Posted by kiva simova on October 28, 2009 at 18:00
As a composer of overtone choir music, I am looking for this type of choir with at least a few capable polyphonic singers who understand the numbered notation system. I have several pieces available that do not fall into the category of ethereal, new age or meditative music. There are a lot of quick paced rhythmic passages in many cases.For some of these, even if there are no overtone singers in the choir, the overtone parts may be replicated by having the harmonics sung in regular singing voice (in lower range, of course).I would like to record some of these pieces through the internet, building them up with individual tracks. This can be done with any temporarily missing voices filled in with Sibelius software voices (choral library vowel sounds). If anyone is interested in participating, please let me know.Another milestone in technology is occurring on Nov 20th, with an internet real-time concert using musicians spread all over the world. This is definitely something to strive towards in the overtone community.Information about this follows:ResoNationsAn International Telematic Music Concert for PeaceNovember 20, 20097:30PM EST United Nations Headquarters, New York City, United States of America4:30PM PST University of California San Diego, United States of America5:30PM MST The Banff Centre, Alberta, CanadaNovember 21, 200912:30AM BST Queens University Belfast, Northern Ireland, United Kingdom9:30AM KST Korea Advanced Institute of Science and Technology (KAIST) and Dongguk University, Seoul, South KoreaRenowned musicians in five international locations perform new contemporary music works for peace through the telematic music medium. Telematic music is real-time performance via the internet by musicians in different geographic locations. The performance will take place on high-bandwidth internet with JackTrip audio software developed by Chris Chafe and Access Grid video software developed at Argonne National Laboratory. The concert will have local audiences and a world-wide webcast.Program:Hope's Dream by Mark Dresser and Sarah WeaverDisparate Bodies by Pedro RebeloRock, Paper, Scissors by Chris ChafeGreen-colored Harmony by Jun KimLocations and Musicians:New York, New York, United States of AmericaUnited Nations Headquarters, ECOSOC ChambersPresented by the World Association of Former United Nations Internes and FellowsDean Leslie, Presidential Attaché and Arts for Peace DirectorSarah Weaver, Arts for Peace Music and Technology Director, ResoNations Co-CoordinatorJoan La Barbara, voice, Yoon Sun Choi, voice, Robert Dick, flute, Jane Ira Bloom, soprano saxophone, Marty Ehrlich, woodwinds, Oliver Lake, saxophone, Dave Taylor, trombone, Tomas Ulrich, cello, Samir Chatterjee, tabla, Sarah Weaver, conductor and co-composerTechnology: Chris Blood, Sylvain BedardSan Diego, California, United States of AmericaUniversity of California San DiegoCenter for Research in Computing and the Arts, CalIT2Mark Dresser, contrabass, conductor, co-composerBanff, Alberta, CanadaThe Banff CentreChris Chafe, ResoNations Co-CoordinatorLee Heuerman, soprano, Charle Nichols, electric violin, Sam Davidson, clarinet and electronics, Chris Chafe, electric cello and composer, Geoff Shoesmith, tuba and electronics, Knut Eric Jensen, pianoTechnology: Theresa Leonard, Juan-Pablo CaceresBelfast, Northern Ireland, United KingdomQueens University BelfastSonic Arts Research CentrePedro Rebelo, composer and piano, Franziska Schroeder, saxophone, Manuela Meier, accordion, Steve Davis, drums/percussion, Justin Yang, saxophone/electronicsTechnology: Chris Corrigan, Felipe Hickman, Rui ChavezSeoul, South KoreaLeeHaeRang Art Theater, Dongguk UniversityPresented by Graduate School of Culture Technology (GSCT), KAIST, and MARTE Lab, Dongguk UniversityJun Kim, composer, SeungHee Lee, haegeum, Euy-shick Hong, saxophone, Woon Seung Yeo, visuals, Quartet X: Yoonbhum Cho, 1st violin, Soyeon Park, 2nd violin, Heejun Kim, viola, Saelan Oh, celloTechnology and Logo Design: Woon Seung YeoPublic Audience Information:ResoNations can be attended in-person at the locations listed below.New York, New York, United States of AmericaUnited Nations Headquarters, ECOSOC ChambersPublic Audience Address: Public Entrance at 47th Street and 1st Avenue, New York, New York, United States of AmericaAdmission: $20 Suggested DonationRSVP required. RSVP available November 1 through November 13, 2009Contact: World Association of Former United Nations Internes and Fellowsartsforpeace@wafunif.org 212-963-3110 beginning November 1Banff, Alberta, CanadaThe Banff CentrePublic Audience Address: Telus Studio, JPL Building, The Banff Centre, 107 Tunnel Mountain Drive, Banff, Alberta, CanadaAdmission: FreePublic Audience Contact: Dominique Carrier Dominique_Carrier@banffcentre.ca 403-762-6313Seoul, South KoreaLeeHaeRang Art Theater, Dongguk UniversityPublic Audience Address: LeeHaeRang Art Theater, Dongguk University, Jung-gu, Pil-dong, 3-ga 26, Seoul, 100-715, South KoreaAdmission: Suggested Donation 10,000 Korean won (KRW)Public Audience Contact: Concert and International Inquiry - Woon Seung Yeo woony@kaist.edu+82-10-8980-5288, Venue and Domestic Inquiry - Ji-Won Yoon jiwon1973@hanmail.net +82-19-374-2776 (or 019-374-2776 within Korea)Webcast:ResoNations can also be viewed online through the world-wide webcast hosted by The Banff Centre. RSVP required for webcast address. Space is limited to 200 reservations, first come, first served.Contact: Dominique Carrier Dominique_Carrier@banffcentre.ca 403-762-6313
