tag:blogger.com,1999:blog-87931529401935618072024-02-20T02:41:44.761-08:00Research projectAnonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-8793152940193561807.post-90811478209959065162013-07-15T12:19:00.002-07:002013-07-15T12:19:24.595-07:00Electronic Music Studies Network Conference (with Alok Nayak)<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
Milapfest
and Liverpool Hope University presented a major outcome of their
partnership work last week in an important conference presented by
the Electronic Music Studies (EMS) Network at Lisbon, Portugal - See
more at:
http://www.milapfest.com/news/milapfest-and-liverpool-hope-university-at-the-ems-conference-lisbon/#sthash.s7W8hZ6p.dpuf</div>
<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
Dr
Manuella Blackburn (Lecturer, Hope University) and Alok Nayak (Director
of Development, Milapfest) gave a co-authored conference paper
entitled ‘Performer as sound source: Interactions and Mediations in the
studio and in the field.’ - See more at:
http://www.milapfest.com/news/milapfest-and-liverpool-hope-university-at-the-ems-conference-lisbon/#sthash.s7W8hZ6p.dpuf</div>
<br />
<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
Milapfest
and Liverpool Hope University presented a major outcome of their
partnership work last week in an important conference presented by
the Electronic Music Studies (EMS) Network at Lisbon, Portugal - See
more at:
http://www.milapfest.com/news/milapfest-and-liverpool-hope-university-at-the-ems-conference-lisbon/#sthash.s7W8hZ6p.dpuf<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
Dr
Manuella Blackburn (Lecturer, Hope University) and Alok Nayak (Director
of Development, Milapfest) gave a co-authored conference paper
entitled ‘Performer as sound source: Interactions and Mediations in the
studio and in the field.’ - See more at:
http://www.milapfest.com/news/milapfest-and-liverpool-hope-university-at-the-ems-conference-lisbon/#sthash.s7W8hZ6p.dpuf</div>
</div>
On 19th June I presented a paper at the<a href="http://www.ems-network.org/ems13/EMS2013-Home.html" target="_blank"> Electronic Music Studies Network Conference</a> about the AHRC collaborative project with Milapfest. Alok Nayak (director of development) joined me in Lisbon at Culturegest to deliver the research developments.<br />
<br />
The paper focused on issues of sound collection from Indian musical instruments and how these materials are used creatively in compositional work. The paper presented several research questions: what are the optimum conditions for a successful recording session? How prescriptive should one be as a composer when dealing with a performer, and how does one navigate the same situation cross-culturally with foreign instruments where unfamiliar performance traditions and language barries exist?<br />
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Milapfest
and Liverpool Hope University presented a major outcome of their
partnership work last week in an important conference presented by
the Electronic Music Studies (EMS) Network at Lisbon, Portugal.<br />
Dr Manuella Blackburn (Lecturer, Hope University) and Alok Nayak
(Director of Development, Milapfest) gave a co-authored conference
paper entitled ‘Performer as sound source: Interactions and Mediations
in the studio and in the field.’<br />
The paper focused on the issues of sound collection from Indian
musical instruments, and how these materials are used creatively in new
compositions. The paper presented several research questions: what are
the optimum conditions for a successful recording session? How
prescriptive one should be as a composer? And how does one navigate the
same situation cross-culturally with foreign and ethnic instruments
where unfamiliar performance practice traditions and language barriers
may exist?<br />
- See more at:
http://www.milapfest.com/news/milapfest-and-liverpool-hope-university-at-the-ems-conference-lisbon/#sthash.s7W8hZ6p.dpuf</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
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<br />
<br />
<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
Milapfest
and Liverpool Hope University presented a major outcome of their
partnership work last week in an important conference presented by
the Electronic Music Studies (EMS) Network at Lisbon, Portugal.<br />
Dr Manuella Blackburn (Lecturer, Hope University) and Alok Nayak
(Director of Development, Milapfest) gave a co-authored conference
paper entitled ‘Performer as sound source: Interactions and Mediations
in the studio and in the field.’<br />
The paper focused on the issues of sound collection from Indian
musical instruments, and how these materials are used creatively in new
compositions. The paper presented several research questions: what are
the optimum conditions for a successful recording session? How
prescriptive one should be as a composer? And how does one navigate the
same situation cross-culturally with foreign and ethnic instruments
where unfamiliar performance practice traditions and language barriers
may exist?<br />
- See more at:
http://www.milapfest.com/news/milapfest-and-liverpool-hope-university-at-the-ems-conference-lisbon/#sthash.s7W8hZ6p.dpuf</div>
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Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-69454106405907193662013-05-01T05:43:00.002-07:002013-05-01T05:43:39.249-07:00Performance of New shruti for Sarod and electronics at the Capstone Theatre, Liverpool<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUu_2XfYRtBU3JAyfdZJfatBGOpPdBeVNGpSRIijESgnCy8Xi3Z9zjbRWfHW_UL3mFMrSj41mlwZa_KLqoBEEn3kSEAddxmyahc3iA62XreZoJVnwXCOPSPcK_T2WkyIpxiF186CKUQYF/s1600/DSC02421.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUu_2XfYRtBU3JAyfdZJfatBGOpPdBeVNGpSRIijESgnCy8Xi3Z9zjbRWfHW_UL3mFMrSj41mlwZa_KLqoBEEn3kSEAddxmyahc3iA62XreZoJVnwXCOPSPcK_T2WkyIpxiF186CKUQYF/s1600/DSC02421.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Manuella Blackburn & Rajeeb Chakraborty</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgETf6FwpNt_0KQuB-tXCBzdTD5RmQAxh5xg__54dQUVyuVefbMYdfLuuHHC_51hl5quycPfqbxXJ5n8OjxSqlwCSx4mnPWdZ1ljL10u_ACFZ0DYSOwf3YeIbHLV2qVadblJqfaRa2JFuLt/s1600/DSC02437.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgETf6FwpNt_0KQuB-tXCBzdTD5RmQAxh5xg__54dQUVyuVefbMYdfLuuHHC_51hl5quycPfqbxXJ5n8OjxSqlwCSx4mnPWdZ1ljL10u_ACFZ0DYSOwf3YeIbHLV2qVadblJqfaRa2JFuLt/s1600/DSC02437.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rajeeb Chakraborty: sarod</td></tr>
</tbody></table>
<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-62171373310146396412013-04-22T05:59:00.002-07:002013-04-22T05:59:18.992-07:00New piece for Sarod and tapeNew mixed piece for Sarod and tape - <i>New Shruti</i><br />
<br />
In two parts:<br />
http://www.manuella.co.uk/Sarod_part1.mp3<br />
<br />
http://www.manuella.co.uk/Sarod_part2.mp3<br />
<br />
The work will be premiered on Saturday 27th April at the Capstone Theatre, Liverpool Hope University as part of <a href="http://www.thecapstonetheatre.com/index.php/whats-on/38-events/74-saturday-27th-april-milapfest-presents-music-for-the-mind-a-soul-" target="_blank">Milapfest's Music for the Mind and Soul</a> concert (starting at 1pm), in a post-concert presentation event from 3pm.Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com1tag:blogger.com,1999:blog-8793152940193561807.post-62784038532698239462013-04-22T05:52:00.002-07:002013-04-22T05:52:50.762-07:00Interview with Rajeeb Chakraborty<style>p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Times; }p.MsoBodyText, li.MsoBodyText, div.MsoBodyText { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Times; font-weight: bold; }div.Section1 { page: Section1; }</style>
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<span lang="EN-US"><b>Interview with Dr Rajeeb Chakraborty (performer for my mixed work for sarod and tape)</b></span></div>
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<div class="MsoNormal">
<span lang="EN-US"><b>1.<span> </span>Can you talk about your approach to learning the
piece?</b></span></div>
<div class="MsoNormal">
<span lang="EN-US">It was quite interesting. Actually what
happened when I heard the first bit I wasn’t getting the entire idea. I
listened to your previous CD and your approach was quite different from that
one, because there you were using mostly ambient sounds. I have worked with
ambient sounds before, but this one was very special because you used different
instruments and their tones and you did some processing of those, and actually
whatever was being playing by different ethnic instruments and on top of that
the challenge was to fix the scale. Then when I kept listening to it time and
again I could start relating to it a much better way with my sarod with your
track. The other challenging part was that there was no constant rhythm.<span> </span>To develop it when you are playing ad
lib kind of thing like alaps (long notes) it was not only that as there were
climatic points so I had to be very careful with those when I come exactly at
the same point with you at those points. It was quite a learning process
actually playing for this.</span></div>
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<span lang="EN-US"><b>2.<span> </span>Is this a completely new experience?</b></span></div>
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<span lang="EN-US">Absolutely! This was a new experience
because what I was saying – previously I have worked with ambient sounds but
not sounds which have been created with different kinds of musical instruments
or those that have been processed.<span>
</span>So this is a new experience certainly.</span></div>
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<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">3.<span> </span>Now that you have heard and played the piece,
can you comment on the process of initially recording you (back in January)?
