Name: Improvisation with Lids and Jars by Thom Blum
Duration: 3 min 2 s
Description: This is a 3-minute improvisation with digitally-processed field recordings that are selected, reprocessed, layered/mixed live, using the software "SoundFisher" and "MixBus".

Faktura (Excerpt)/James Fei

The opening music for A Little Girl Dreams of Taking the Veil sans vocals. 

Academy Of Science

Enough

Frammenti No. 2

Hortus Musicus 4

HARP GUITAR DOUBLE CONCERTO (2016) 
David CHISHOLM

Jessica FOTINOS, Harp
Mauricio CARRASCO, Guitar
Maxime PASCAL, Conductor

ARGONAUT CHAMBER ORCHESTRA
Alister BARKER, Cello
Madi CHWASTA, Percussion
Natasha CONRAU, Violin
Rohan DASIKA, Double Bass
Melissa DOECKE, Piccolo | Flute | Bass Flute
Sam DUNSCOMBE, Clarinet | Bass Clarinet
Aviva ENDEAN, Clarinet | Contrabass Clarinet
Laila ENGLE, Piccolo | Flute | Alto Flute
Phoebe GREEN, Viola
Judith HAMANN, Cello
Jonathan HEILBRON, Double Bass
Sef HERMANS, Trumpet
Brock IMISON, Contrabassoon
Zachary JOHNSTON, Violin
Jasper LY, Oboe
Charles MACINNES, Trombone | Bass Trombone
Benjamin OPIE, Oboe
Roman PONOMARIOV, Horn 
Leigh RAYMOND, Violin
Christian READ, Viola
Louisa TREWARTHA, Trumpet
Erkki VELTHEIM, Concertmaster
James WANNAN, Viola
Elizabeth WELSH, Violin
Paul ZABROWARNY, Cello

World premiere performance recorded by Jem SAVAGE at Ulumbarra Theatre, Bendigo on 2 September, 2016 at the Bendigo International Festival of Exploratory Music 
Mixed by Myles MUMFORD

Argonaut was supported by the Australian Government through Australia Council for the Arts, Victorian Government through Creative Victoria, the Sidney Myer Fund and the Robert Salzer Foundation.

Maxime Pascal’s appearance at 2016 BIFEM was supported by Joan and Barry Miskin with international travel support from Institut français

Harp Guitar Double Concerto (2016) Live Recording

This is a 3-minute improvisation with digitally-processed field recordings that are selected, reprocessed, layered/mixed live, using the software "SoundFisher" and "MixBus".

Improvisation with Lids and Jars

radioDinner live at House of Zoka with Suki O'Kane, Michael Zelner, Andy Cowitt, and Michael Wertz

Originally Webcast live on sfSoundRadio (July 5, 2018)
sfsound.org/radio.html

Details at:
sukiokane.com/event/radiodinner-imperfectfruits/

2018-07-05 House of Zoka

radioDinner #2 Part 1: bc3o + 1

Performance
Saturday, June 9th, 2018

ISSUE Project Room
22 Boerum Place, Brooklyn

Saturday, June 9th, ISSUE is thrilled to present a rare U.S. performance from celebrated Paris-based Argentinian artist Horacio Vaggione, composer of electroacoustic and computer-assisted music and pioneer of micromontage, granular synthesis, and microsound.

As early as the 1960s, Vaggione began coupling his compositional work with computation as a means of transposing digital concerns to the instrumental level. His music is characterized by lively, often violent colors, but also by subtle relationships that are set up between acoustic instruments and recorded or computer-generated elements. For Vaggione, composing is a process of generating veritable, unique events and articulating them within a multiplicity of timescales, scalable within ever-expanding digital environments. Vaggione parses through tense and often false dichotomies between multiplicitous and univocal sonic elements, with granular sound positioned and manipulated without the unity of the sound source being lost. His compositions concern morphology (the study of the forms of things) by building sturdy structures from these minute grains, bringing the ear to a sonic world made up of atoms forming and reforming in their cohesion. Here, a snare drum can be defined merely by the sharpness of its timbre -- the rubbing, bouncing, and multiphonic spread of its impact deconstructed and emphasized by software.

Having not performed in New York in decades, at ISSUE Vaggione presents three recent works: PianoHertz (2012) and Mécanique des fluides (2015), both released on the 2017 empreintes DIGITALes CD Fluides, as well as the brand new work Timpani (2018). PianoHertz was composed from a collection of piano sounds that Vaggione played, recorded, and expanded digitally with the intention to foster the birth of multiple classes -- some retaining the dynamic traits of the original sounds while others representing radical mutations. Vaggione describes Mécanique des fluides as differentiating between laminar (smooth) sounds and turbulent (intermittent) sounds as a means of articulating associated levels of polyphonic activity within a conception of sound as fluid. Timpani has never been heard publicly.

The evening opens with a performance from 51717, the intuitive language of New York-based artist Lili Schulder, presenting new work that explores themes of “Perfected Fear” described in the rabbinic literature of Genesis Rabbah, as well as the exorcism of anguish as it has become understood within Jewish Meditation and the interpretations of Reb Nachman of Bratslav.

51717 takes the droning and whispered sounds of the synagogue as a point of departure, interpreting Reb Nachman’s “still small voice” to become a sonic “scream in the mind” that channels and re-codes loudness through a subdued and meditative practice. Using field recordings from domestic settings and site specific locations in Poland and Germany, and techniques of repetition, moving stillness, restraint, and tension, 51717 keeps her sonic sources hidden, rather focusing on the transmission and decay of overwhelming thematic elements into minor sonic forms. Here, her work touches on implicit musical tensions between noise and silence, language and sound, material and transcendence -- dichotomies that often form the binaristic conditions that are confronted and deconstructed within meditative and ritualistic practice.

Recorded by Bob Bellerue / Mixed by James Emrick

Horacio Vaggione - LIVE at ISSUE / June 9th, 2018

The next in the Elements series. This time I was working with the Mallet section, but ended up on this nice plucked string sound. Ran it through the Magneto to do the standard doubling, then tossed in a crazy BIA high hatty type thing, with modulation to warp the sound, and a WMD Crater to hold it together and provide a bass tone.. The Turing Machine is doing the notes, and I turned it down to a 3 note sequence, which worked out really nice. :)

Train Of Thoughtfulness

Started with giving attention to Rainmaker with Marbles doing a ton of heavy lifting... ST0, Mimeophon, Sapel, Wogglebug, 0chd, etc.. :)

Improvisation with Lids and Jars

Thom Blum

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