YATES, DANE;
Perceptions II
For Multiple Voices, Chamber Orchestra, Electronics + ConductorPerceptions II is a new endeavour into collaboration between, acoustic, electroacoustic, electronic, and noise music. It combines several types of notation; traditional, semantic, animated and scrolling all displayed on a Screen Score. I do like the advantages of utilising the screen score for the reason of of using multiple mediums to notate.
Electronics were performed using VSTs and Max Processing on the voices and some instruments. This reflects on my personal aesthetics for the dimensions of music and emotion. The first layer or dimension of emotion is the text itself; what is written or illustrated it the performer has emotion that lies within itself. The second Dimension of emotion is the way the performer interprets and delivers the 'Music', the changes between singing, saying, yelling, whispering or any other form of deliverment can add so much more emotion to the text than what it was originally. The third dimension of emotion are the effects chains i put on the track. The layers of reverbs, drones, and other effects can add so much desperation and hunger, or can make it bright and lively, sad, lovely or anything in between.
Each movement is completely different from what was heard before, The movements spans a wide variety of genres touching on new music; 'pop', jazz, noise, free form jazz, ambient and voice works. The process of how this is developed comes from embryonic roots of drunken scribbles. I became intoxicated in a way of accessing the pre-subconscious or non-sober mind, using alcohol and other substances as an exercise of automatic writing. I do not remember the original scribbles or making them. I then transcribed these into a PowerPoint Presentation (sober), some of which became animated, scrolled and others remained stationary.
The performances and recordings of the piece may be some of the best memories i have from WAAPA thus far. The performers of my drunken orchestra were drinking as well as on other substances ranging from tramadol, dexamphetamine, Acid (LSD), and Cocaine. The drugs are used as an extended technique for the instrument as you are performing under this new brain and this new way of thinking and utilisation of the instrument.
Notationally, I cannot describe the composition of the graphics and/or writings of the score as i have no recollection of the making of the piece. Upon analysis, I can see the utilisation of spectromorphological graphics (Blackburn), Score for Conductor (Applebaum), Dots (Schaeffer), Lines (Brown), Scrolling Score (Vickery, Hope) Non Linear patters, (Cage, Hope) and Fully Graphical works with no context (Cage, Cardew, Applebaum), electronic notation (ligeti), Vocal Notation (Penderecki)
For Multiple Voices, Chamber Orchestra, Electronics + ConductorPerceptions II is a new endeavour into collaboration between, acoustic, electroacoustic, electronic, and noise music. It combines several types of notation; traditional, semantic, animated and scrolling all displayed on a Screen Score. I do like the advantages of utilising the screen score for the reason of of using multiple mediums to notate.
Electronics were performed using VSTs and Max Processing on the voices and some instruments. This reflects on my personal aesthetics for the dimensions of music and emotion. The first layer or dimension of emotion is the text itself; what is written or illustrated it the performer has emotion that lies within itself. The second Dimension of emotion is the way the performer interprets and delivers the 'Music', the changes between singing, saying, yelling, whispering or any other form of deliverment can add so much more emotion to the text than what it was originally. The third dimension of emotion are the effects chains i put on the track. The layers of reverbs, drones, and other effects can add so much desperation and hunger, or can make it bright and lively, sad, lovely or anything in between.
Each movement is completely different from what was heard before, The movements spans a wide variety of genres touching on new music; 'pop', jazz, noise, free form jazz, ambient and voice works. The process of how this is developed comes from embryonic roots of drunken scribbles. I became intoxicated in a way of accessing the pre-subconscious or non-sober mind, using alcohol and other substances as an exercise of automatic writing. I do not remember the original scribbles or making them. I then transcribed these into a PowerPoint Presentation (sober), some of which became animated, scrolled and others remained stationary.
The performances and recordings of the piece may be some of the best memories i have from WAAPA thus far. The performers of my drunken orchestra were drinking as well as on other substances ranging from tramadol, dexamphetamine, Acid (LSD), and Cocaine. The drugs are used as an extended technique for the instrument as you are performing under this new brain and this new way of thinking and utilisation of the instrument.
Notationally, I cannot describe the composition of the graphics and/or writings of the score as i have no recollection of the making of the piece. Upon analysis, I can see the utilisation of spectromorphological graphics (Blackburn), Score for Conductor (Applebaum), Dots (Schaeffer), Lines (Brown), Scrolling Score (Vickery, Hope) Non Linear patters, (Cage, Hope) and Fully Graphical works with no context (Cage, Cardew, Applebaum), electronic notation (ligeti), Vocal Notation (Penderecki)
