Paysage
Premiere
24-30/05/2021 — RE:Flux Festival '16 - Galerie Sans Nom, New Brunswick, Moncton (CAN)
Commission
Commissioned by Festival RE:FLUX ‘16
Awards
Honourable Mention at the Música Viva Festival 2021 International Electroacoustic Composition Competition by Miso Music Portugal
Programme notes
Dennis Smalley (b. 1946) defines source bonding as the natural tendency to relate sounds to supposed sources and causes and to relate sounds to each other because they appear to have shared or associated origins. Thus, bonding play is an inherent perceptual activity.
Consequently, I began to rethink how and what to think about ‘sound’ and its behaviour, and most importantly, to hear ‘sound’ differently. This self-reflection on my sonic somatic knowledge led to a broader perspective on what I, as a composer and researcher, should consider sound as music. Hence, I wrote Paysage, a soundscape piece based on the processing of the sounds that surrounded me during the writing process. This effect was enhanced by the imposed limitations during confinement, which meant that I had to share the same house to work and to live in, which made me realize how musical sound is constantly all around us.
Written in 2021 as part of my Doctor in Music — Composition at the Royal College of Music, London (EN). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT) & Royal College of Music (EN).
© PRS/MCPS/SPA ISWC T-304.735.045-4
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Premiere
24-30/05/2021 — RE:Flux Festival '16 - Galerie Sans Nom, New Brunswick, Moncton (CAN)
Commission
Commissioned by Festival RE:FLUX ‘16
Awards
Honourable Mention at the Música Viva Festival 2021 International Electroacoustic Composition Competition by Miso Music Portugal
Programme notes
Dennis Smalley (b. 1946) defines source bonding as the natural tendency to relate sounds to supposed sources and causes and to relate sounds to each other because they appear to have shared or associated origins. Thus, bonding play is an inherent perceptual activity.
Consequently, I began to rethink how and what to think about ‘sound’ and its behaviour, and most importantly, to hear ‘sound’ differently. This self-reflection on my sonic somatic knowledge led to a broader perspective on what I, as a composer and researcher, should consider sound as music. Hence, I wrote Paysage, a soundscape piece based on the processing of the sounds that surrounded me during the writing process. This effect was enhanced by the imposed limitations during confinement, which meant that I had to share the same house to work and to live in, which made me realize how musical sound is constantly all around us.
Written in 2021 as part of my Doctor in Music — Composition at the Royal College of Music, London (EN). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT) & Royal College of Music (EN).
© PRS/MCPS/SPA ISWC T-304.735.045-4
Are you performing this work? Submit your performance details to be featured in the upcoming events!
Scroll down for recording ↓
Premiere
24-30/05/2021 — RE:Flux Festival '16 - Galerie Sans Nom, New Brunswick, Moncton (CAN)
Commission
Commissioned by Festival RE:FLUX ‘16
Awards
Honourable Mention at the Música Viva Festival 2021 International Electroacoustic Composition Competition by Miso Music Portugal
Programme notes
Dennis Smalley (b. 1946) defines source bonding as the natural tendency to relate sounds to supposed sources and causes and to relate sounds to each other because they appear to have shared or associated origins. Thus, bonding play is an inherent perceptual activity.
Consequently, I began to rethink how and what to think about ‘sound’ and its behaviour, and most importantly, to hear ‘sound’ differently. This self-reflection on my sonic somatic knowledge led to a broader perspective on what I, as a composer and researcher, should consider sound as music. Hence, I wrote Paysage, a soundscape piece based on the processing of the sounds that surrounded me during the writing process. This effect was enhanced by the imposed limitations during confinement, which meant that I had to share the same house to work and to live in, which made me realize how musical sound is constantly all around us.
Written in 2021 as part of my Doctor in Music — Composition at the Royal College of Music, London (EN). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT) & Royal College of Music (EN).
© PRS/MCPS/SPA ISWC T-304.735.045-4
Are you performing this work? Submit your performance details to be featured in the upcoming events!
Scroll down for recording ↓
