panoramic Quartet

Jenn Kirby

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