luscinia, for orchestra and live electronics
performed live by the La Jolla Symphony, Steven Schick conducting
Tina Tallon, electronics
December 10th, 2017

luscinia (2017)

More on this 41st weekly Disquiet Junto project, Disquiet Junto Project 0431: Solitary Ensembles x 3 — The Assignment: Complete a trio by adding a track to an existing duet by two other musicians — at:

https://disquiet.com/0431/

More on the Disquiet Junto at:

https://disquiet.com/junto/

ušće - (Disquiet0431)Trio With  Krakenkraft / Matthew Thomas Davis

Third part of virtual trio, base tracks were akstuhl's https://soundcloud.com/andykstuhl/dispersal-foundry-disquiet0429 and NorthWoods' https://soundcloud.com/north_woods/disquiet0430.

Disquiet Junto Project 0431: Solitary Ensembles x 3
The Assignment: Complete a trio by adding a track to an existing duet by two other musicians.

Step 1: This week’s Disquiet Junto project is the third in a sequence that encourages and rewards asynchronous collaboration. This week you will be adding music to a pre-existing track, which you will source from the previous week’s Junto project (disquiet.com/0430). Note that you are finishing a trio — you’re creating the third part of what two previous musicians created. Keep this in mind.

Step 2: The plan is for you to record an original piece of music, on any instrumentation of your choice, as a complement to a pre-existing track. First, however, you must select the piece of music to which you will be adding your own music. There are well over 100 tracks in all to choose from, 103 as part of this playlist:
...

Step 3: Record a piece of music, roughly the length of the piece of music you selected in Step 2. Your track should complement the piece from Step 2, and it should be placed dead center between the left and right stereo channels. When composing and recording your part, do not alter the original piece of music at all. To be clear: the track you upload won’t be your piece of music alone; it will be a combination of the track from Step 2 and yours.

My contribution is the organ in the middle.

Treesome - disquiet0431 feat.  Akstuhl And NorthWoods

Disquiet Junto collaboration with MattDavisMusic  and krakenkraft . I added processed ebow guitar drones to their ominus opus. Didn't have time last week for part two but grabbed a couple of hours for this week. It was fun.

Threat (disquiet 431)

Night in forest. Somebody is skulking in undergrowth and making eerie sounds. At times it feels like a possessed child or even Gollum is lurking in dark forest...

Boreal owl and waves of Peipsi lake in background.

23. May 2020, 1 AM. Peipsiveere, Estonia.

Edit: It is most likely a pine marten. I had another recording with visual contact and the sounds were pretty similar.

Creature of night

When I look at the old map of the town of Bern and the river Aare with the intention of using it as a graphic score, I first notice the quasi-rhythmic change of colors and degrees of brightness. Then the shapes, several phallic structures, which are partially nested into each other, and the play of surface, line and point. As a next step, I roughly divided the map into four areas, each of which has a different character, with lines, dots and increasing density at the top right, the curved line of the river, which is increasingly stretching to a surface, the (phallic) middle part enclosed by it with its structure of clearly delineated surfaces, and finally the part running out into pure surface at the bottom right. These four parts of the map are reflected in four musical characters in my piece. At the same time, I tried to translate the overall impression of the map into music as well, so that I did not lose sight of the whole of the score.

More on this 445th weekly Disquiet Junto project, Disquiet Junto Project 0445: Aare Tribute — The Assignment: Read maps of a river as a graphic score — at:

https://disquiet.com/0445/

This is the second of three projects in collaboration with Musikfestival Bern 2020 which will take place in Bern, Switzerland, from September 2 to 6. More on the festival at:

https://www.musikfestivalbern.ch/

https://www.facebook.com/musikfestivalbern/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0445-aare-tribute/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Looking At An Old Map [Disquiet0445]

Disquiet Junto Project 0450: Texture Analysis
The Assignment: Create a piece of music from sounds related to working with rocks.

Welcome to the 450th consecutive weekly Disquiet Junto project. Thanks to everyone who has participated, supported, and pitched in along the way.

This project is the third of three that are being done over the course of as many months in collaboration with the 2020 Musikfestival Bern, which will be held in Switzerland from September 2 through 6 under the motto “Tektonik” (“Tectonics”). For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the second year in a row that the Junto has collaborated with Musikfestival Bern. Select recordings resulting from these three Disquiet Junto projects will be played on a listening booth at the Steinatelier on September 5, as well as being aired on Radio RaBe (rabe.ch), an independent local radio station partnering with the festival.

Step 1: Download the field recordings made at Carlo Bernasconi AG, a company that has been working in stone for over a century. The sounds range from machines to manual tools to spatial ambience.

