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Home / Listen / Musicworks magazine recordings / Musicworks 118 CD
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Various artists issue # 118
1Tulugak (2013) Composed by Tanya Tagaq, Jesse Zubot, and Jean Martin. Performed by Tanya Tagaq (voice), Jean Martin (drums, electronics), and Jesse Zubot (violin). Produced by Jesse Zubot, and recorded in Vancouver, B.C. at Warehouse Studios in 2012. From the forthcoming 2014 album by Tanya Tagaq. Licensed courtesy of Six Shooter Records. © 2013 Tanya Tagaq Gillis 8:44
2Safer Is Better (2010) Composed and performed by Margaret Noble (analog synthesizers, digital samplers, turntables, random objects, and toys). The year 1984 has passed, but George Orwell’s vision of a society controlled through surveillance, censorship, infringement of individual liberties, and violence in the name of security still resonates today. Through contemporary media clips and sound art, Safer is Better explores Orwell’s 1949 predictions as they increase in accuracy with each new decade. —Margaret Noble Engineered by Doghouse Productions in San Diego, 2010. © Margaret Noble6:19
3A Short Study for Seven Storey Mountain IV, Live (2012) Composed by Nate Wooley. Performed by Nate Wooley (trumpet) and TILT Brass Sextet. This recording features the tape component of Seven Storey Mountain IV, and Nate Wooley on amplified trumpet, alongside the TILT Brass Sextet, which commissioned the study. TILT is led by Chris McIntyre, and comprises Gareth Flowers, Tim Leopold, and Chris DiMeglio on trumpets, and Jen Baker, Will Lang, and McIntyre on trombones. —Nate Wooley Recorded in concert by Daniel Neumann at the Festival of New Trumpet, September 2012, at University Settlement in Manhattan. © 2013 Nate Wooley 15:02
4Warblework-Swainson’s Thrush (2011) (Available on Musicworks CD#118) Composed by Cassandra Miller. Performed by Quatuor Bozzini—Isabelle Bozzini (cello), Stéphanie Bozzini (viola), Clemens Merkel (violin) and Mira Benjamin (violin.) Recorded in Église Sainte-Théodésie, Calixa-Lavallée, Quebec, in June 2011. Recorded, edited and mastered by Amandine Pras, with Joane Hétu, executive producer From the album À chacun sa miniature (Collection QB, CQB 1113). © SOCAN, SACEM, BMI, 2010–11 (P) Quatuor Bozzini, DAME 2011 Licensed courtesy of: Collection QB Audio available on CD only 2:42
5Salt Spring Improvisation #10 (2012) Composed by Quatuor Bozzini in collaboration with Taylor Brook and Nathalie Bujold. Performed by Quatuor Bozzini (members listed on notes for previous track). Recorded in Artspring Theatre, Island Arts Centre, Salt Spring Island, B.C. in August 2012, and produced by Quatuor Bozzini. © Quatuor Bozzini (P) Quatuor Bozzini Licensed courtesy of Quatuor Bozzini 4:42
6Running with the Herd (2003) Composed and performed by Victor Gama (toha, acrux). Composed for the first versions of the toha and the acrux, this piece is an early attempt at orchestrating with more instruments from the Pangeia Instrumentos series. Both the toha and the acrux have gone through several versions since then, and now share the stage with conventional instruments on my pieces like Vela 6911 and the new multimedia opera Three Thousand Rivers. —Victor Gama Recorded at Adraga in Almoçageme, Portugal in 2003. Produced by Victor Gama, engineered by Paulo Machado, and released for the launch of the exhibition Instrumentos at the Royal Opera House in London in 2012. From the 2012 album Naloga (PangeiArt, PAN106 CD). © Victor Gama 1:55
7The Lords of Odem (2001) 3:16 (Available on Musicworks CD#118.) Composed and performed by Victor Gama (acrux, zulao). My main method of composition focuses on creating instruments that embody the symbolic material gathered for a particular new piece. This is one of the first pieces which required the development of the acrux. It is based on the fictional story of a space voyage into the orbit of Eguanalam, an inhabited planet of the Southern Cross constellation. —Victor Gama Recorded at Adraga in Almoçageme, Portugal in 2001. Produced by Victor Gama, engineered by Paulo Machado, and released for the launch of the exhibition Instrumentos at the Royal Opera House in London in 2012. From the 2012 album Naloga (PangeiArt, PAN106 CD). © Victor Gama Audio available on CD only3:16
