Saturday, February 18, 2017

Sounds of the Day #45/2016: My Inhaled books #19 //// Curtis Roads (1) / Dave Seidel (1,2,3,4), Alan Morse Davies (1) / Jan St. Werner (3,4,5)

Inhaled books #19
Jacques Derrida - Donner le temps I. La fausse monnaie
Entered my neural system in 1993.


Curtis Roads - Rhythmic Processes in Electronic Music 
Lecture, MAT Seminar Series, 20th April 2016

 Dave Seidel & Alan Morse Davies - Porch, Rain, Thunder (2016)

Dave SeidelHexany Permutations (2016)
Alternatively: Selected Permutations of a Hexany Chord Catalogue. Hexany Permutations was inspired by Tom Johnson's piece "The Chord Catalogue," where all of the possible chords that occur within one octave for a given scale are presented: all two-note chords, all three-noted chords, and so on, with each chord played exactly once. This piece takes the idea a step further to explore several different permutations (orderings) of a catalog. It also differs from Johnson's work (or at least from his own interpretation of his work) in several other respects; in particular, the use of a microtonal scale, the emphasis on long tones (notes that appear in adjacent chords are tied), and the use of synthesis (though I will note that this piece could be performed by seven strings). One of my goals was to really explore the intervallic resources of this scale and tuning by presenting all of the possible chords in multiple sequences. The just intonation scale used here is a 1-3-5-7 hexany with seven notes (including the octave), giving 120 unique chords. The scale uses the following ratios: 1/1, 7/6, 5/4, 35/24, 5/3, 7/4, 2/1, and is tuned to 1/1 = 180 Hz. The sounds are produced using a scanned synthesis technique that yields harmonically-rich tones that slowly evolve in timbre over the course of their duration.(info: David Seidel)

Dave Seidel The Problem Of Moments (2016)

Dave Seidel Prism, Mirror, Lens (2015)
These are realtime performance pieces recorded in single takes, with no editing, in my home studio. If listening on speakers, please use a quality sound system, listen in a spot with good stereo imaging, and turn up the volume to fill the listening space. To hear additional binaural details, listen with headphones. Remember, streaming versions are downsampled, so go ahead and download to get the best sound. Prism, Mirror, Lens (2014) is a piece for Shnth and realtime Csound processing. It utilizes pure tunings, complex timbres, and sounds of long duration, in a setting of continual spectral change. Prism, Mirror, Lens is dedicated to Samuel R. Delany, from whose novel Dhalgren the title is taken. Nur (2009, revised 2015), composed and performed using SuperCollider, creates rhythmic structure from acoustical beating patterns using overlapping layers of precisely-tuned tones of long duration. This piece is dedicated to David Borden and Mother Mallard's Portable Masterpiece Company; I was fortunate to hear them perform live (more than once) in their original configuration as Borden, Steve Drews and Linda Fisher, when I was a young teenager living in Ithaca, New York in the early 1970s. Nur (نور) is an Arabic word meaning light.

Dave Seidel - Imaginary Harmony (2015)
Imaginary Harmony takes as its raw material a 25-note-per-octave "scale" built by octave-reducing the set of harmonics used by La Monte Young in his 1990 sine wave installation "The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28". The scale is divided into three segments. Each segment is expressed by a sine-wave that plays a randomly-selected sequence from its segment; each voice proceeds at its own independent pace. Simultaneously with each voice we hear a chord that is mathematically derived from the relationship between the sounding pitch and the scale base frequency of 240 Hz. Underlying all of this is a slowly-pulsing, nearly subliminal 60 Hz binaural pedal tone, where each of three binaural pairs is based on the ratio between a set of high-numbered twin primes. Part 1 uses harmonies based on multiplication, division, and the Pythagorean means (arithmetic, geometric, and harmonic). Part 2 uses harmonies based on difference and summation tones. The piece is generative; that is, the specific tone choices from which the chords are generated are selected by a randomized process such that every real-time performance of the piece is unique. Each track is a different rendering and thus they have different tone sequences. Sine waves are the only sound source. The original sound files were generated by Csound. They were then post-processed (also by Csound) for convolution reverb using an impulse response made at Hamilton Mausoleum in Hamilton, Scotland. Finally, the tracks were normalized in Audacity.

Jan St. Werner - Blaze Colour Burn (Fiepblatter Catalogue #1) (2013)

Jan St. Werner - Transcendental Animal Numbers (Fiepblatter Catalogue #2)(2013)

Jan St. Werner - Miscontinuum Album (Fiepblatter Catalogue #3)