|
|
|
|
|
For electronic tape and piano improvisation. The acoustic piano component of the piece is a live improvisation performed concurrently with the electronic component. The electronic component is made up of three different kinds of sound: those generated from electronic sound modules, found sounds (such as washing machines and silverware rattling), and people speaking. The sounds were manipulated electronically to produce a sonic equivalent to the sociological theories of George Herbert Mead. I asked myself questions dealing with his theories such as "What does social interaction sound like?" and combined the musical answers to these seemingly absurd questions with a recording of L. Bluhm, a friend and Mead expert, explaining his understanding of the theories. The resulting piece is a product of my fascination with the visionary and idiosyncratic sociological and psychological thought of George Herbert Mead. |
MP3.com CD: Noise at the Edge - buy it!
CD: Noise at the Edge
Label: kid rock scorcher music
|
|
|
|
|
|
|
|
For Percussion Trio and junky guitar effects pedals. Noise at the Edge is inspired by the observation that there is no such thing as perfectly clear communication. Information is always lost or distorted during its transferal between humans. There is always static at the periphery of communication blurring what is truly meant. Noise at the Edge celebrates this phenomenon. |
MP3.com CD: Noise at the Edge - buy it!
CD: Noise at the Edge
Label: kid rock scorcher music
|
|
|
|
|
|
|
|
For flute, clarinet, piano, narrator, and percussion. Walking Through a Wall is the first movement from a larger, entirely acoustic piece entitled An Almost Human Gesture which is based on the prose of the poet Louis Jenkins. My setting of Walking Through A Wall attempts to provide a musical backdrop that accentuates the quirky, quiet urgency of Jenkins text. |
MP3.com CD: Noise at the Edge - buy it!
CD: Noise at the Edge
Label: kid rock scorcher music
|
|