Miniatures concrètes (CD) Track listing detail

Le vidoir

Jacques Tremblay

  • Year of composition: 1997
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509812980

  • 44,1 kHz, 16 bits

Crack open the bone and suck in the substantive marrow of imposed sounds, mash them up with other, more explosive resonances into a sonic feast where each morsel speaks loudly, where each bite casts its own shadow. Pulverize; compress; vacate.


This work was produced with the assistance of the Media Arts Section of the Canada Council for the Arts (CCA).

Circumnavigating the sea of shit

Paul Steenhuisen

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509812990

  • 44,1 kHz, 16 bits
To Seamus

Circumnavigating American painter Julian Schnabel via the given timbres, a caustic Theme (15 seconds) and Variations (30 seconds, 1 minute, 1 minute 30 (overlapping)). The latest in the series Attractive Test Music, sounding / recontextualizing iconography of visual artists in the opposite manner of projective test drawings used in psychological diagnoses. The set also includes “Poland is not yet lost” (Kiefer), “I like America and America likes me” (Beuys), and “If a picture paints a thousand words then why can’t I paint you?” (Klein).


This work was produced with the assistance of the Media Arts Section of the Canada Council for the Arts (CCA).

Princess Bat With the Underground Stars

Kim Hedås

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813000

  • 44,1 kHz, 16 bits

Why these three sounds, why three minutes, why one part of 15 seconds and one of 2 minutes 45? For me, these rules didn’t make any sense. I began to invent my own explanations, trying different techniques to connect material and form in order to give them musical significance. The sound material I added was, together with the three given sounds, divided into six classes and in the piece used as parts of the polyphonic structure. The form can be described as a slowly changing wave or, as the title implies, as a flying bat with the stars beneath. It was produced in the electroacoustic studio at the Royal University College of Music in Stockholm.

La chasse au pougablunk boumeu

Daniel Toussaint

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813010

  • 44,1 kHz, 16 bits

A pougablunk boumeu is a cruel bird that feeds primarily on tarmac. Once a year it is the subject of the Norois’ Kukunie hunting ritual.


This work was produced with the assistance of the Media Arts Section of the Canada Council for the Arts (CCA).

Pufferfish

Mark Wingate

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813020

  • 44,1 kHz, 16 bits

Pufferfish can change their appearance by expanding or contracting their bodies at will by swallowing air or water. Known and respected for its dangerous toxicity, the pufferfish must be expertly prepared by a master sushi chef or the result can be a highly unpleasant or even fatal meal. On the other hand, if prepared properly it rewards the anxious diner with a delicious culinary experience accompanied by an over all feeling of well-being or euphoria.

Prélude à «des dieux en conserves»

Jocelyn Robert

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813030

  • 44,1 kHz, 16 bits

The aim of the global project was to find a cutting angle, a section through the arsenal of canned sounds that make up the audio references in most of the banal objects from which the background of the media humdrum is composed. Far from being only descriptive, these inventories conceal the direction of the grain of a culture, which could be revealed by an appropriate section angle. As for the prelude, it is a prelude.


This work was produced with the assistance of the Media Arts Section of the Canada Council for the Arts (CCA).

Balanço

Andrew Yencken

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813040

  • 44,1 kHz, 16 bits

Balanço means “swaying” or “balance sheet” in Portuguese. Inspired by early Hermeto Pascoal records my aim was to make an Escher-like construction with moving parts, a kinetic sculpture to be played by a Czech film crew and three Tasmanian musicians. Meanwhile, Luigi Russolo and Jacques Tati were preparing to roll sound for take two… Edited on a Fairlight MFXII at Audio Loc Sound Design and Albert’s Studios (Sydney, Australia) in October, 1996. Thanks to Michael Fortescue, double bass; Gary Greenwood, leather instruments; and Tim Gleeson, metal percussion.

Au deuxième étage

Elainie Lillios

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813050

  • 44,1 kHz, 16 bits

The second floor: what’s ‘really’ going on upstairs?

