Here is the music from the "Chaos" section of Now We Are Here, a dance piece created and choreographed by Professor of Dance Nusha Martynuk.  I scored and provided sound design for the piece in collaboration with Oberlin's Balkan Ensemble.

Composed in the TIMARA studios at the Oberlin Conservatory of Music.

Chaos - Excerpt from Now We Are Here

An experiment in a new working style that I like to call a "studio improvisation".  I define a studio improvisation as a non-real-time improvisation, built around sounds and structures rather than extra-musical concepts.  Composed in a relatively short period of time, my goal is to not get *too* familiar with sounds, thereby retaining my experience as a fresh-eared listener.

"Digital Bliss" was composed by taking purely digital synthesized sounds from my synthesizer (with some analog filtering), loading them into sound design tools, then arranging them in a tape-editing style, with very little post-processing.



Studio Improvisation #1:  Digital Bliss

We are constantly surrounded by little bits of designed sound. From a cell phone’s keyboard clicks on touch screens to synthesized engine noises in electric vehicles, synthesized sounds have reached a new commonality and—in cases such as these—replaced real world sounds. If a synthesized sound reaches the ubiquity and recognizability of that of a real world sound, does it, in turn, become a “real world sound”?

Composed at the Oberlin Conservatory of Music and premiered at my senior recital.

Painting is "The Plough and the Song" (1947) by Arshile Gorky, whose visual studio art has served as an inspiration for my own sonic studio art.

The Scattering (2016)

Performed by John Kirchenbauer, Delaney Meyers, Daniel Orsen, and Aliya Ultan in the Clonick Recording Studio in Oberlin, Ohio, USA.

[standalone excerpt]

Photograph is Pacific Ocean, Iwate, 1986 by Hiroshi Sugimoto.

Adrift (2016)

All sounds are from analog synthesis ran through digital sound processing.

Rock Biter

The image is of the oil painting "Collapse Sonata" by Matt Omahan.  For studio art inqueries, email matt.omahan@gmail.com.

Schwan (2)

The artwork is an excerpt of my painting "Vermillion" [8"x10" Oil Painting]

And why would I ever want to return?

Written and performed by Matt Omahan.

Track artwork is and excerpt of "Transmission" [16"x20" Oil Painting] by Matt Omahan.

Etude Brutale (for Distorted Solo Cello)

From my master's degree - should have uploaded this like 3(ish?) years ago!

Image is an oil painting by me, myself.  More at Instragram - @noise.harvester ~~~~

S P A C E A N D T I M E

Made for class!  I tried to use very few complex plugins, and tried to give it a musique concrete vibe.

Elastic Distortions

@noise.harvester

i harvest noise

composer turned painter painter turned composer I don’t know

Electroacoustic Composition at the University of Manchester // Technology in Music and the Related Arts at Oberlin Conservatory of Music

Matt Omahan

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