Can you comment on how the recording stage has influenced the resulting work?</span></div>
<div class="MsoNormal">
<span lang="EN-US">It helped you in structuring the music. But
what I found that because it was bits and pieces taken from different areas [of
the recording session] I would have been happy to do it again or re-record it,
as sometimes we don’t play one solid note eg. Re Ga – not like that. I wanted
to give some kind of Indian embellishments along with your track – it would
give it another dimension to it [an added musicality]. Playing it in an Indian
way.</span></div>
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<br /></div>
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<span lang="EN-US">4.<span> </span>Can you hear how your sound material has been
re-worked into this new composition?</span></div>
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<span lang="EN-US">Yes – these are like the spices and
ingredients – but you did the cooking. I didn’t know why you were recording me
[in January] to be frank because I didn’t hear any of your music [previously] I
didn’t know what kind of complementing I would be doing on my instrument to
your track. Once it was done I kept listening to it from yesterday and it made
more sense, and that’s why I wanted to change a couple of things and also keep
some things which I thought had been intelligently done. You had a little bit
of ingredients; you didn’t have a lot of material, like 3-4 hours of sarod
playing, then you could have just made it like you wanted. Now I have more
clues about it – it is a new experience. We were totally unknown to each other
– I didn’t know much about your music.</span></div>
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<br /></div>
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<span lang="EN-US">5.<span> </span>I see the project with you as a collaborative
process. Was it clear what your contribution would be in the recording stage
and in the forthcoming performing stage?</span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">In the performance the easy part about
Indian musicians, or what is difficult for other musicians, is if there is a
fixed part they can play it exactly, but here there is a problem as there is no
particular tempo or rhythm. There is just a guideline [waveform] and no one is
conducting. To remember something of 13 minutes is next to impossible because
every time we play maybe its the same thing but in a different way. So the
theme is the same, topic is the same, but content and stylization is different
every time, so once it is formulated it is best to stick to how you are
progressing with the music so I can come as close as possible so it will make
more sense then we are talking in the same line.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">6.<span> </span>Has the process of collaboration been revelatory?
Have you learnt anything from this project?</span></div>
<div class="MsoNormal">
<span lang="EN-US">Certainly! The approach of the music is so
very different – you keep learning. As we were discussing, every day doing the
same mundane thing for creative people they become a bit sad about that. It is
always challenging but at the same time you discover yourself in a new light,
in a new idiom of music and you grow with that and grow a taste for it. Later
on it tells you what to do. It has been a learning curve. Getting exposed to a
completely new style and genre – I love it. You keep an impression of this in
your mind.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">7.<span> </span>Can you comment on the aspect of working with
technology in this piece?</span></div>
<div class="MsoNormal">
<span lang="EN-US">I am a tech savvy person. As a composer I
need to know a little bit as often it is not possible to hire a recordist or in
a quite a few sessions we record by ourselves. I have got to know a new
approach here.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><b>8.<span> </span>I view the accompaniment part of this
composition as a sort of ‘tampura’ or ‘shruti box’. The role of the drone
accompaniment is so central to Indian Classical music and this is something I
aimed to transfer to my piece. Although a constant pitch centre is not
maintained throughout, do you feel the accompaniment supports your playing
style and content?</b></span><span lang="EN-US"></span></div>
<span lang="EN-US" style="font-family: Times; font-size: 12pt;">Certainly. It is taking a role of drone instrument but like the drone
keeps us grounded in a scale, but here you are doing more than that. You are
instigating me you are giving me clues ‘do this, do that’. So it is not only a
drone, it is teasing me to come up with some musical challenges, so I wont
confine it only to a drone, it is more than that. It is compelling me us to
come and fight with something and initiating activity. You have to come and
complement it or compete with it. It is an attractive thing in many places.
Especially going out of your comfort zone. Then it becomes more challenging.
Music has no barriers and we are quite open – wanting to coming to a podium
where we are in a hand-shaking experience. So it is something more than a
drone. When you created that a lot of in built flexibility was there.</span>
Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-85666270558233867982013-03-14T22:27:00.001-07:002013-03-14T22:27:27.783-07:00Paper accepted to EMS conference, Lisbon (June 2013)My paper describing the methodologies of working with the Milapfest musicians has been accepted for presentation at this years <a href="http://www.ems-network.org/ems13/EMS2013-Home.html" target="_blank">Electronic Music Studies Network Conference</a> (June 2013, Lisbon)<br />
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<span style="font-size: 14pt;"><b>Performer as sound source:
interactions and mediations in the recording studio and in the field</b></span></div>
<div class="NormalWeb">
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<div class="NormalWeb">
<span style="font-size: 12pt;"><b>Abstract</b></span></div>
<div class="NormalWeb">
<span style="font-size: 12pt;">In this paper, the author
takes particular interest in the collection of sound material from musical
instruments (for use in both acousmatic and mixed works) and how the composer
manages creative intent and concepts while collaborating with a performer.
