Track listing detail

Transients and Resonance

Adam Basanta

  • Year of composition: 2008
  • Duration: 8:25
  • Instrumentation: 8-channel fixed medium


I have long wanted to compose a piece using instrumental extended technique, which is then further extended into the electroacoustic realm; in this composition, prepared guitar is used as the source material.

Within the electroacoustic compositional realm, I used several spectro-morphological archetypes, classifying them using the amount of “energy” they contained, and using the idea of ‘energy transfer’ between the archetypes as an organizing principle. In my mind, this organization resulted in a relationship between Resonances (slow, evolving, energy building gestures), Transients (hard attacks and struck sounds, exuding energy), as well as the resulting Particles (remnants of Transient collisions), leading to the sound events’ perception as a cohesive, though state changing, material entity.



  • April 2008, Surrounding Sound, Simon Fraser University – Theatre, Burnaby (British Columbia, Canada)


Artifacts, 1: Artifacts (I)

Nick Storring

  • Year of composition: 2007
  • Duration: 8:00


Artifacts (I) is drawn from a (projected) series of works based entirely on sounds from a near-broken violin. The violin, despite being full-size was given to me by my grandmother when I was too young to remember, a hint to my parents that I should get violin lessons. I ended up getting cello lessons instead and the violin collected dust, and endured several seasons of humidity and lack thereof, leading to the collapsed of its soundpost. This piece explores memory and the (mis)representation of events in time through documentation and recording. This violin seemed like an apt sound-source for such a piece. I used the strings — bowed, plucked, struck, scraped, bent from the other side of the bridge, but also the body of the instrument — the sound of the paint and varnish being scraped off by the microphone, the body being struck, the soundpost being shaken around inside of it. The processing of the materials was inspired by various recor! ding media — everything from sound of old 78 RPM to corrupt MP3 files. Compositionally I also was interested by suggesting certain stylistic markers. There was also an awareness on my part of evocations and manipulations of time on the level of a recording in and of itself, the perception of historical time, and time in the personal/ nostalgic domain, and how these temporal lines intersect.