I Hope You Dont Mind

Listening to Mars is a piece created from recordings made on Mars by Nasa's Perseverance Rover. Microphones are sensors tuned to the human range of hearing which reach out into reality and collect data about the sound which is occurring in some geographic location. But what does this data mean in an atmosphere which is 95% CO2 and a fraction of the density of Earth's? 

Source Material:
Recording of Interspace Transit:
-This is a buzzing sound created by rover while it is in transit. This broad spectrum sound is transmitted through the solid materials of the rover.

First Recording of Martian Surface:
-This is the first recording made on Mars. It contains the sound of wind, the harmonic buzzing of the rover's electrical system, and squeaking and clatter of the rover while it is moving.

Recording of Mineral Testing:
-The Perseverance tests the hardness and composition of rocks on Mars using a laser which vaporizes the rock. A sensor then measures the sound of the explosion as well as other properties, like the particle content of the smoke, to learn more about the physical qualities of the Martian surface.  

Lithophone and Sampled sounds:
-Recordings I made of rocks sliding across one another.
-Single notes sampled from a vinyl record of Daniel Schmidt's "In My Arms Many Flowers"
-These are included because what we hear is formed by experiences, and all of our experiences with sound have happened on earth.

PrimeStorm Binaural

Sandy Brechin - Accordion 
Ewan Wilkison - Guitar

Live at The Black Cat in Edinburgh Scottland.

The Black Cat, Edinburgh, Scottland. 28/9/22 Binaural

Flute: Audrey Cullen
Clarinet: José Eduardo Orea Domínguez
Piano: Jialin Wei

Recorded and mixed by Derek Drudge

Fold (II. Solo & III. Trio)

For solo bassoon.
Benjamin Kearns, bassoon.

3.16.2022

The Spinning Wheel

Ziyu Wang- Clarinet
Brandon Ligon- Viola
Derek Drudge- Harmonic Recorder.
Performers controlling tracks in Reaper with a compass while they walk around and improvise. 
The performers are instructed of a score which correlates to the space on the stage. In our minds we divide the stage into quadrants. As we walk through the grid the methods we use for improvisation changes depending on our location.

My goal as the composer of this piece is to make music which will be different each time. In fixed media the decisions and actions of the composer are baked into the final piece of music. The final piece becomes a chronological timeline of the composer's decisions at that point in time. My intent is to take my own decisions, and biases, out of the composition. This has led to this composition which uses the performance space as the score, and the instrument.

Surface4

Route1

Crossing

A Diorama Of Lu Zhai Lang - II. Grievance

Demo of my recording and Mixing
Crane Faculty Jazz Ensemble, 0:00-0:38 
Sunny- Josh Barkley, Piano, 0:38-1:01 
Pond by Wang Ziyu- ASU Sax Ensemble, 1:01-1:49  
Potato Lake- Coconino National Forest, Arizona. 1:49-End

A Diorama Of Lu Zhai Lang - II. Grievance

Wang Ziyu

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