Interactions at this stage ultimately impact upon the sound material collected
as well as the final composition. The frontier for exchange during these
composer/performer encounters enables collaborative work to flourish – but what
are the optimum conditions for a successful recording session? Is there a
requisite limit or a bare minimum on how prescriptive one should be as a
composer when directing the performer in order to avoid confining the creative
possibilities of one’s own imagination or the performer’s own input? And how
does one navigate the same situation cross-culturally with foreign and ethnic
instruments where unfamiliar performance<a href="https://www.blogger.com/blogger.g?blogID=8793152940193561807" name="GoBack"></a> practice traditions
and language barriers may exist? </span></div>
<div class="NormalWeb">
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<span style="font-size: 12pt;">It is common to interact with
object sound sources (eg. keys, coins, slinky etc…) in an exploratory fashion,
prizing out unusual gestures and textures while always on the look out for
those happy accidents that might lend themselves well to the transformation
process in the studio. With instrumental sound sources, where a performer is
involved, the same exploratory activity may not be immediately possible and we
must therefore effectively communicate to the performer our request for
specific experimentation with sound types and timbres. Approaches to this
activity differ from composer to composer and modes of collaboration between
composer and performer subsequently change as a result. How we, as composers,
conduct this sound capturing process is led ultimately by what we want to work
with in the studio. With the use of composer interviews, existing repertoire
and previous noteworthy collaborations I am aim to propose, and distinguish
between, the following modes of collaboration:</span></div>
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<span style="font-family: Wingdings; font-size: 8pt;">q<span style="font: 7pt "Times New Roman";">
</span></span><span style="font-size: 12pt;"><b>Instructive/directional</b></span><span style="font-size: 12pt;">: The composer is prescriptive in outlining how and
what the performer is to play. </span></div>
<div class="NormalWeb" style="margin-left: 36pt; text-indent: -18pt;">
<span style="font-family: Wingdings; font-size: 8pt;">q<span style="font: 7pt "Times New Roman";">
</span></span><span style="font-size: 12pt;"><b>Explorative/interactive:</b></span><span style="font-size: 12pt;"> Details of material remain somewhat unspecified. Some
loose ideas and concepts may be discussed beforehand. Contributions from both
sides allow a creative exchange to flow.</span></div>
<div class="NormalWeb" style="margin-left: 36pt; text-indent: -18pt;">
<span style="font-family: Wingdings; font-size: 8pt;">q<span style="font: 7pt "Times New Roman";">
</span></span><span style="font-size: 12pt;"><b>Unstructured</b></span><span style="font-size: 12pt;">: An open session where the performer is given free
reign/carte blanche to decide what to play. A typical example of this is when a
performer demonstrates extended techniques specific to their instrument – the
composer acts as a listener and thus learns directly from this process as to
what the available sound possibilities are.</span></div>
<div class="NormalWeb" style="margin-left: 18pt;">
<br /></div>
<div class="NormalWeb">
<span style="font-size: 12pt;">Two further distinctive
situations are worthy of discussion:</span></div>
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<span style="font-family: Wingdings; font-size: 8pt;">q<span style="font: 7pt "Times New Roman";">
</span></span><span style="font-size: 12pt;"><b>The composer becomes
the performer</b></span><span style="font-size: 12pt;">. The composer
experiments with an instrument that they have no formal training on as a means
of generating sounds. This also applies to situations where the composer
performs or plays with objects (not instruments as such) often in
unconventional ways.</span></div>
<div class="NormalWeb" style="margin-left: 36pt; text-indent: -18pt;">
<span style="font-family: Wingdings; font-size: 8pt;">q<span style="font: 7pt "Times New Roman";">
</span></span><span style="font-size: 12pt;"><b>Adapting to source.</b></span><span style="font-size: 12pt;"> The composer adapts to a sound source or performer.
On-the-fly field recordings (eg. recording environmental sounds, street
performers etc…) where the composer cannot intrude upon or affect the sounding
outcome. All adaptations here refer to technical considerations eg. Position,
microphone handling and volume control on field recorder).</span></div>
<div class="NormalWeb">
<br /></div>
<div class="NormalWeb">
<span style="font-size: 12pt;">This paper examines the
authority and instructive role of the composer in the recording studio along
with how one might take ownership of these captured sound materials in future
creative work.<span> </span>Finding oneself
within the material generated by others (sounds, notes, phrases, motifs and
even melody lines), especially from unfamiliar cultures and contexts can be
challenging. This part of the paper draws upon first hand accounts of
collaborating with Milapfest (UK, Indian arts development trust) in building an
online sound archive of Indian musical instruments as part of an ongoing
educational outreach program at Liverpool Hope University. The sound archive
material came to exist as a bi-product of collecting sound material for my own
creative work (two new electroacoustic music works exploring the use of
culturally significant sound material). A significant proportion of this
research project (supported by the Arts and Humanities Research Council, UK)
involves individual recording sessions with approximately 25 - 30 instrumentalists
from this highly specialised performance tradition. This raises important
issues regarding cross-cultural exchange and what, as an electroacoustic music
composer, I might achieve sonically from exploring their practice, along with
the question of how and what the performers take away from these encounters.
Within the ‘give and take’ of a cross-cultural collaboration, I am posing the
question of how possible it is to exert one’s creative and personal
compositional voice when considering each different mode of collaboration. As
creative projects evolve, take shape and are eventually performed, how is the
performer’s reception of the final work informed by the early stage
collaboration between composer and performer? The collection of both idiomatic
and unconventional sound materials provides a discussion point within this
discourse, which will be supported by personal perspectives and those from
performers involved in this collaborative process. </span></div>
Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-51981192556632358472013-03-12T03:44:00.001-07:002013-03-12T03:44:46.394-07:00Sarod and electronics work-in-progress<div class="separator" style="clear: both; text-align: center;">
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I've been working on some of the gamakas (pitch bends) collected from Rajeeb Chakraborty (sarod). This is section from my new piece, which will be performed at the end of April in Liverpool.</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/H6OL-MqhrzU?feature=player_embedded' frameborder='0'></iframe></div>
<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-32364225895934684572013-03-07T06:29:00.001-08:002013-03-07T06:29:11.354-08:00Further logo<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr37GfgeF0Q0diyKd8JBla0NmYAUkHOpXkThY6I1mZoYkTuc4UXhH3VNtDjbOxFtlfR9d4TuIEZx75PSj35JQZVboMSWx7xAwjG98MGRSeG7Lm4e09HJqAl5xyp1lso2If5sW3-p7XoT0T/s1600/logo2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr37GfgeF0Q0diyKd8JBla0NmYAUkHOpXkThY6I1mZoYkTuc4UXhH3VNtDjbOxFtlfR9d4TuIEZx75PSj35JQZVboMSWx7xAwjG98MGRSeG7Lm4e09HJqAl5xyp1lso2If5sW3-p7XoT0T/s1600/logo2.jpg" height="257" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-25548566475136958442013-03-07T06:25:00.001-08:002013-03-07T06:25:13.596-08:00Composition residency at Elektronmusikstudion - EMS I started my composition residency at the <a href="http://www.elektronmusikstudion.se/" target="_blank">Elektronmusikstudion (EMS)</a> in Stockholm on Tuesday. I will be here until 15th March working on my new piece for Sarod and electronics. My plan is to work on the accompanying fixed media material that will go along side the sarod melody line.<br />
Five sections are so far emerging... its looking like another episodic work!<br />
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1) <b>Opening section</b> (2.5 mins) glitch-crackle materials with sarod plucks and eventually repeated melodic patterns. Mini climax before section ends<br />
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2) <b>Harmonic section</b> (2mins) focus on sarod pulls/gamakas accompanied with harmonic loops and flickering glitches<br />
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3) <b>Slower section</b> (3mins) A dramatic change of pace and character. Sarod motif are spaced wider apart to allow ea material to decay naturally and evolve. Use of violin resonances transformed into drones provides a complimentary accompaniment to live sarod. <br />
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4) <b>Gamaka section</b> (2mins) material entirely derived from sarod pitch bends (gamakas) which gives an arching over and under effect. This section is more gestural than the previous two which are more textural based.<br />
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5) <b>Sarod-led section </b>(2-3mins) Longer sarod phrases are used in this section. The rhythmic patterns of the sarod material (sum) are followed closely by the ea material, shadowing the impulses to give an impression of a percussive presence.<br />
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6) <b>Super slow closing</b> (2mins) final section is a free accompaniment without a specified sarod melody The material is derived from transposed sarod notes overlayed with falling/rising iterations. Tanpura sounds poke in and out of the texture. There is the impression of slow cyclic loops rotating towards a closing point.<br />
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<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-31730995320853202152013-02-14T12:10:00.001-08:002013-02-14T12:10:34.972-08:00Logo design <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcNjc-Uh642xlXV4mFHTL0xNtgoaQE5SiKbNPPTfNabvGcrwIgEp5ycn8VmoQNrM0_mhxM8FdwkILp1_6eOjDL156F7QVT-Kn5_8Q76ZaOxPKPWmbZClSPe2lQsIMr_AwCBs1KjTyiS7b3/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcNjc-Uh642xlXV4mFHTL0xNtgoaQE5SiKbNPPTfNabvGcrwIgEp5ycn8VmoQNrM0_mhxM8FdwkILp1_6eOjDL156F7QVT-Kn5_8Q76ZaOxPKPWmbZClSPe2lQsIMr_AwCBs1KjTyiS7b3/s1600/Picture+1.png" height="147" width="400" /></a></div>
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Logo for sound archive - some further variations to follow...Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-36918306462196336372013-02-04T11:47:00.000-08:002013-02-04T11:47:04.672-08:00A review of JavaariI found a review by Joseph Sannicandro of my music online. His blog gives a full acount of the <a href="http://noiseeconomy.wordpress.com/about/" target="_blank">AKOUSMA festival. </a><br />
Really interesting to see some initial thoughts on Javaari, although a little on the negative side, plus there are some major misconceptions about what acousmatic music should or should not be!:<br />
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<a href="http://www.manuella.co.uk/about.htm" target="_blank">"Manuela Blackburn</a>,
PhD., is an electroustic composer from the UK, and also a lecturer on
music technology at Liverpool Hope University. I mention her academic
training in part because her work has some of the qualities one might
expect, utilizing Max/MSP and presenting her work in a very controlled
manner. I don’t mean this in a derogatory way; this is by no means the
sort of overly cerebral Computer Music that often comes out of the
academe. The program consisted of four prepared pieces, the last which
was exchanged in favor of a recently completed piece, the first of a
planned trilogy utilizing Indian music samples. That last piece
incorporated tabla and sitar, which I found to be not very compelling.
