SEAMUS' series of new and archival recordings of electro-acoustic music by its members continues, with this re-release of Volume 1 of its series, from 1992.
|Judith Kellock, soprano, Karl Paulnack, piano||14:57|
|04||Improvisation on Strange Attractors v1.0b|
Improvisation on Strange Attractors v1.0b
|Heung-Wing Lung, percussion||10:45|
SEAMUS (The Society for Electro-Acoustic Music in the United States) continues its series featuring electro-acoustic music composed by its members with the next re-release of a back catalogue from its archive, Music from SEAMUS, Volume 1. Leading off the collection is James Mobberley’s Spontaneous Combustion for saxophone and electronics. In a Davidovskian tradition, Mobberley generates all the electronic sounds from manipulation of pre-recorded saxophone sounds. Mobberley alludes to the strong association that saxophone has with jazz styles in this virtuosic work. In his electronics alone piece, James Phelps has essentially “covered” an aria by Rossini from La Cenerentola, using piano and vocal material from a previous recording as his source. Anna Rubin’s Remembering is a memorial to victims of the Holocaust, using names of significant World War II sites and the Hebrew memorial prayer for the text, as well as a wordless cantilena. Stephen David Beck’s Improvisation on Strange Attractors is a work for bassoon and live electronics, employing a patch that Beck developed that maps the bassoon’s sounds onto parameters from spatialization, distance, timbre, and volume. In his Still Life, Bernardo Feldman drew on a collage of sounds from recordings of his instrumental works to sound samples of his daughter speaking. Kwok-ping John Chen’s Ring Shades combines a live performance on a battery of Chinese and Balinese gongs with an electronic part comprised of timbres mimicking those percussion instruments.
Founded in 1984, The Society for Electro-Acoustic Music in the United States (SEAMUS) is a non-profit national organization of composers, performers, and teachers of electro-acoustic music representing every part of the country and virtually every musical style. Electro-Acoustic music is a term used to describe those musics which are dependent on electronic technology for their creation and/or performance.
SEAMUS is committed to facilitating member interaction and the dissemination of their work through an annual national conference, juried recording projects, and the publication of Journal SEAMUS.