CSM 33: Radiophonics - Ten Years Of The Listening Room
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Item Open Access Anthology of Austraian Music on Disc: CSM: 33 Radiophonics Ten Years of Listening(Canberra School of Music, Australian National University) Crisp, DeborahItem Open Access Cathy Peters: Sonata No. 5 'a Climate Of Violence'(Canberra School of Music, Australian National University) Composer: Cathy Peters; Stines, NivenThese sonatas come from a series of five works commissioned in 1996 by The Listening Room for broadcast on ABC Classic FM. They explore ways of using the sampler as a single compositional tool - a digital 'wonderbox' that could be the late 20th century's most significant instrument in that it can be any and all instruments. Sonata no. 2, 'AntiMatter', and Sonata no. 3 for Shakuhachi both use instrumental timbres taken primarily from the Central and South East Asian musical landscape. These instrumental samples have been located in new compositional contexts and reshaped and transformed until, in some cases, they no longer bear any resemblance to the original sound. Sonata no. 5, 'A Climate of Violence' is text-based and uses a range of archival sources and vocal improvisations as the primary compositional elements. Cathy Peters composed and produced the sonatas, with Andrei Shabunov as sound engineer. This is a highly evocative lament on the theme of violence towards women and girls which uses fragments from news reports and personal histories intertwined with vocal and textural improvisations from Annette Tesoriero, a Sydney-based performance artist. As with the previous works, many elements have been transferred to a sampler, allowing them to be 'performed' in real time on a MIDI keyboard, which in this case provided a core soundtrack to which was added some of the complete vocal improvisations and archival material. The work focuses on three Australians - Anita Cobby, Ebony Simpson and Jean Lennon - who were murdered by known and unknown killers; but it is more generally a lament on the climate of violence in which many women today still live.Item Open Access Cathy Peters: Sonata No.2 'Antimatter'(Canberra School of Music, Australian National University) Composer: Cathy Peters; Stines, NivenThis sonata is 4'33" in length and at that length it can't not refer to John Cage's seminal work of 1952, which forever changed how music and sound are identified and used. 'AntiMatter' is a strange hybridisation of cultures, found sounds in collision over a frantic drone constructed with a phrase from a bamboo gamelan orchestra. Among other sounds, chordal structures are constructed from samples of Chilean wind flutes; wooden and metallic percussion fragments are interspersed with wide stereo sweeps which have been formed from a single sampled note from a Japanese shakuhachi flute.Item Open Access Cathy Peters: Sonata No.3 For Shakuhachi(Canberra School of Music, Australian National University) Composer: Cathy Peters; Stines, NivenThese sonatas come from a series of five works commissioned in 1996 by The Listening Room for broadcast on ABC Classic FM. They explore ways of using the sampler as a single compositional tool - a digital 'wonderbox' that could be the late 20th century's most significant instrument in that it can be any and all instruments. Sonata no. 2, 'AntiMatter', and Sonata no. 3 for Shakuhachi both use instrumental timbres taken primarily from the Central and South East Asian musical landscape. These instrumental samples have been located in new compositional contexts and reshaped and transformed until, in some cases, they no longer bear any resemblance to the original sound. Sonata no. 5, 'A Climate of Violence' is text-based and uses a range of archival sources and vocal improvisations as the primary compositional elements. Cathy Peters composed and produced the sonatas, with Andrei Shabunov as sound engineer. This is a highly evocative lament on the theme of violence towards women and girls which uses fragments from news reports and personal histories intertwined with vocal and textural improvisations from Annette Tesoriero, a Sydney-based performance artist. As with the previous works, many elements have been transferred to a sampler, allowing them to be 'performed' in real time on a MIDI keyboard, which in this case provided a core soundtrack to which was added some of the complete vocal improvisations and archival material. The work focuses on three Australians - Anita Cobby, Ebony Simpson and Jean Lennon - who were murdered by known and unknown killers; but it is more generally a lament on the climate of violence in which many women today still live.Item Open Access David Nerlich: Rare Frequencies #2(Canberra School of Music, Australian National University) Composer: David Nerlich; Stines, NivenAs the name implies, Rare Frequencies #2 is one of a series of works exploring possibilities outside the bandwidth commonly heard in tonal music. The creation of the pieces begins with the transposition of a tonal composition up four octaves and the transformation of most of the melodic and harmonic content into sheets of chaotic sound texture.Item Open Access Russell Stapleton: Radio: Alive Or Dead?(Canberra School of Music, Australian National University) Composer: Russell Stapleton; Stines, NivenMy most vivid memories of radio are 'news flash' reports of the deaths of famous people. This celebration of 100 years of radio mixes famous archival snippets with moments from my own radio history. Once at the cutting edge of technology, radio's intimacy and immediacy is under siege from the 'new media'. Will it survive the onslaught, or will radio's last telling moment be the report of its own tragic demise?Item Open Access Sherre DeLys: 'If'(Canberra School of Music, Australian National University) Composer: Sherre DeLys; Stines, Niven'If' features a young boy facing illness with the gift of invention. In 'If' Andrew Salter (voice) conveys his experience of being in hospital through metaphor, exemplifying the transformative qualities of fantasy, empathy and humour. We follow his naturally lyrical voice into realms of pure imagination and elemental musicality. 'If' was inspired by the NewChildren's Hospital at Westmead (Sydney), with its gardens, aviary, art collections, and even its own radio station. The performers on 'If' were Andrew Salter, voice; Ion Pearce, cello and voice; and Hannah Peters, voice. The sound engineer was John Jacobs. 'If' was produced for The Listening Room, ABC Radio Arts and Australian Perspecta 1997 in conjunction with an embodied sound installation at the New Children's Hospital at Westmead.Item Open Access Solange Kershaw: Hydrogen(Canberra School of Music, Australian National University) Composer: Solange Kershaw; Text: Vivien Eime; Stines, NivenI was once confronted by a car full of tennis balls in a shopping mall. There was a sign leaning up against the car saying 'Guess the number of balls and win the car!' I was ten years old and knew the answer existed: could one guess or was it possible to think it through deduction? Then I marvelled at what strange and wonderful creatures we are to have thought of the car, the tennis ball AND the competition. Hydrogen is adult-speak for the fact that I am still marvelling. (Vivien) Hydrogen is an experiment in time shifting. According to the quantum hypothesis, when an atom receives a certain packet of energy, it emits or absorbs light corresponding to that energy level. Only at certain specific energy levels will the atom be excited, and it will not respond to energy between these levels. The various discrete packets of energy form the spectrum of that atom. The Balmer series tells us what the energy spectrum of the hydrogen atom is. Light is a vibration. Sound is a vibration. What if you were looking out the window and time had slowed down outside so much that light lost its place in the electromagnetic spectrum and you, on the other side of the window, would perceive it as sound? What would the world sound like? By dividing the series by a very large number, we can 'slow' these vibrations down to audible parts of the spectrum. This process yielded five notes. This is what hydrogen would sound like.