Acousmatic music is meant to obscure the source material, but both
instruments were clearly recognizable, not to mention identified by the
composer in her address to the audience beforehand. Freed from their
original context but still identifiable, they were utilized in way that
didn’t resonate with me. The philosophy (or spirituality) of Indian
music is an inherent part of its structures, eg. the drone, or the
meter/tala, and underlies the music (as social practice, as art).
Manipulated and cut up in this way that impact is lost, so their
inclusion begins to seem like an necessary exoticization rather than
teasing out something new. The first three pieces were more appealing,
however, at times verging on glitch territory. Each featured a steady
momentum, almost impatient, never stopping or repeating. The
compositions were dynamic and propulsive in a very thoughtful way. The
audience was seated with the composer’s mixing console behind us, with
some space available to lie down in center of the front rows" ....by Joseph SannicandroAnonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-25855087551339530602013-01-28T12:01:00.002-08:002013-01-28T12:03:48.576-08:00new images<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZmHj4zZzlMQkBsHikkrupg3IEA8aLeE_m-5nCegSud_JuIJtJdZtlwndJjKJ_9RcQfahk3eEQabiE7CFtOdIFj1xBI_Us3HdRLQsUJYhvPcwYgxGJT1tQVmSgNvMDnpY5x6ZSEJpdL-od/s1600/Nadaswaram_colour.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZmHj4zZzlMQkBsHikkrupg3IEA8aLeE_m-5nCegSud_JuIJtJdZtlwndJjKJ_9RcQfahk3eEQabiE7CFtOdIFj1xBI_Us3HdRLQsUJYhvPcwYgxGJT1tQVmSgNvMDnpY5x6ZSEJpdL-od/s1600/Nadaswaram_colour.png" height="195" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nadaswaram</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj70Kmp9WFSYkX3F_zYvSDDPNRmDf-fC0RtS_BqhXXfF4b2M3qBMKKzsSfCmd2U9CbHmr04a-d50hCNClQ-UoGxvkWZbcXeH20Oo2PW8NOLvG0MbnkOcKblBrVwuapD_M-0eLw5Os9nbOS/s1600/kanjira.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj70Kmp9WFSYkX3F_zYvSDDPNRmDf-fC0RtS_BqhXXfF4b2M3qBMKKzsSfCmd2U9CbHmr04a-d50hCNClQ-UoGxvkWZbcXeH20Oo2PW8NOLvG0MbnkOcKblBrVwuapD_M-0eLw5Os9nbOS/s1600/kanjira.png" height="191" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kanjira</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrUI1pFR1DThrazXcxtxhPs0s_FJnvxabnV5xHRoPEYbqSPR483wGBvKmiTjavLd8XfxeIIdU92v1Hp5iYtudVQ1D3TuABWhHFgJ2cL9smgLzuGiJRCv_gkZh-RyRffu3DH4fQ_FzatuX/s1600/bansuri_colour.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrUI1pFR1DThrazXcxtxhPs0s_FJnvxabnV5xHRoPEYbqSPR483wGBvKmiTjavLd8XfxeIIdU92v1Hp5iYtudVQ1D3TuABWhHFgJ2cL9smgLzuGiJRCv_gkZh-RyRffu3DH4fQ_FzatuX/s1600/bansuri_colour.png" height="120" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bansuri flute</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9y8wpIUXnGx540qfh8AgTjUK9c_h2db_iOZ0jzAFIHyfuqz1F7hDnfqO6kTY0ZGOVoliVpsY0gTzgFvwVjCUDxsHywvvklwr9qt5RyBdW_Yonc3zNVg21hKsx6dx_ZcihGd9EvxfDb-Hp/s1600/shrutri_colour.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9y8wpIUXnGx540qfh8AgTjUK9c_h2db_iOZ0jzAFIHyfuqz1F7hDnfqO6kTY0ZGOVoliVpsY0gTzgFvwVjCUDxsHywvvklwr9qt5RyBdW_Yonc3zNVg21hKsx6dx_ZcihGd9EvxfDb-Hp/s1600/shrutri_colour.png" height="294" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shrutri (harmonium) box </td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-13612152618631660852013-01-26T09:35:00.001-08:002013-01-26T09:35:06.743-08:00India trip (10th - 19th January)Summary of activities in India with Alok Nayak (Director of Development, Milapfest):<br />
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<b>Ahmedabad </b>(11th - 14th Jan): I attended the last three days of the <a href="http://www.saptak.org/welcome.php" target="_blank">Saptak</a> festival (annual event showcasing new talent and guest stars in Indian Classical Music). I was particularly interested in the different vocal traditions on show in the evening concert including: Parveen Sultana (often referred to as the Queen of Classical Vocal and Hindustani Music) and <a href="http://www.aishwaryamajmudar.com/" target="_blank">Aishwarya Majumdar. </a><br />
Another interesting concert included a 'Mohan Veena' (modified guitar used in Indian Classical music) performed by its inventor - Vishwa Mohan Bhatt. Seeing these performances provided my first experience of this listening to Indian Classical music within its home cultural context.<br />
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13th Jan: 2hr recording session with <a href="http://www.rajeebchakraborty.com/index_all.html" target="_blank">Rajeeb Charkraborty </a>(Sarod) - this gave me an opportunity to collect sound materials for a new piece for <a href="http://en.wikipedia.org/wiki/Sarod" target="_blank">Sarod</a> and electronics. We talked about how the piece would be put together and performed. Rajeeb's raw sound material will be organised in Pro Tools and the electronic part (electroacoustic sound) will be placed around this as a tape part (triggered at points during the piece). Single sounds, motifs, rhythmic pattens and extended phrases were recorded for this purpose.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIbioY7C1trcDRugLEVZJ9giWB9_VM4qiepRgWqn1NExM2slUAdRT5wObzBc7F2MpyUIJJGClHfE6ziKdQvGHYTfIOAsRUdOyYSD_bsI-3pUroT32DkBeOoN6BTHpAM4813rptnFRnel1/s1600/IMG_0300.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIbioY7C1trcDRugLEVZJ9giWB9_VM4qiepRgWqn1NExM2slUAdRT5wObzBc7F2MpyUIJJGClHfE6ziKdQvGHYTfIOAsRUdOyYSD_bsI-3pUroT32DkBeOoN6BTHpAM4813rptnFRnel1/s1600/IMG_0300.JPG" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rajeeb Charkraborty & sarod</td></tr>
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<b>Delhi </b>(14th -16th Jan): Visit to <a href="http://www.gandharvamahavidyalayanewdelhi.org/" target="_blank">Gandharva Mahavidyalaya</a> - a school for Indian music and dance - some music classes were briefly observed and a meeting with the principal, Madhup Mudgal enabled us to discuss teaching styles, the Milapfest/Liverpool Hope collaboration and the forthcoming educational website. This school had a wonderfully stocked library which I'm eager to return to. I really would like to get my hands on: B. Chaitanya Deva, <i>Musical Instruments of India, Their History and Development</i>:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWlZ_XVO4c9xh2jiY49uKp6g-wNSxhIhAT31pltuLT0fJChhCI16mrizJUWJtAB38hSGlRTLAGBcAWmowoDW9dwPtgWDoey3tJ_Tj_2meXstfvlTI06Vg17tr8M_YZc8qo11zWFknlCVcZ/s1600/IMG_0365.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWlZ_XVO4c9xh2jiY49uKp6g-wNSxhIhAT31pltuLT0fJChhCI16mrizJUWJtAB38hSGlRTLAGBcAWmowoDW9dwPtgWDoey3tJ_Tj_2meXstfvlTI06Vg17tr8M_YZc8qo11zWFknlCVcZ/s1600/IMG_0365.JPG" height="320" width="239" /></a></div>
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A visit to the <a href="http://sangeetnatak.gov.in/sna/museum.htm" target="_blank">Sangeet Natak Akademi</a> to view the extensive Museum
