Day 242 of A Year of Deep Listening

 

DUO FOR OBOE AND WHIPPET, by Emily Doolittle and Idris Donut

Of course there is something humorous about the idea of a “Duo for Oboe and Whippet”, but I have genuinely been enjoying duetting with my dog. Interaction and response are such key parts of music-making for me, and during the pandemic when it has been so hard to find safe opportunities for in-person music-making, I’ve particularly enjoyed finding this opportunity for sonic exchange with a member of another species, at home. This piece can be transcribed for any instrument or voice, and any dog, but I titled the score as I did to share the specificity of my own experience.

You can hear a performance of this piece (in trio version), here: https://www.youtube.com/watch?v=snVyZJkgQf0

Emily Doolittle is a Canadian-born, Scotland-based composer and researcher, with a longterm interest in the relationship between animal songs and human music.

Day 241 of A Year of Deep Listening

 

WHEN A DOG HEARS, by Alex Goodall

When a dog hears, she mocks us. Think of everything she knows that we don’t!

Student in final year of Sound Arts & Design at LCC. I work mostly with field recordings, spoken word and vocal manipulation to attempt to decode my relationships with people and with my surroundings through sound. instagram.com/pecheinterdite

Day 240 of A Year of Deep Listening

 

BONE CYCLES, by Michael Morris

Michael J. Morris is an artist, dramaturg, writer, educator, facilitator, and founder of Co Witchcraft Offerings through which they offer astrology and tarot readings, movement-based rituals, and workshops to support people pursuing personal and collective healing and liberation. They hold a PhD in Dance Studies from The Ohio State University. Their writing has been published in The Oxford Handbook of Dance and Theater, Choreographic Practices, TDR, Dance Chronicle, the European Journal of Ecopsychology, LEUR, UnBound Zine, and Arcade: Literature, the Humanities & the World.

Day 239 of A Year of Deep Listening

 

SLUMBER SOUNDTRACK, by Parker Nelson

Parker Nelson is redefining the limits of what the horn can do with innovative programs that include his own original arrangements, transcriptions, techniques, commissions, and new context for standard practices and repertoire. As a soloist, chamber musician, orchestral musician, and educator, Parker actively works with communities both home and abroad to continually expand the cultural, educational, and artistic reach of the 21st century horn player.

Day 238 of A Year of Deep Listening

 

IN TIMES OF WAR AND NOT WAR, by Graham Sefton

Graham Sefton is a UK-based musician, artist and poet, who has been quietly repurposing found sounds and visuals under the name Detritus Plates since the nineties. His 2019 cassette tape on Sensory Leakage is amongst the “culturally significant artefacts” featured in Iain Forsyth and Jane Pollard’s ongoing exhibition at London’s Somerset House, THE HORROR SHOW! (27th October, 2022 – 19th February, 2023). His collage works can be found at: instagram.com/detritusplates

Day 237 of A Year of Deep Listening

 

YOUR ENVIRONMENT – FIRST IMPRESSIONS, by Brenda Hutchinson

Excerpted from “The Little Listening Book” collection of listening based meditations, strategies, games, etc., developed over the years with and for my classes, among other occasions.

Brenda Hutchinson is a composer and sound artist whose work is based on the cultivation and encouragement of openness in her own life and in those she works with. Through her work with large-scale experiments in socially based improvisations and interactions, Brenda has developed a body of work based on a perspective about interacting with the public and non-artists through personal, reciprocal engagement with listening and sounding. She continues to explore and share with others the conceptual, aesthetic and relational possibilities that arise from this type of activity. Brenda is the recipient of the Gracie Allen Award from American Women in Radio and Television and has received support from the National Endowment for the Arts, Lila Wallace, McKnight Foundation, NY State Council on the Arts and Meet the Composer among others. Recordings of her work are available through TELLUS, Deep Listening, O.O. DISCS, Frog Peak Music and Leonardo Music Journal. She has been an artist in residence at San Quentin Prison, Headlands Center for the Arts, Harvestworks, Exploratorium, Ucross and Djerassi. http://www.sonicportraits.org/

Day 236 of A Year of Deep Listening

 

BEFORE THE CONCERT, by Herine Coetzee Koschak

An avid conversationalist, cellist Herine Coetzee Koschak is on a lifelong quest to engage in meaningful and personal exchanges through music. Herine is a founding member of Fifth House Ensemble and is regularly heard on local and national radio stations and concert stages, as well as on the Cedille record label.

Day 235 of A Year of Deep Listening

 

ALPHABETIC ATTENTION SCORE, by Margaret Christakos

This score creates space to listen to words and phrases forward, backwards and as assemblages of movable phonetic sound. It opens up words as always in movement and en route toward other possible words. The action of composition creates time and presence. 

Margaret Christakos is a Canadian poet and writer. She has published 11 collections, as well as a memoir and novel. She lives in Toronto. 

Day 234 of A Year of Deep Listening

 

BELL TRAIN (FOR TIME FEENEY), by Cassia Streb

Cassia Streb is a sound artist who lives and works in Los Angeles, California. She writes music for specific situations and for special places. Her work is often composed for friends and colleagues in order to highlight aspects of their musicality that she admires. Cassia plays viola, small percussion instruments and found objects in her work with improvisation and interpretation of notated scores. Some of her recent projects include Sound House, an interactive sound and puppet piece and Music for Your Inbox, a digital concert platform that presents experimental visual and sound artists.

Day 233 of A Year of Deep Listening

 

JOY, by Alexis Porfiriadis

The verbal piece ‘Joy’ is part of the collection of verbal scores ‘Words for Sounds’ (2010-19).

PhD in Composition at Bath Spa University/UK, master’s degree and postgraduate diploma in Composition at the University for Music and Performing Arts Graz/Austria. Since 2008 his compositions consist mainly of verbal/graphic open form scores or combinations of conventional notation with verbal and/or graphic notation. Selected prizes and awards: 1st Prize in the Franco Evangelisti International Composition Competition 2020, 3d Prize in the Second International Composition Competition for String Quartet by Molinari Quartet 2005, State grand for Composition of the Republic of Austria 2003-04. http://alexisporfiriadis.blogspot.com/