Atmospheric, electroacoustic piece with spoken word (yes, wait for it!). Part of a suite entitled "Five poems for a virtual sound sculpture" originally commissioned a long time ago by the now defunct "Listening Room" program of the Australian Broadcasting Corporation. This version mixed some time in 2003. Text based on poems by F. Stainsby. Read by Merridy Eastman.  I suggest not watching the waveform display as it ruins the effect!


Air (from 5 poems)

This "electro-orchestral" piece was created to accompany the RAAF Roulettes aerobatics show to mark the opening of the BHP-Billiton Sale Entertainment Centre in 2003. A bit more um... lyrical and brassy than my typical output. The timing of events in this piece is  the result of closely matching the movements and location of the squadron during their aerobatic routine.

Aerotechnica

My first "serious" electroacoustic piece completed in 1993 (thats right kiddies!) while studying at the (also) now defunct La Trobe University Music department. Entirely based on vocal sources and their transformations. Voices: Joan Pollock, Trish Anderson and a little of my own thrown in for good measure. For tech-geeks: some elements were created on the now legendary IRCAM Signal Processing Workstation (ISPW) Running NextStep (effectively the precursor of OS X  ; ). This track appears on the CD Antholgy of Australian Music Vol 3 http://music.anu.edu.au/about-school/anthology-australian-music/anthology-australian-music-disc-series-iii


Chromophony

This piece explores a few methods by which combinations or decimations of pulses (short discrete sound events) can be used as a means of creating an aural totality or musical statement. By extension, the relationship between discrete elements and a ‘continuous’ aural totality and the potentially fractal nature of this relationship over differing time scales serves as a formal determinant for the work. SA November 2000.

Pulses

Chance is one of four pieces commissioned for and performed by pianist Sonya Lifschitz. As for the whole suite, this piece (loosely) references a Brahms work: In this case Study No.5 (for left hand alone) after Bach's Chaconne. The computer materials are not pre-recorded but created in real-time from the piano performance. These pieces were composed between late 2011 and early 2012 and received their first performance in September 2012 in Melbourne. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

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