and Gallery of Musical Instruments was an amazing discovery. The museum holds around 600 Indian musical instruments, 250 which are currently on display. This was a fascinating visit to be up close to many instruments I'd read about from afar. The collection of instruments is also documented in a hard-copy catalog (with photos) and a computer based archive classifying instruments on lines of 'membranophones, idiophones, aerophones and chordophones. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPaQI64Y2ImKGP6AmR3iZUsYSZHlHYQ7k_hcnIJwaLkQKCvI-ChXOBh51HigPxpJv5cQJPe8x5zH6cBZQF1iEOW5NgkNOf6v48CyZuQRF1zH6NLP7ZLYk97rfnp85lCOgU3ucTPFdMlJtd/s1600/IMG_0375.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPaQI64Y2ImKGP6AmR3iZUsYSZHlHYQ7k_hcnIJwaLkQKCvI-ChXOBh51HigPxpJv5cQJPe8x5zH6cBZQF1iEOW5NgkNOf6v48CyZuQRF1zH6NLP7ZLYk97rfnp85lCOgU3ucTPFdMlJtd/s1600/IMG_0375.JPG" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Instruments from the Sangeet Museum</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpR7rKJIxmDzoEclx6sfBjxXOVfmZbJ8JzzwJN8sNDfYXJLdXN9s7SqeGrIuyx7kT_zywRQiYt0zGtL8G57v8tJF4NfLrY1sTQac8TeCimOlXo-Z9KLlNPJBuJ8xeEYDjxPbHwE9uNp8Um/s1600/IMG_0385.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpR7rKJIxmDzoEclx6sfBjxXOVfmZbJ8JzzwJN8sNDfYXJLdXN9s7SqeGrIuyx7kT_zywRQiYt0zGtL8G57v8tJF4NfLrY1sTQac8TeCimOlXo-Z9KLlNPJBuJ8xeEYDjxPbHwE9uNp8Um/s1600/IMG_0385.JPG" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catalog system of instruments at Sangeet Akademi</td></tr>
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<b>Chennai</b> (16th - 19th Jan) Alok and I met with <a href="http://en.wikipedia.org/wiki/Leela_Samson" target="_blank">Leela Samson</a> (Bharatanatyam dancer who has recently been appointed by Liverpool Hope as a visiting lecturer within Dance). This was a great opportunity to discuss her intentions for her time at Hope starting in September 2013.<br />
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A recording session of three India folk percussion instruments (Pohl and two different <a href="http://www.europeana.eu/portal/record/09102/9FB86522040F7916F1298DC992410C5C876AF6A5.html" target="_blank">Halgis</a>) was an unexpected opportunity at Girish Gopalakrishnan's home studio - this opened up a discussion on how extensive the online sound archive should be - where do you draw the line in terms of the lesser known obscure instruments and those that exist more as historical artifacts, no longer in use? We have discussed the possibility of building this resource in phases so its development evolves over a longer time span to include as many as possible.<br />
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I was fortunate to visit <a href="http://www.arrahman.com/kmconservatory.html" target="_blank">A. R Rahman's</a> sound studio in Chennai on my penultimate day in India. He is widely known for his film music and Oscar nominations, including the soundtrack to Slum dog Millionaire. It was great to see the amazing studio facilities, which are attached to a conservatory (KM Music Conservatory) set up by Rahman for music education/future musicians.<br />
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Overall the trip to India provided a great opportunity to discuss future plans for the Milapfest/Hope partnership and how the research project can move forward. On reflection the visit appears to be an important turning point in the AHRC project as my relationship and knowledge of Indian classical music culture has changed purely from visiting its country of origin. Its an interesting question if visiting a country (where one is borrowing from) is a necessary prerequisite for borrowing in the first place? The discussions with Alok Nayak on diaspora, the existence of a British Gharana and how he views respectful borrowing provided some the most stimulating conversations of the project so far including an 8-hour discussion while waiting for a plane to Delhi!<br />
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<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com1tag:blogger.com,1999:blog-8793152940193561807.post-29926193476974133332013-01-22T01:50:00.005-08:002013-01-22T01:53:30.665-08:00Organised Sound - issue coordinatorMy call for articles on the theme of '<a href="http://journals.cambridge.org/action/displaySpecialPage?pageId=4360" target="_blank">The Sound of Cultures</a>' for an issue of Organised Sound has been officially released.<br />
I am hoping this opens up a wider dialogue on the issue of cultural sound use:<br />
<br />
<small><span style="font-family: Verdana; font-weight: bold;">Organised
Sound: An International Journal of Music and Technology</span></small><br />
<br style="font-family: Verdana; font-weight: bold;" />
<small><span style="font-family: Verdana; font-weight: bold;">Call
for submissions</span></small><br />
<br style="font-family: Verdana; font-weight: bold;" />
<small><span style="font-family: Verdana; font-weight: bold;">Volume
19, Number 2</span></small><br />
<br />
<small><span style="font-family: Verdana; font-weight: bold;">Issue
thematic title: The Sound of Cultures </span></small><br />
<small><span style="font-family: Verdana; font-weight: bold;"></span></small><br />
<small><span style="font-family: Verdana; font-weight: bold;">Date
of Publication: August 2014</span></small><br />
<small><span style="font-family: Verdana; font-weight: bold;"></span></small><br style="font-family: Verdana; font-weight: bold;" />
<small><span style="font-family: Verdana; font-weight: bold;">Issue
co-ordinator: <a href="mailto:blackbm@hope.ac.uk">Manuella
Blackburn</a> (blackbm@hope.ac.uk)</span></small><br />
<br style="font-family: Verdana; font-weight: bold;" />
<small><span style="font-family: Verdana; font-weight: bold;">Submission
deadline: 15 September 2013 </span></small><br />
<br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">Recorded
sound often
provides the starting point for creative work within the practice of
electroacoustic music. Means of accessing sounds and inspiration from
all corners of the globe bring these aural and often so-called exotic
experiences closer to us than ever before. High-quality portable
recording technology, file sharing, networking and the Internet have
all contributed to this ‘easy’ access, but what are
the ethical considerations here? Should creators of sonic art assume
unrestricted access or even proprietary rights over this substantial
resource? Where does respect end and appropriation commence? And as
audience members, how do we listen and respond to works that borrow,
reconfigure and transform cultural/ethnic/exotic sounds? </span></small><br />
<small><span style="font-family: Verdana;"></span></small><br />
<small><span style="font-family: Verdana;"></span><span style="font-family: Verdana;">Following the <span style="font-style: italic;">Organised Sound</span>
‘Global Local’ issue 13/2 (2008), the open sound
world of electroacoustic music, where any sound may be sampled and
integrated, demands a closer look. Are certain sounds
‘off-limits’ with respect to issues of cultural or
social sensitivity? Should we be cautious and respectful when we
plunder from the global sound pallet? How do we as composers deal with
these sounds in the studio? </span></small><br />
<br />
<small><span style="font-family: Verdana;">Of course
culture can
manifest itself in other ways. An impression, hint or suggestion may
imply inspiration drawn from a foreign ‘otherness’.
