Nature Forms II for Flute, Clarinet, Viola, Percussion, Hybrid Field Recording and Electronics

Lindsay Vickery

Music Proceedings of the International Conference on New Interfaces for Musical Expression

• Year: 2016
• Location: Brisbane, Australia

Abstract:

Program notes: Nature Forms II is an eco-structuralist work, maintaining what Opie and Brown term the “primary rules” of “environmentally-based musical composition”: that “structures must be derived from natural sound sources” and that “structural data must remain in series”. Nature Forms II explores the possibility of recursive re-interrogation of a field recording through visualization and resonification/resynthesis via machine and performative means. The source field recording is contrasted with artificially generated versions created with additive, subtractive and ring modulation resynthesis. Interaction between the live performers and the electronic components are explores through “spectral freezing” of components of the field recording to create spectrally derived chords from features of the recording bird sounds and a rusty gate which are then transcribed into notation for the instrumentalists and temporal manipulation of the recording to allow complex bird calls to be emulated in a human time-scale. Cat Hope - Bass Flute Lindsay Vickery - Clarinet Aaron Wyatt - Viola Vanessa Tomlinson - Percussion

Citation:

BibTeX Entry:

  @inproceedings{nime2016-music-Vickery2016a,
 abstract = {Program notes: Nature Forms II is an eco-structuralist work, maintaining what Opie and Brown term the “primary rules” of “environmentally-based musical composition”: that “structures must be derived from natural sound sources” and that “structural data must remain in series”. Nature Forms II explores the possibility of recursive re-interrogation of a field recording through visualization and resonification/resynthesis via machine and performative means. The source field recording is contrasted with artificially generated versions created with additive, subtractive and ring modulation resynthesis. Interaction between the live performers and the electronic components are explores through “spectral freezing” of components of the field recording to create spectrally derived chords from features of the recording bird sounds and a rusty gate which are then transcribed into notation for the instrumentalists and temporal manipulation of the recording to allow complex bird calls to be emulated in a human time-scale.

Cat Hope - Bass Flute
Lindsay Vickery - Clarinet
Aaron Wyatt  - Viola
Vanessa Tomlinson - Percussion},
 address = {Brisbane, Australia},
 author = {Lindsay Vickery},
 booktitle = {Music Proceedings of the International Conference on New Interfaces for Musical Expression},
 editor = {Andrew Brown and Toby Gifford},
 month = {June},
 publisher = {Griffith University},
 title = {Nature Forms II for Flute, Clarinet, Viola, Percussion, Hybrid Field Recording and Electronics},
 year = {2016}
}