Taca-taca is the Chilean name for foosball, and this name/game was commonly used as a metaphor when talking about those who run the nation (Chile), same as "the man pulling the strings" metaphor.  A particular act of protest against the system was the use of pots and pans during curfew, represented by the soft metal sounds.  
This is beautiful performance by Ryan Nestor, who commissioned the piece.  Ryan, many thanks.


TacaTaca

Not Idle Noise, for clarinet, bassoon, guitar, woodblock with live processing, fixed media

Not Idle Noise Live

"DUO ACCENT"
Renato Trombì sax alto,
Daniele Calì sax baritono.

V. Morosco - Etude N.2

Increment (2010) for clarinet and percussion, commissioned by Caleb Herron, is a work with a simple incrementing structural scheme that focuses on interaction between the two performers. The work was composed with the use of weighted interval sets, markov chains, and the various gesture driven algorithms. The Common Music/GRACE algorithmic composition environment was utilized as well as several primitives programmed Max and Java. 

Increment (clarinet and percussion)

Schnabel recording of Op. 31, No. 1, I at 3x speed

Beethoven Op. 31, No. 1 (3x faster)

#sorrynotsorry

New Music New College
The JACK Quartet
Then and Now: Music of New College Composers
November 17, 2012
Mildred Sainer Pavilion
New College of Florida

An Anatomy of Entropy

Premiere => UIUC Symphony Orchestra - James Blachly, Conductor; 2.29.2012; KCPA

Paranoiac-Critical Variations (2011), commissioned by the University of Illinois Symphony Orchestra, is inspired by the paranoiac-critical method (PCM) developed by Salvador Dalí in the early 1930s. Dalí describes the PCM as a "spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena." The method was inspired by the ability of the brain to perceive links between things that rationally are not linked. Paranoiac-Critical Variations is concerned with the implications of Dalí's PCM for sound and music, perceptual links between variations and juxtapositions of musical materials, as well as the themes, mood, and gestures present in several works from Dalí's paranoiac-critical period: The Persistence of Memory, Soft Construction with Boiled Beans, The Disintegration of the Persistence of Memory, Metamorphosis of Narcissus, Autumn Cannibalism, and The Sublime Moment.

Paranoiac-Critical Variations is organized into six movements to be performed mostly without pause. Each movement is approached with one of the above mentioned works in mind, and attempts, albeit sometimes abstractly, to highlight features of the painting: I. The Persistence of Memory uses the notions of juxtaposition, melting, and gestural shapes drawn from objects in the painting; II. Soft Construction uses the mood and intent of the painting; III. The Disintegration is a derivative of movement I. as The Disintegration of the Persistence of Memory is a derivative of The Persistence of Memory; IV. Metamorphosis of Narcissus uses the notions of juxtaposition, variation, and the shapes of objects from the painting; V. Cannibalism in Autumn uses the notions of juxtaposition and mood; and VI. The Sublime Moment uses mood and the shapes of objects from the painting. 

Paranoiac-Critical Variations (orchestra)

Pathfinder (2009), electroacoustic music designed for 5.1 surround, draws inspiration from all the relatively small sounds that are made as we move through this world. The grating of rocks under foot, the crush of leaves, and the sounds of tree limbs snapping are among the sound sources used. The work is primarily concerned with motion, pace, obstacles, and points of arrival.

Pathfinder was composed with Grace (an algorithmic composition environment by Taube), Csound, Protools, and Max/MSP. This work was realized in the Experimental Music Studios at the University of Illinois Urbana-Champaign.

Pathfinder (electroacoustic)

This work was inspired by a road trip through Pennsylvania. As I drove through the state’s multitude of valleys, I selected the “scan” mode on the radio, which would play five seconds of a station with strong reception before moving to the next one. 

I was enthralled by the variety of the broadcasting: music, talk radio, static, and complete silence. 

As the journey progressed, the presence of so many small towns within the small valleys caused many of the stations to share signal crosstalk, which I found most fascinating.

This crosstalk reminded me of my youth in deep South Texas. The land area, while quite large, had very few radio stations on the American side of the border. As a result, I spent many nights—when the radio signals traveled farther without interference—listening to rock stations broadcast from Mexico and from other distant cities in Texas.
 
Many times these stations would be very weak—full of static or crosstalk—while at other times, the stations would have a strong signal without any interference.

This work was commissioned by Zack Penckofer and dedicated to him as well as Michael and Quinn Collins.

Scan

JHoltMusic

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