Understanding how such influences manifest themselves within sonic
works may reveal new fusions, hybrids and methods of composing.
Cultures can also be described as internal developments within regions,
genres, institutions and schools of thought. Greater awareness of
sub-cultural contributions to the wider understanding of
electroacoustic music is fundamental to the continuation and evolution
of sonic practices. Modes of synthesis, programming, installation,
audio-visual practices and performance are often defined and
contextualized through cultural practice. The role of technology and
its ability to capture, collate, preserve and exploit cultural sounds
and aural traditions are all aspects at the heart of this issue. </span></small><br />
<br />
<small><span style="font-family: Verdana;">Topics
for
investigation might include:</span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Issues associated with sonic/musical exchange across cultural boundaries</span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
‘Exoticism’ and its manifestation in
electroacoustic music/sound art </span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Identification and developments of musical sub-cultures </span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Sonic signatures (originating from regions, institutions, genres and
practice)</span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Issues of sonic appropriation and borrowing</span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Sound location and dislocation </span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Site- and cultural-specific sound</span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Symbolic/iconic sound use and its prevalence in electroacoustic music</span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
The preservation, cultivation or exploitation of local/global sounds</span></small><br />
<small><span style="font-family: Verdana;"></span></small><br style="font-family: Verdana;" />
<small><span style="font-family: Verdana;">·
Ethnic phonography</span></small><br />
<br />
Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-58049765818621784732012-12-14T10:42:00.000-08:002012-12-14T10:42:01.829-08:00Khartals, Tampura and Violin & my forthcoming trip to India<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq41fZDhNk_HAd__rxYeke4qfKRWO23C-qy5WjUDsmvie0GGYwdYb27OaW834Ck4XsS3Qsau5SwCc4cmlM2XhDt6drIoOqtEUv4jKawr7GlFMbNt5h9SdwEoJRGIjpe1oc8HSuddbcN6HK/s1600/khartal_colour.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq41fZDhNk_HAd__rxYeke4qfKRWO23C-qy5WjUDsmvie0GGYwdYb27OaW834Ck4XsS3Qsau5SwCc4cmlM2XhDt6drIoOqtEUv4jKawr7GlFMbNt5h9SdwEoJRGIjpe1oc8HSuddbcN6HK/s1600/khartal_colour.png" height="200" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Khartals</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJxtRpDO5NlA8UBNOIRz-eKxRF0f4RKinBsNXvGblR1y_HJL0rFr57AcqrsAFimaPcBjRlTEWNktsbvH7uLYQSkvkWZkIHVu4TAFooECyGFO5J603LyTR-5nVE2bTA0cmQdiso5mk-oMBd/s1600/tampura_colour.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJxtRpDO5NlA8UBNOIRz-eKxRF0f4RKinBsNXvGblR1y_HJL0rFr57AcqrsAFimaPcBjRlTEWNktsbvH7uLYQSkvkWZkIHVu4TAFooECyGFO5J603LyTR-5nVE2bTA0cmQdiso5mk-oMBd/s1600/tampura_colour.png" height="200" width="138" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tampura</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1950UDoOHwWP29Rdr9_m0sZOqr8DiPRM4DwUkfjTYJRPTub6RuO1Zl84Ag4WWIto7VVAZokw3lkPiepoThI_HlBR1pJ26OrAYM1HZPBYAzPiHCHuYQFf6rWJNm66OFipG7guWyFsqJhq/s1600/violin_colour.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1950UDoOHwWP29Rdr9_m0sZOqr8DiPRM4DwUkfjTYJRPTub6RuO1Zl84Ag4WWIto7VVAZokw3lkPiepoThI_HlBR1pJ26OrAYM1HZPBYAzPiHCHuYQFf6rWJNm66OFipG7guWyFsqJhq/s1600/violin_colour.png" height="200" width="196" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">violin</td></tr>
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More images for the online sound archive.<br />
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Preparations for my India trip are going well (from 10th - 19th January 2013). A recording session with <a href="http://www.rajeebchakraborty.com/" target="_blank">Dr Rajeeb Chakraborty</a> has been arranged for 13th January to start work on the mixed work for Sarod and eletronics. While in India I will be visiting three cities: Ahmedabad, Delhi and Chennai. I'm hoping to collect some further recordings along the way - I'm looking out specifically for Nadhaswaram, Thavil, Dilruba and Swarmandal.<br />
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<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-35370058066046349372012-12-07T08:48:00.000-08:002012-12-07T08:48:12.961-08:00New acousmatic piece - work in progress<div class="separator" style="clear: both; text-align: left;">
I've uploaded a two-minute fragment from my new work <b><i>Javaari </i></b>(acousmatic, stereo). This extract is the final two minutes of the piece.</div>
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<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzCmCP9VxsJCzRdMhdtjeg0wJcETZXUb7uFjkwzyLJWJuPm61Z7yeOlxxtdF9ceVyoO-GFhqQrC9kH8tNFUhg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<b>Programme note:</b><br />
Javaari is the term given to the bridge of the sitar where the melodic and sympathetic strings run and create the sound. The bridge is made traditionally of Deer horn and is made in a certain shape, width, and length, while the surface is flat with slight semi-circle bend. It needs to be regularly sanded down to take away the mark of the strings after continuous use and to achieve the desired resonance and brightness. The term also refers to the unique buzzing tone produced by the sitar. This piece explores these fascinating timbres originating from this instrument and pays particular attention to the beautiful pitch bends that arch over and under like vocal melismas. The work is structured into four episodes, each exploring a different intensity of explicit cultural sound use – often the sitar material is in the fore and sometimes it recedes or pokes through intermittently. <br />
This acousmatic work is the first in a series of pieces composed in collaboration with Milapfest (The UK’s leading Indian Arts Charitable Trust) based at Liverpool Hope University. The yearlong project aims to examine the translation and transference of cultural sound to electroacoustic music and is funded by the Arts and Humanities Research Council (AHRC).<br />
<br />
Many thanks go to Roopa Panesar (Sitar), Kousic Sen (Tabla), Raaheel Husain (Sitar), Kiruthika Nadarajah (Violin), Senthan Nadarajah (Mridangam) Kaviraj Singh (Santoor), Upneet Singh (Tabla) and Rohan Kapadia (Tabla). <br />
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<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-84160921817029241362012-12-04T09:40:00.002-08:002012-12-04T09:40:23.879-08:00H.N Bhaskar on the violin - recording session<div class="separator" style="clear: both; text-align: center;">
