CNMAT Flashback

A look back at some items in our archives.

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Project

vagues / fenêtres

This piece reflects my interest in the intersection between natural and musical structures, and the nuances revealed by close listening. It also, I think, bears traces of the many hours I spent wandering with camera and recording devices through the old town and along the promenade in Nice, absorbing color, shape, movement, reflection.

Project

Submarine Installation - CCRMA

A contact mic amplifies drips from a sink. An old piece of piping strapped to the railing emits the sounds of voices. Operating the towel dispenser causes a flurry of water sounds from the metal box attached. This installation explores the experience of being underwater in a confined space, through memories, stories and sounds.

Project

Submarine / Short Films About Water

This multi-channel video and acoustic installation/immersive environment, created collaboratively by Evelyn Ficarra and Ian Winters, exists at an intersection between Ficarra's long standing obsession with the submarine world and several time-lapse films about water by Winters shot at noted sea-faring locations around the globe.

Project

(control)

As the title suggests, (control) deals with differing degrees of control – exertion of control and release of control – “applied” to both performer and listener. The performers are asked to read a very specific score and simultaneously improvise with varying degrees of liberty.

Project

La Luz y Su Desvío

Commissioned and Performed by The Miami Symphony Orchestra
Premiered as part of the 2009 edition of Festival Miami (University of Miami)
Conductor: Eduardo Marturet

Project

Move, tongue

Move, tongue is an attempt to create a non-linear space in sound, where the order of events is not important but rather the experience and perception of their coexistence. In my mind this is analogous to the act of being in a physical space (say a room or a park) and after perceiving it with whatever degree of detail, one arrives at an internal conception — a modeling — of the space.

Project

Metronome

1999 Max/MSP sound installation for the Metronome project of Andrew Ginzel and Kristen Jones. Union Square, NYC.

Project

Archive[s]

Program Note:

The conductor raises his arm to cue the entrance of yet another majestic Russian
tune. The French horn prepares for its solo – The solo. It’s the finale of the Firebird.

In the absence of sound, a conductor’s gesture may be perceived as performative, bordering on absurd. It was Stravinsky’s

Project

Losing Touch

Losing Touch (duration 11') for vibraphone and fixed electronics was composed in 1994. The piece is published by Billaudot Editions (Catalog #GB7027) in Paris (Theodor Presser, US representative). A complete published edition with rehearsal CD and mono performance tape is available for student performance from several on-line dealers.

Project

Paper Speakers

This project explores the technical, design, and aesthetic possibilities of 2-D, flexible audio speaker technology. The premise underlying this exploration is the idea that sound can be thought of as a physically immediate, transparent and embodied material. The end goal for me is the use of this material for my art practice: Sound Art, Installation, and Composition.

Project

Patagon

Patagón is the ancient, archaic name for the land of Patagonia. My newer compositions increasingly link to nature and landscape, and this latest string quartet evokes the idea of the far away, the other-worldly, and the remote.

Project

Pianos

Pianos is a concerto for solo piano/sampler keyboard and large chamber ensemble with extensive live electronics. Performed by renowned (former Regent’s Lecturer) Gloria Cheng, the piece is a collaboration with UC Berkeley’s Center for New Music and Audio
Technologies (CNMAT), and makes use of an extensive archive of sampled piano recordings.

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