Cut 1, 2, 3 Progress

Åke Parmerud

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813060

  • 44,1 kHz, 16 bits

The sound of sound. Three solitary noises. From this starting point: development and maybe… progress?

Matières à réactions

Yves Potvin

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813070

  • 44,1 kHz, 16 bits

For sounds to properly meld, one must form a binding marriage between them. But can a perfect collage of sonic colors and mechanical rhythms exist? The arrangement of invisible materials impregnates our lives with an impalpable and electric ambiance; this is what our stereophonic hearing faculties procure when the hearing chemistry whispers “yes” to us. Open wide the floodgates of emotionally charged stratospheric ether… we may, perhaps, take cognizance of the images that no-one has felt, touched or perceived before.


This work was produced with the assistance of the Media Arts Section of the Canada Council for the Arts (CCA).

Racing Through, Racing Unseen

Natasha Barrett

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813080

  • 44,1 kHz, 16 bits

Racing Through, Racing Unseen contains, in condensed form, the impetus behind its 20-minute long parent work, Racing Unseen. / Racing through, / Racing amongst, / Into new spaces, / Away from old emotions, / Racing high, racing low, / to escape, to seek, / racing into eddy… racing forever… racing unseen.

This sonic postcard takes a snapshot from the south side of Blackfriar’s Bridge, a stone’s throw along the footpath to the Royal Festival Hall. This clip can be coupled as a epilogue to St Paul’s Descending into the Autumn Mist. It embodies an impressionistic and personal development of the sound-world, listening towards the distant image of St Paul’s Cathedral. It attempts to capture the bare essence behind the original sound-world: thoughts and emotions as they are washed up onto the score of the River Thames. [ii-98]

Collision

Randall Smith

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813090

  • 44,1 kHz, 16 bits

Using a computer program called SuperCollider I was able to granulize the three ‘given’ sounds. I also used water sounds for the beginning and one singing bowl sound for the end. The piece opens up like The Big Bang. The particles produced from this bang form rhythms gesturing the movements of atoms colliding into one another creating patterns. As these patterns evolve the intensity builds in the piece to a crescendo. Finally, we hear the sounds that conceived this piece.


This work was produced with support from the Media Arts Section of the Canada Council for the Arts (CCA).

Aquaéra 1

Stephan Dunkelman

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813100

  • 44,1 kHz, 16 bits

Brief moment of contemplation for a delusional abstraction. Aquaéra 1 constitutes my first attempt at composing with sonic elements sampled from reality whose morphological substance infers or moulds the movements of other acting elements.


This piece was produced in the studios of Musiques & Recherches (Ohain, Belgium). Special thanks to Phil Billen (painter and sculptor), Annette Vande Gorne (professor and composer), and Marie-Jeanne Wyckmans (composer and sound-effects artist).

Éclipse

Ned Bouhalassa

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813110

  • 44,1 kHz, 16 bits

A lunar eclipse occurred one month prior to the realization of this clip. This event, which I found to be particularly magical, inspired both the form and content (2 drones in contrary motion) of the work.


While most of the sounds were processed at Sound Traffic Control’s studios (San Francisco, USA), the clip was completed in my studio in Montréal. Many thanks to Jean-François Denis for this commission, and to Tom Erbe for his SoundHack software. This work was produced with the assistance of the Media Arts Section of the Canada Council for the Arts (CCA).

Alchemy

Elizabeth Hoffman

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813120

  • 44,1 kHz, 16 bits

I composed original sounds and processed and manipulated the three sound clips which were the starting point of this piece using Csound and SVP software. Another major source of material for this composition was recorded harpsichord fragments which were evolving sketches for another work in progress.


Alchemy was realized at the School of Music Computer Center (SMCC) of the University of Washington (Seattle, USA) and premiered on April 29, 1997 during the Electroacoustic Music Festival in Seattle (WA, USA).


Premiere

  • April 29, 1997, Electroacoustic Music Festival, Seattle (Washington, USA)

Lacrimous

Monique Jean

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813130

  • 44,1 kHz, 16 bits

Lacrimous: the exploration of the polymorphic aspects of sensation and of disarray in the manner of an implosion. Lacrimous is deployed on a vertical axis where brutal eruptions and fractures hasten its progress by sudden changes in sonic spaces.