A demonstration of 'gamakas' on the violin (Southbank Centre, London with H.N. Bhaskar</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyiojPPPLEevH12-w4IYW70cyxMV6KjqFSw8gplE_J5eMmuh-HFhtgoQNj0HeKzeLJGA2PD9EHehAS8fR8r' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<span id="goog_1116310774"></span><span id="goog_1116310775"></span><br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com1tag:blogger.com,1999:blog-8793152940193561807.post-13263228893980959042012-12-03T12:42:00.006-08:002012-12-03T12:42:55.271-08:00Tarun Bhattacharya - Santoor modifications<div style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggbar8tuDYSzxxWT5hFtYNs-_R2y7VTOVwB6b4GihWbtqoIK_2dRQnBErH9CUEN65z3UJBkBp5sKVi_7DMlUULaC655IWEc0HD0a_hHBTmht3-Eox2fzaZXGkEgZLWCBgaDMLWKlquRF5d/s1600/Picture+1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggbar8tuDYSzxxWT5hFtYNs-_R2y7VTOVwB6b4GihWbtqoIK_2dRQnBErH9CUEN65z3UJBkBp5sKVi_7DMlUULaC655IWEc0HD0a_hHBTmht3-Eox2fzaZXGkEgZLWCBgaDMLWKlquRF5d/s400/Picture+1.png" width="400" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-29616644236209456182012-12-03T12:26:00.002-08:002012-12-03T12:39:57.845-08:00Image updateHere is an update to the illustrations for the sound archive: <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mTB7ebG3SEvpjoXoCDtGDhadkx293NYi8OE7B7nGDRxh20OCcgYA9Q-F-eEC0v5AeOvYS30-JLsTUuiTHw7KNoCgPMXy8YOceEKM9tWrR2AGOtYRsAhNuaVSxQo5gR74WaVb2S5bh0Kk/s1600/image1.001-001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mTB7ebG3SEvpjoXoCDtGDhadkx293NYi8OE7B7nGDRxh20OCcgYA9Q-F-eEC0v5AeOvYS30-JLsTUuiTHw7KNoCgPMXy8YOceEKM9tWrR2AGOtYRsAhNuaVSxQo5gR74WaVb2S5bh0Kk/s640/image1.001-001.jpg" width="640" /></a></div>
Swarmandal, mridangam, veena, harmonium, sarod, tabla, sitar, morsing, santoor and dilruba - Many more still to come!Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-70664276355439438492012-12-02T07:11:00.003-08:002012-12-02T07:11:56.160-08:00Southbank Centre, London with Milapfest<br /><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgENYFsgrAg4yIgczKCjmPFrm5t92EEXh53VABvPUV8hvvb7HT4VlderFzxsjSRvWAX24-D-XLdhq75tx0Fw_GHaDHLXwdJymqpfzR3pWb5rqa8odWtlf_mBcWNUp0mFKTUopgwn14qlQR0/s1600/IMG_0184.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgENYFsgrAg4yIgczKCjmPFrm5t92EEXh53VABvPUV8hvvb7HT4VlderFzxsjSRvWAX24-D-XLdhq75tx0Fw_GHaDHLXwdJymqpfzR3pWb5rqa8odWtlf_mBcWNUp0mFKTUopgwn14qlQR0/s1600/IMG_0184.JPG" height="239" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Patri Satish Kumar</td></tr>
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Milapfest's three day mini festival at London's Southbank Centre featured <a href="http://www.aliflailasitar.com/" target="_blank">Alif Laila</a> (sitar), <a href="http://mridangamsatish.com/www.mridangamsatish.com/Bio.html" target="_blank">Patri Satish Kumar</a> (mridangam), <a href="http://kutcheris.com/artist.php?id=111" target="_blank">H.N Bhaskar </a>(Violin), <a href="http://www.santoormaestro.com/" target="_blank">Tarun </a><a href="http://www.santoormaestro.com/" target="_blank">Bhattacharya </a>(santoor) and <a href="http://www.kousicsen.webs.com/" target="_blank">Kousic Sen </a>(Tabla). </div>
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<span class="st"></span><span class="st">I conducted some interviews and sound recordings from these world renowned artists. All of these artists have already contributed their sound material to the online educational resource site/sound archive - providing small sound clips representative of their unique playing styles.</span><br />
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<span class="st">With all these instruments I have been particularly attracted to the sounds of '<b>gamakas</b>' (possible piece title...) - translated as 'ornamented notes' - on the sitar or veena these appears as vertical pulling gestures, while on the Indian violin this refers to the sliding between pitches. These oscillations also appear on the tabla and mridangam through subtle pitch bending. Gamakas appear to refer back to the vocal inflections and movements typical in Indian classical music. </span><br />
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<br /><span class="st"><br /></span>Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-63642701206175478492012-11-13T13:48:00.003-08:002012-11-13T13:49:20.014-08:00More illustrations for web page (Sarod & Tabla)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-Ny5LunqCVQ6SxqwFN2nElrbBLeSlo3V7ifL8k0dlJtHQ0N4-pNoP02SEHB2H1v7u5XrlYB2irBGl_zY-UDWFiFZh0dReCwhcijwAMjErFp1Uw1vRtx0llfMfpPa8gL5xjk3h483WM61/s1600/sarod_colour.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-Ny5LunqCVQ6SxqwFN2nElrbBLeSlo3V7ifL8k0dlJtHQ0N4-pNoP02SEHB2H1v7u5XrlYB2irBGl_zY-UDWFiFZh0dReCwhcijwAMjErFp1Uw1vRtx0llfMfpPa8gL5xjk3h483WM61/s1600/sarod_colour.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sarod</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaULpXc98yoNMZypezWyenc7QdDMKPSORx1fGhHqprJG4OmYDKCK9maAdLwbDwAl2g4EpiFFKc6M04TGiuwNUkTw_47reucp3Fs8QObVacY6kVppFCiDc_GvlXTe9DAErG4TP_XqiCVPk9/s1600/tabla_colour.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaULpXc98yoNMZypezWyenc7QdDMKPSORx1fGhHqprJG4OmYDKCK9maAdLwbDwAl2g4EpiFFKc6M04TGiuwNUkTw_47reucp3Fs8QObVacY6kVppFCiDc_GvlXTe9DAErG4TP_XqiCVPk9/s1600/tabla_colour.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tabla</td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-11368811735377060862012-11-09T03:12:00.002-08:002012-11-09T04:05:10.558-08:00web design with SplinterFirst meeting with <a href="http://www.splinter.co.uk/" target="_blank">Splinter </a>Web Design who will develop the online educational resource of Indian musical instruments.<br />
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The online resource will contain images of all the instruments I have recorded with pop-up windows for listening to instrument sounds, images of the performers, find out more links and historical/contextual info.<br />
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I've started work on the illustrations for the site - here is the first draft of the Veena - black and white now, but will be in colour soon!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9n9uBtqzhvLziAqCyVBn4KiEET61scCqii7HASW1NjX2JXR2fvfdYqusA-2gorxK6alYEZzObdqLFB9Rm_9cAS9-ORI7Y6uK9EqAgWWocjYMUQa8nwUXkdxPq2owbFc1cQ8qpSR5CU6tf/s1600/veena1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9n9uBtqzhvLziAqCyVBn4KiEET61scCqii7HASW1NjX2JXR2fvfdYqusA-2gorxK6alYEZzObdqLFB9Rm_9cAS9-ORI7Y6uK9EqAgWWocjYMUQa8nwUXkdxPq2owbFc1cQ8qpSR5CU6tf/s320/veena1.png" width="320" /></a></div>