8Alektorophobic (2013) Composed and produced by Jonathan Pfeffer. Performed by Julian Chin (piano), Josh Modney (violin), Olivia de Prato (violin), Victor Lowrie (viola), and Mariel Roberts (cello). Alektorophobic is a composition for piano quintet and electronics that attempts to dissect and epitomize the pathos, terror, and absurdity native to my lifelong phobia of chickens. At various points, the musical materials evoke the birds’ body language, vocalise, and the texture of their physiques. —Jonathan Pfeffer Engineered by Shahzad Ismaily and Sean van Doornum at Spectrum in NYC. Additional engineering and mixing by Alex Overington at Brooklyn Brush in Brooklyn, NY. Mixed and mastered by David Downham at Gradwell House in Haddon Heights, NJ. © 2013 Music Is Half the Battle (ASCAP) 5:15
9Character Change (2013) (Available on Musicworks CD#118.) Composed and performed by Sean McCann (programming, glockenspiel, violin, and flute). From the 2013 album Music For Private Ensemble (Recital, R5). © Sean McCann Audio available on CD only7:27
10Roboterstück (2012) (Available on Musicworks CD#118.) System designed by Arne Eigenfeldt. Performed by the KarmetiK NotomotoN, an eighteen-armed percussion robot. A tongue-in-cheek homage to Karlheinz Stockhausen’s famous total-serialist work Klavierstück XI, in which the performer glances at a sheet of music and randomly chooses to play from fifteen notated fragments. — Arne Eigenfeldt Recorded live in the World Art Studio at Goldcorp Centre for the Arts, Simon Fraser University, Vancouver, B.C. © Arne Eigenfeldt 2011 Audio available on CD only1:06
11Indifference Engine vs. Brian Nesselroad (2013) (Available on Musicworks CD#118.) System designed by Arne Eigenfeldt. Performed by Brian Nesselroad and the Indifference Engine. My software is often built around the concept of negotiation, in which virtual musical agents attempt to come to an understanding of what they want to achieve musically, and how to get there. In this work, the eight virtual agents must deal with a live performer, who has desires and intentions unknown to them. Each agent is given only a short “view” of the outside world in order to form their individual beliefs of what the performer is doing. Since these beliefs are often contradictory, the agents spend a lot of time arguing, resulting in occasional indifference to the live performer. —A. E. Recorded live in the Wong Experimental Theatre at Goldcorp Centre for the Arts, Simon Fraser University, in October 2013. Audio available on CD only4:24
12Winter Was (2013) System designed by Arne Eigenfeldt. Composed by GESMI. Interactive and metacreative systems tend to reflect the designers’ musical aesthetic. As a result, listeners have a hard time recognizing the quality of the system’s output versus the designer’s musical intentions. The Generative Electronica Research Project (GERP) was designed to generate music many listeners are familiar with—Electronic Dance Music (EDM)—by learning from a corpus of works from specific styles. My system—the Generative Electronica Statistical Modelling Instrument—began generating complete EDM tracks in March 2013, after being coded for almost three years. —A. E. Recorded in Arne Eigenfeldt’s personal studio. © Arne Eigenfeldt 2013 6:19
13Live at ESS (2013) (Available on Musicworks CD#118.) Improvisation by New Material—Mikel Avery (headboard tongue drum, percussion), Tadd Cowen (restaurant-chair cajón), Leroy Bach (one-dumpster six-string, clarinet), John Preus (amplified bedpost, vocals) and Alex Inglizian (vocal effects). Recorded live at the opening of the exhibition Slow Sound at Chicago’s Experimental Sound Studio in October 2013. With the exception of Bach’s clarinet, the music is played on Preus’ instruments. Mastered by Alex Inglizian. © John Preus Audio available on CD only4:09
