The 3D Sound Object speaker system has some very interesting features for novel artistic practices that we will explore and refine in a succession of performative installations. In the process we will develop dedicated techniques in software and musical notation that meet particular artistic goals and resolve the set-up’s inherent, compositional challenges. Special Guest: Zach Lane (November 5th only)
Time: 7 pm
Open to the Public Weekdays through Nov. 12 2015 from noon – 5 pm
Location: Harvestworks 596 Broadway #602 New York NY 10012
Phone: 212-431-1130 Subway: F/M/D/B Broadway/Lafayette, R to Prince, #6 to Bleecker
At this talk -presentation we will focus on sound trajectories, and how these trajectories may be mapped to a player’s musical gestures in realtime. We will work with different features of the audio input, and we will also explore their use in derived techniques such as imposition and disruption as a compositional strategy, since this will allow us to consider dynamic situations of counterplay between performer and the 3D Sound Object. Longer-term goals that will be discussed at the presentation includes dedicated variations on existing synthesis techniques that integrate 3D spatial information into the core processes, to create true, three-dimensional sonic objects.
The nature of the 3D Sound Object and its reliance on ambient acoustics suggest a performance situation that lies outside the traditional concert situation, situating it between performance and installation. This has compositional consequences that must be well understood to be fully integrated, such as the relation between physical space and make-up on musical duration, as well as the performer-3D Sound Object amalgam and the behavioural role of the audience. These concerns will also be addressed
Paul Geluso’s work focuses on the theoretical, practical and artistic aspects of sound recording and reproduction. He is a sound recordist, mixer, and engineer who collaborates with musicians and media artists using sound as a creative medium. As a Creativity + Technology = Enterprise resident at Harvestworks, he created a prototype of the 3D sound object and has worked with Suzanne Thorpe, Steven Vitiello / Steve Roden and Meg Schedel to exhibit their unique compositions.
Zach Lane is an American bassist, multi-instrumentalist, and composer currently living in Brooklyn, NY. He earned his Bachelor Degree in Music Education at the University of New Mexico in 2004 and his Masters Degree of Double Bass Performance at Western Michigan University in 2007. Since moving to NYC in 2007, Zach has performed with a large array musical outfits. His most recent projects include playing bass for Ross Gallagher’s band Luminist, Kyle Wilson’s band Shwilson, and Danny Fisher-Lockheads Large Ensemble.
Zach has also composes and leads his own jazz outfits, The Ztrain featuring RJ Miller and Kyle Wilson, as well as Hits and Bits featuring Travis Reuter, Aaron Kruziki, and Jason Nazary. He also has a solo ambient synthesizer project Ghost Town, and a solo rock record under the moniker Sleeveless Tina. You can hear some of these projects here www.soundcloud.com/zachlane and
www.sleevelesstina.bandcamp.com and www.shwilson.bandcamp.com
In addition to the busy music schedule he is a full time luthier at the world renowned David Gage String Instruments in Tribeca.
Lars Graugaard is a danish-born composer, performer, and lecturer with a degree in flute-playing from the Royal Academy of Music in Copenhagen, Denmark and a Ph.D. in the artistic and technological challenges of gesture and emotion in interactive music from Oxford Brookes University, England.
Lars has over 180 score compositions in all genres to his credit, performed in Europe, Asia, Australia and the Americas. He has also composed for stage and cinema, and he appears as flautist, performer and/or composer on Dacapo/Naxos, Classico, Centaur, EMI, SONY Classical and CBS as well as online micro-labels such as chordpunch, Mindwaves, Pueblo Nuevo and clang. He has published several scientific papers on performative aspects of music and cross-media.
Lars’ artistic vision and musical understanding lets him move freely between sophisticated surroundings and popular culture and his production comprises digital experiments into the latest trends of interactive music and cross-modal forms, as well as popular projects and compositions in the modernistic European tradition from large-scale orchestral pieces to chamber music.
Lars is Visiting Faculty Artist at New York University Steinhardt since 2010 and guest professor at Universidad Catolica, Chile.
“This is new music, to be sure, and the program that lies behind it, full of intricacy, will surely provide many more of quite exciting, revealing musical thoughts.” (David Murrieta, A Closer Listen)
“Eine sehr starke Einspielung von vier ebensolchen Kompositionen Graugaards, die Kennern gefallen dürfte, aber auch Einsteigern einen guten Einblick in diese moderne Form der klassischen Musik geben kann. Fans von z.B. Zeitkratzer sollten hier definitiv zugreifen.” (Wolfgang Kabsch, Musik an Sich)