Title: Deliquescence
Year Completed: 2011
Duration: 8 mins
Instrumentation: 8 Channel Audio
Premiere: Sat. Jan. 22, 2011, Denton Hall, Acadia University: Shattering the Silence New Music Festival
If interested in performing this work please contact the Canadian Music Centre.
The ability of a substance to attract and hold water molecules from the surrounding environment, such as coffee grounds. Deliquescence uses sound-sources that were originally created for 10 EA studies I worked on in 2010. Sounds are used for their gestural qualities alone; a certain tessitura, density, velocity etc... that create relationships between dissimilar sound sources, such as boiling water, pins in a plastic box, the low hum of an air-exchange unit, swirling of plastic bowls and others. Source-bonding; finding sounds that imitate certain gestures, becomes a central focus, as does as spectral approach; removing certain frequencies, or working with the envelope of sound; splicing the attack and decay, for example, leaving only the sustain. My working process reminded me of the effect of deliquescence, absorbing material through the surrounding sonic environment.
Year Completed: 2011
Duration: 8 mins
Instrumentation: 8 Channel Audio
Premiere: Sat. Jan. 22, 2011, Denton Hall, Acadia University: Shattering the Silence New Music Festival
If interested in performing this work please contact the Canadian Music Centre.
The ability of a substance to attract and hold water molecules from the surrounding environment, such as coffee grounds. Deliquescence uses sound-sources that were originally created for 10 EA studies I worked on in 2010. Sounds are used for their gestural qualities alone; a certain tessitura, density, velocity etc... that create relationships between dissimilar sound sources, such as boiling water, pins in a plastic box, the low hum of an air-exchange unit, swirling of plastic bowls and others. Source-bonding; finding sounds that imitate certain gestures, becomes a central focus, as does as spectral approach; removing certain frequencies, or working with the envelope of sound; splicing the attack and decay, for example, leaving only the sustain. My working process reminded me of the effect of deliquescence, absorbing material through the surrounding sonic environment.
