a miniature opera: censorship (no.1) is recorded by the JACK Quartet in the Oktaven audiO New York in April 2021.
The “censorship” is a miniature opera that projects the form of censorship by gradually filtering sounds into noises. This composition is like fireworks. There are noises and floating materials in it. All materials happen extremely rapidly in the piece, much like fireworks. Although we can’t see its details clearly, we can perceive its overall form. Censorship might also be viewed as a firework. It is difficult to oppose it because its form is constantly changing and appears soft, innocent, and more beautiful while also becoming crueler. We censor at times and are censored at others. It has devolved into a commodity. Then it may need the use of a barcode.
Mark Micchelli will be giving a recital of Pitt composer’s works.
Bellefield Hall, Pittsburgh, USA
Sunday, April 18th, 2021
Devon Osamu Tipp
My new album, A World from a Distance, is released by Sound Silence Thought in Dec. 2020. This album contains 7 electroacoustic pieces written in 2020 and is available worldwide both physically and digitally through various online platforms.
Technology is the primary link between the pieces in this collection. I use technology to generates sounds or manipulate them. The acoustic sections of this collection have, like the electronically generated sounds, been created through technology by using VST samples, and, in some parts, sound processing has modified its quality (as in track No. 4, Dots). Working with tech for many years has led me to approach my compositional process in new ways. While composing, I balance the connections I’ve formed between my musical habits and the technological tools available to me. This balanced interaction is what differs between my approaches to acoustic and electronic composition.
In this collection, I confront the entire field of sound and time with differing notions of distance and coordination, two of the embedded characters of electronic music. During my compositional process, I navigate textures, rhythmic frames, and embedded sounds within varying virtual acousmatic distances. From this vast array of options in creating sound structures, I’ve, ironically, come to kinds of repetition as structures within my electronic work. I approach many of these pieces as various fractions of sound and time that are all moving inward to a nucleus. My movement between differing layers of superimposed multi-tracks intensifies their convergence toward this nucleus. Its gravity pulls listeners in many directions, creating shifting aural relations. Each time I listen to these pieces my aural perception shifts and warps differently towards each piece’s multi-dimensional nucleus. At times I find myself being pulled with these sounds toward the nucleus. Other times I find myself within the nucleus as sounds rush towards me from many angles. At any rate, it is not a left-right listening experience for me. Rather, it is a nucleocentric listening experience. This way of listening greatly informs my compositional process for this series of electronic pieces.
Buy the physical album here
My electroacoustic piece, a A, will be heard in a live stream concert by Tesselat in Nov. 6th, 2020.
Tesselat Electronic & Electroacoustic
Allan X. Chen
Friday, Nov. 6th, 2020
8:00 PM EST
The winner of the FEZANA scholarship for the year 2020-2021
“probable” probably for (probably for solo) instrument (probably string)
“Probable” is a series of pieces that have the performer involve the compositional process and this collaboration in some part are indispensable. As a researcher working on the notion “Music Perception”, the composer tries to involve the performer’s taste, opinion, intelligence, experience, and sensibility as a rich source of perception to the pieces and he sees this contribution to the musical collaboration somehow beyond the definition of experimental music. “Probable” changes the traditional performance sequence of reading-comprehension-preparation-production and encounters the performer with his own series of tasks that is obviously different from person to person. The writing of this series is started with the commission by the violinist David Danel and it has become an ongoing piece of art for the composer.
June 25th, 2020
Kroměříž, Czech Republic
Based on the text by Gertrude Stein
University of Pittsburgh
The world premiere of “Miniature Sounds No.4” by the TAK ensemble.
Text by Gertrude Stein
SAT, JAN 25th 2020
Bellefield Hall Pittsburgh PA
Carnegie Mellon graduate Phoebe Robertson performs five new pieces for solo flute. Organized by Tesselat, the composer’s collective, committed to the organization, promotion and production of new music concerts around the world.
Yukari Miswa 1 / 2 / 3
Amy Brandon MICROCHIMERISMS II
Djordje Markovic (Winner of Tesselat’s Call for Scores) Phonemes
Jean-Patrick Besingrand Sur la crête d’un enfer à contempler les fleurs
Ramin Akhavijou X4
Thursday, December 5, 2019 from 07:30 pm to 09:00 pm