Step 2: Listen for aspects of the recordings that attract your ears. Focus on textures in particular.

Step 3: Create a piece of music combining elements from as few or as many as you chose in Step 2.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0450” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0450” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0450-texture-analysis/

Step 5: Annotate your tracks with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto and #musikfestivalbern so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is Monday, August 17, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 13, 2020.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0450” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 450th weekly Disquiet Junto project (Texture Analysis — The Assignment: Create a piece of music from sounds related to working with rocks) at:

https://disquiet.com/0450/

This is the third of three projects in collaboration with Musikfestival Bern 2020 which will take place in Bern, Switzerland, from September 2 to 6. More on the festival at:

https://www.musikfestivalbern.ch/

https://www.facebook.com/musikfestivalbern/

The Rocks - disquiet0450

The Assignment: Make music inspired by a line from A Wizard of Earthsea: “For a word to be spoken, there must be silence. Before, and after.”

Also on album "Hearken Beach".
https://krakenkraft.bandcamp.com/album/hearken-beach

Originally I just wanted to make five minutes of interchanching deep pad and noisy something, with a lot of non-silent space between them. I added some ambient field recordings in these spaces, because the name of the track was intended to be 'The Impossibility of Being Silent'.

But then my mi clouds produced some sounds of it's own and I liked it. At the end I had to reintroduce silence to all parts. All in all I hope this to be considered as a tentative approach to silence, with an increase towards the end.

--

More on this 451st weekly Disquiet Junto project, Ursula’s Silences (The Assignment: Make music inspired by a line from A Wizard of Earthsea), at:
https://disquiet.com/0451/

Project discussion takes place on llllllll.co:
https://llllllll.co/t/disquiet-junto-project-0451-ursulas-silences/

Album: Hearken Beach

A Tentative Approach To Silence [disquiet0451]

I chose a minimal to dense, quiet to loud gradient for this. Two instruments — a lapsteel guitar (+memory man delay and eventide space) and a Microfreak synth.  I use gradient theory (ombré and abrash) quite often in two other active elements in my life, rug designing and indigo dyeing. I tried to channel my composition with those in mind, letting unexpected results do what they will, while controlling the palette with a few parameters. 



Disquiet Junto Project 0463: Making the Gradient
The Assignment: Make a piece of music inspired by the concept of a gradient.

Step 1: Think about how a gradient functions, as one thing transitions into another.

Step 2: Make a short piece of music that aims to explore the idea of a gradient in sound.

Nemcha [disquiet0463]

Again, the Friday junto time prompts me to jump back in the past to recoup lost and found stuff. (this one's for Disquiet Junto Project 0466: [ ] Sound Machine)

This track has been mixed and edited today Friday 4th December 2020 in Paris, France. But the source audio comes from the last 30 years and from both Buenos Aires and Paris, my main two home towns.

You'll hear in this track what I remember from Buenos Aires(where I lived for 30 years):
The bandoneon sound as a subliminal soundtrack.
The subway revolving doors noise
The streets, loud with traffic noise and voices.
People playing football in the squares (or almost anywhere), this includes (that strikes me listening to my field recordings today)  children and adults playing, yelling, insulting and laughing together.


This mash up includes my recordings of:

Field recordings of Buenos Aires, DAT (Caballito area) 1990
Field recordings of Buenos Aires, DAT (Palermo Viejo area) 1994
Bandoneon (performed by Olivier Manoury) Paris 2010
Electric bass, tapping riff (direct to DAT) Buenos Aires 1992
Bowed upright basses, Paris 2006
Electric piano an drum beats: Paris circa 2005
Lead synth and additional keys Paris 2015


Photo, calle Corrientes by DD circa 1999.

more info:https://llllllll.co/t/disquiet-junto-project-0466-sound-machine/39014

Buenos Aires Sound Machine (disquiet0466)

Performed by 
Daniel Diaz: upright bass, acoustic piano, treatments
Miguel Ballumbrosio: Cajon

For this haiku:
slanting rain,
gentle breeze,
no need to return home

haiku by Zhang Zhihe
music composed by DD
photo by Jan Kopriva

@naviar-records

No need to return home (naviarhaiku362)

Visit new album on spotify:
https://open.spotify.com/album/4S7e5mHJCR5n0jka5i98yG

Visit new album on bandcamp:
https://krakenkraft.bandcamp.com/album/undefined-landscapes

Ambient electronica, Kosmische and Berlin School from Munich, Germany.
https://krakenkraft.bandcamp.com/

Soundcloud is my musical diary, expect drafts & misfits here.

A Tentative Approach To Silence [disquiet0451]

Krakenkraft

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