Lacrimous was produced with the support of PRIM, centre d’arts médiatiques (Montréal) in its studios.

The First Spirit Level

Roger Doyle

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813140

  • 44,1 kHz, 16 bits

The First Spirit Level opens Spirit Levels I-IV which is part of The Babel Project, a giant musical structure, making use of many technologies and musical languages, with each piece of music being thought of as a ‘room’ or place within an enormous tower city. Spirit Levels I-IV won the Programme Music prize at the Bourges International Electroacoustic Music Competition (France, 1997). The Spirit Levels are set in impossible dream places inhabited by ghosts and memories of people’s lives.


The First Spirit Level was composed in the composer’s private studio, on which he has spent all his money.

Squeaky Reel

Katharine Norman

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813150

  • 44,1 kHz, 16 bits

This short piece uses only the three sounds provided, to make a rather grungy, irreverent and perhaps slightly Irish-sounding dance. Other than some slight processing, the sounds were left to speak for themselves. I made Squeaky Reel with a NeXT computer and Cmix software, and anything else that came to hand. I resigned my job on the same day I started this piece… The two may not be connected…

Mass

Richard Karpen

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813160

  • 44,1 kHz, 16 bits

There are several common English language meanings of the word “mass” coming from a few different Latin or Greek roots. It can mean: religious ritual; music based upon a part of that ritual; an amount or magnitude of matter; a large group of people or objects. This very short piece can be heard as a study in texture, density, time, and meaning. Mass was composed with computer-based means in December, 1996.

Part of the Dance

Lelio Camilleri

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813170

  • 44,1 kHz, 16 bits

Part of the Dance is made up of sound transformations of the three provided sounds (which are presented in moments of structural importance). My goal was that this short piece should possess the structural phases of a longer work. This confers on it a sort of restless articulation. It was realized at the Electronic Music Studio of the GB Martini Conservatory of Music (Bologna, Italy).

Chi-pa-boo

Elsa Justel

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813180

  • 44,1 kHz, 16 bits

Three syllables, three sounds, three characters. A stroll with unexpected nooks, unusual encounters, disjointed liaisons. An assortment made of blackbird and paper-mâché, a frisky suction cup, a messy pair of backwards scissors. An incoming tide that brings with it the scattered remains of its own body… chaperoned by the belches of obsessional fears, the fruit of a limpid mélange of the introduction and the catastrophic arrival of a young saucepan…


Premiere

  • April 4, 2001, Concert, Texas (USA)

Bad Room

Sylvia Eckermann, Mathias Fuchs

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813190

  • 44,1 kHz, 16 bits

Bad Room is an electronic clip about the dark side of the acoustical universe. It tells about unpleasant sounds, starting from an investigation of insect sounds (bees, hornets and common house flies) to acoustically related sound sources such as dentists’ drills. If Bad Room were a film, it would belong to the “Horror & Suspense” genre. As is the case in a horror movies the suspense in the piece stems from perceiving things which might be something else than what they pretend to be. The piece has been produced with a Macintosh computer and SoundDesigner, Deck, as well as Migration (their custom-built program for making sound clusters).

Manga pour l’oreille

Ios Smolders

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813200

  • 44,1 kHz, 16 bits

What do you hear?

A Man Is a Delicate Flame

Justice Olsson

  • Year of composition: 1997
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD509813210

  • 44,1 kHz, 16 bits

Electroacoustics is the hardest discipline I know. But still, I rubbed my hands, thinking: 3 minutes? Child’s play! Wrong! Suddenly I had 20 minutes of raw material. Ideas. Diagrams. An epidemic. And where to put sound #2? Scalpel, quick! Slice! Slash! Each animalcule now divided into two… Voice (mine); 8-track analog + SMPTE; 2 Yamaha TX16W samplers + Typhoon OS; Logic; spreadsheet to manage the 1500 samples.

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