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Gordon
Delap; Atrament (fixation/solution/distillation;
sublimation/separation);
“Atrament is constituted of four miniatures,
contrasting through varying
technical procedures and degrees of human agency,
unified through the
genesis of their material”
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Mark
Windgate; Klang, Kar und Melodie;
³...the piece gradually reaches a constant
forward harmonic motion and a
complex structural plan, in which composite
segments formed by asymmetrical
pairs of vertical strata are superimposed upon
complementary hexachord
aggregates. These inverted cellular rotations
(marked accelerando conforza)
combine with slower moving tone-clusters which
crescendo into chaotic,
colliding “nexus” sets of ever-increasing
density which ultimately
disintegrate and have to be rebuilt in the second
half of the piece. Thus,
with the exception of the first invariant subset
(heard in the opening
section by the horns), the underlying rhythmic
structure results from
temporal displacement of the canonic motive
in the various constituent
voices and is not (as one might think) a determinant
of motion in the most
fundamental sense...²
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Paul
Wilson; Genesis;
“The origins of good and evil, and the
necessity for either to classify or
contextualise the other, is a theme which directed
the realisation of
Genesis. The sonic palette makes use of gesticulative
nuances inherent in
the source sounds, in collaboration with transformed
material. The result is
a sound world consisting of both recognisable
and surreal elements that
should be perceived as having equal timbral
significance. The composition
journeys from one end of the spectrum to the
other; the perception of
timbres as being at each end of the continuum
is reinforced within the
context of its polar opposite”
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Deirdre
Johnson; Reverie;
“Reverie is a one-movement electroacoustic
composition based entirely on two
voices, submitted as part of the MA in Music
Technology, at the University
of Limerick, in 2001. The piece is concerned
with the principle aural images
of lightness and darkness, turbulence and rest,
through
spectro-morphological and temporal relationships”
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