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And now with colour:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpsN10ej8IO-QqJ0wkDhQxqhvlHuomw1J8ndnG27VloaZ5fCU3FZT2QCY-njT7vIsi73D-4njf0gUmdeMW6Zq9xj6k0V97widLvaUcuhyphenhyphenMmQrX-FM8T6PYydRhsbMQU1e2EqVZ4hLUh7yq/s1600/veena_colour.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpsN10ej8IO-QqJ0wkDhQxqhvlHuomw1J8ndnG27VloaZ5fCU3FZT2QCY-njT7vIsi73D-4njf0gUmdeMW6Zq9xj6k0V97widLvaUcuhyphenhyphenMmQrX-FM8T6PYydRhsbMQU1e2EqVZ4hLUh7yq/s320/veena_colour.png" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com4tag:blogger.com,1999:blog-8793152940193561807.post-14184542724573853522012-11-06T10:49:00.001-08:002012-11-06T10:49:10.343-08:00Susan Frykberg's radioshowsI thought I'd include the links to Susan Frykberg's two radioshows on electroacoustic composers influenced by world music:<br />
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<a href="http://podcast.radionz.co.nz/upbt/upbt-20111021-1300-susan_frykberg-048.mp3" target="_blank">Radioshow 1</a><br />
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featuring:<br />
Iannis Xenakis -<i> Orient-Occident</i><br />
Robert Worby <i>- Shanghai Lipper</i><br />
Diana Salazar <i>- Kalimba</i><br />
Robert Sazdov <i>- Tetovo</i><br />
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<a href="http://podcast.radionz.co.nz/upbt/upbt-20111124-1242-susan_frykberg-048.mp3" target="_blank">Radioshow 2</a><br />
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featuring:<br />
Ian Whalley <i>- Kasumi</i> <br />
Richard Scott - <i>Resonating Bodies</i> <br />
Manuella Blackburn<i> - Karita oto </i><br />Alistair MacDonald <i>- Strange Rainbow</i> <br />
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Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-4353240077631987532012-11-03T09:37:00.000-07:002012-11-03T09:39:55.863-07:00Horniman Museum visitThe Music Gallery at the <a href="http://www.horniman.ac.uk/about" target="_blank">Horniman Museum</a>, London, has interactive 'sound stations' which allow the viewer to select an instrument from the collection and hear a short sample. Some historical/background information is given about each instrument when listening to the instrument.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yiWtXN8z9NH6DTAwyYve03bu2tdRZGnKhVbhAUAREq5LAWK4U2_dp18YWBSLwyQmtf7q9m_0H-QOLNyQGUT1UPer8k9Of6JuKrewRYFXS1eq08V47aHW-f8fAR0hpW6W9mQ-bLbVbA8y/s1600/horniman4.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yiWtXN8z9NH6DTAwyYve03bu2tdRZGnKhVbhAUAREq5LAWK4U2_dp18YWBSLwyQmtf7q9m_0H-QOLNyQGUT1UPer8k9Of6JuKrewRYFXS1eq08V47aHW-f8fAR0hpW6W9mQ-bLbVbA8y/s400/horniman4.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Instruments in the collection</td></tr>
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It was interesting to come across the 'peacock <b>dilruba</b> fiddle', '<b>gajelu</b>' anklet bells, '<b>pungi</b>' double clarinet, '<b>ghanti</b>' priest handbell, '<b>sarangi</b>' bowed string instrument, <b>'kartal</b>' concussion sticks and '<b>rasp</b>' scraping stick. <br />
From the Music Gallery Guide (Margaret Birley, Jarrold Publishing, 2009): "Musical instruments are both manifestations of material culture, and the tools for the creation of an intangible cultural herritage in sound. Cultural values are invested in musical instruments, and in the numerous systems that have been used to classify them."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWS69Edy3peSDtt9kCuF0tYCrT9CeOm5-cyktC7EFoPq_lLoYnOToEOTHta9qbQ3uImBaqzbJhb0dg6BVGgn2RAIZyjL_HMUGMnlNOUeITyQntQ7gBUNvfyYwb6KCiaW7DTcYeKPl4KODX/s1600/horniman1.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWS69Edy3peSDtt9kCuF0tYCrT9CeOm5-cyktC7EFoPq_lLoYnOToEOTHta9qbQ3uImBaqzbJhb0dg6BVGgn2RAIZyjL_HMUGMnlNOUeITyQntQ7gBUNvfyYwb6KCiaW7DTcYeKPl4KODX/s400/horniman1.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sound stations for viewing & hearing instruments</td></tr>
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Classification terminology used: "Aerophones, idiophones, membranophones, chordophones, and electrophones"<br />
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<br />Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-77892272604402058052012-11-03T09:27:00.001-07:002012-11-03T09:27:48.570-07:00Displays - Visit - Horniman Museum and Gardens<a href="http://www.horniman.ac.uk/visit/displays/display/music-gallery/display-chapter/music-gallery#.UJVF-xPUfFw.blogger">Displays - Visit - Horniman Museum and Gardens</a>Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0tag:blogger.com,1999:blog-8793152940193561807.post-38406980445578081532012-10-20T12:35:00.005-07:002012-10-20T12:35:58.019-07:00Recording session: Tarang<div style="text-align: right;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX9Bslnv9zy1EvQmFzGyLt7ufBCOxsbarqy2qIOvetMhmTRkOk8m5TXruzDJ5azJCtP-8JIJO2Mx2y7Hkvq8c3FUH9w-s8iL2ma5A7naw5mmMx5RLaSmNwX9moHDLxBoLC9ugr7xjDeL5L/s1600/Image.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a>Today I conducted a recording session with four members of the <a href="http://www.milapfest.com/tarang/" target="_blank">Tarang</a> ensemble - the UK’s National Ensemble for Indian Music. All members of the ensemble are early-career musicians performing Hindustani (North Indian) or Carnatic (South Indian) music.<br />
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I was particularly keen to work with the two vocalists of the ensemble -
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<span lang="EN-US" style="font-family: Times; font-size: 12pt;"><b>Raaheel Husain </b>and <b>Yarlinie Thanabalasingham </b>as a means of capturning the differences between <i>Carnatic</i> and <i>Hindustani</i> vocal styles and techniques. A wide range of pitches, motifs, scales and fragments from pieces were recorded along with Q&A sessions with each performer. </span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxMok7OEH3g5VX6NCWGJyKc_gqqyJjVqpvmepUYfDq7x3T8h6rXQTj6r82ePtoYPGVoEAFMGuypM370x6EAVg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<span lang="EN-US" style="font-family: Times; font-size: 12pt;">I was also able to record two veena performers from the ensemble - <b>Shyla Shanmugalingam </b>and<b> Mithila Sarma. </b>I was particularly drawn to the dramatic note 'pulling' on this instruments and the finger pick playing technique. </span><br />
<span lang="EN-US" style="font-family: Times; font-size: 12pt;">Many thanks to the all the performers I worked with today for their beautiful playing and contributions to the project. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUfGhBG29vvdf5nE509dfCA_sQ1yaxGA1A0w5H2SiGVKFbvQksRnEEATUwcpyrzPDHi_ef4dufwz5Eur7k3WOO5Edob47jmz5zQwtK6zEfoYzjjKR3JSyNjDHu7SNzthGIHYqiv9SELN7/s1600/Image.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUfGhBG29vvdf5nE509dfCA_sQ1yaxGA1A0w5H2SiGVKFbvQksRnEEATUwcpyrzPDHi_ef4dufwz5Eur7k3WOO5Edob47jmz5zQwtK6zEfoYzjjKR3JSyNjDHu7SNzthGIHYqiv9SELN7/s1600/Image.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top: Tarang ensemble at the Bridgewater Hall (20th Oct 2012), bottom
left: Yarlinie Thanabalasingham, bottom centre: Raaheel Husain, bottom
right: Shyla Shanmugalingam</td></tr>
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<span lang="EN-US" style="font-family: Times; font-size: 12pt;"> </span> Anonymoushttp://www.blogger.com/profile/06813136512169333670noreply@blogger.com0