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A Review of "ATLAN" by Thomas JonesA secret truth revealed: Beauty and the Beast are the samething. Soriah’s chimera fusion with Ashkelon Sain hasproduced a sprawling entity, darkly cloaked in groaningatmospheres, yet emanating an ascending light of inestimablebeauty. Atlan is a deeply organic experience. Crisp handpercussion palpitates rising drones in a cellular blood-rushof life. Long, open expanses of slowly shifting tones hanglike low clouds in a frosted mountain range. And when theQuetzalcoatl Kundalini of Soriah’s lyrical throat singingfires down the spine, everything goes astral. Quiveringstrings and chimes offer allusions to Arabo-Andaleusiantextures which run rivulet alongside Tuvan strainsthroughout the dreamscape. Dead CAN dance to such music,because this is the music of the underworld; the music ofhidden places visited by beings beyond the corporeal. Bothartists have long pedigrees; some 40 years of live andrecorded musical experience between them. Soriah has existedunder that name for over a decade, having released severalalbums and known for performing all places mystical,including trees, churches, caves. He has also beenrecognized, through international competition, as one of thetop 5 throat singers in the world. Ashkelon Sain’s TranceTo The Sun project is legendary. And his composition skillshave been honed razor sharp with his more recent SubmarineFleet. The collaboration is a match made in Omeyocan (thehighest Aztec Heaven). Each of Atlan’s 11 tracks is aunique, carefully carved sound-mosque. Like minded soulminers Terry Riley, Huun Huur Tu, SPK’(Zamia Lehmanni)andRobert Rich are good touchstones for what’s in store, buttrying to aptly describe the sonic majesty of Atlan mayrequire divine intervention.
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Posted by Steve Sklar on October 12, 2009 at 20:16
New Track: a year ago, John Pascuzzi, Johnna, and I recorded a piece for the new video game Operation Flashpoint 2: Dragon Rising. Had to keep it totally under wraps but now that it's been released we can share it.John plays igil, Johnna sings the role of "Ethnic Woman" and I did the throat-singing. It was written by Danish composer Christian Marcussen.Give a listen at http://khoomei.com/mp3s/ofp2.mp3Enjoy!
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A few months ago a performance artist approached me with the idea of collaborating on an event. She would bring a group of imporvisational dancers together, I would put out a set of about 100 Himalayan singing bowls and they would dance to the sound of the bowls. I somewhat hesitantly accepted the idea not quite sure how it would play out.The venue was the four eighteen project in Santa Cruz which has a nice hardwood floor, some carpets to roll out for people to sit on with pillows and regular chairs. I have a couple of hundred antique singing bowls so I sorted out a group of about a hundred that I laid out by group, octave and note. We put them at the back of the stage and at the back of the room behind the chairs so we could fill the room with sound. The bowls ranged from tiny little thadobati bowls to six pound jambatis. We had them up off the floor on tables covered with yoga mats for a firm but soft ringing surface draped with heavy cloth.The group did a couple of hours of playing singing bowls and dancing, coming up with a game plan for the performance. We decided to ask a few audience members to come and ring bowls at the end so we had six people playing at once for the dancer's finale.A few dozen people came to the performance, not a bad turnout. People enjoyed the playing and dancing and the Q&A we did afterwards (mostly me about Himalayan singing bowls). As usual after my events I invite people to come and play for themselves and if they want they can buy any of the bowls in the performance - which a couple of them did.I was surprised how much I enjoyed placing the singing bowls in an artistic environment. I usually go for a more contemplative and focused setting. Still the bowls can bring their own magic into many situations and in this case it really worked.We got a nice video of the event and are talking about doing it again.
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