MUSLAB 2020 – Listening Session
MUSLAB is an International Exhibition of Electroacoustic Music that aims to gather and disseminate the creation and sound exploration of artists from different countries of the world and promote the creative process and contemporary artistic communication, to bring new audiences to the contemporary sound creation, give access to artists to new representation forums and create an international communication network through the development of different cultural activities, training in new technologies and sound art concerts.
Listening Session Programme:
Anselm McDonnell (United Kingdom)
Michelle Bonaventura (United Kingdom)
Michael Rosas Cobian (United Kingdom)
Oto Castro (Costa Rica)
Simon Le Boggit (United Kingdom)
David Webb (United Kingdom)
NOTE: Please use your headphones to capture all the details and other aural delicacies that would be otherwise inaudible via laptop or smartphone speakers.
- Crossing the Firth Anselm McDonnell 9:10
- TRIMORPH Michael Bonaventure 8:55
- Oh Mary, Mary... Michael Rosas Cobian 9:38
- Argia Oto Castro 12:28
- This is No Rehersal Simon Le Boggit 9:59
- Tape 240619 David Webb 8:16
Crossing the Firth
manipulates vocal materials derived from a single plainchant melody and its spectral analysis. The plainchant was sourced from the Inchcolm Antiphon, a collection of Scottish chants used in the Abbey on Inchcolm, an island in the Firth of Forth. The piece explores interaction and dialogue over great distance or insurmountable barriers, hence the notion of crossing. By using references to sacred music and the ethereal effects produced by extreme reverb, the work touches on humanity’s estrangement from God, distanced by sin. Anselm McDonnell is a Northern Irish composer. His instrumental and choral works often integrate extended techniques and theatrical elements such as vocalisation or stage directions alongside more conventional writing to increase the dramatic impact of the work. His music has been performed in Japan, Russia, France, Czech Republic, North America (New York) and numerous locations around the UK and Ireland.
belongs to a cycle of works entitled ‘MORPHOLOGY’ and is scored for fixed media electronic audio and organ (either live or digital). The main idea behind each piece is both the presence and the permanence of a number of shapes – or ‘morphs’ – created originally from one single male voice sample. This sample has been processed, multi-layered, transposed and filtered in many different ways to generate chordal figures that become somewhat mantric in character, giving each of the seven pieces a strongly individual identity. TRIMOPRH has three chordal motifs, often sounding together with the synthesised organ and decorated with a variety of dancing, pulsing electronic signals. The mood of the piece is ceremonial, grand and triumphant. MICHAEL BONAVENTURE (b. 1962, Edinburgh), composer, concertizing organist and promoter of new and experimental music based in Edinburgh & Amsterdam. His sonic universe is often mantric and ritualistic, deriving inspiration from imaginary worlds, astronomical and astrological phenomena, and landscapes both ancient and urban/industrial. Extended cyclic works predominate in his output, which includes a large number of electronic and electroacoustic pieces as well as chamber, instrumental, choral and organ music. Recent examples are “Morphology” (2017 – 18) for organ & electronics, “Seven Days” (2011 – 16) for saxophones & piano,”Green Odyssey”(2013) & “Black Odyssey”(2013) for piano. His music has been performed internationally and heard on BBC Radio 3, Radio Onda Rossa (Italy) and Resonance EXTRA/Resonance FM (UK).
Michael Rosas Cobian
Oh Mary, Mary …
literally by chance I happened to hear a voice in the internet which completely mesmerised me. I thought that voice was a piece of music on its own right and wanted to work with it. . Due to its nature and provenance I felt it would be a ‘private work’ solely for myself and never dared to send it out until now. My initial impetus was to have ‘just’ the voice and allow it to express its world and character, and feeling that nothing was better than the original itself, I decided that all sound in the work would be derived from that initial sound, no other sounds would be introduced into the composition. So I decided to focus on those very expressive natural shapes and gestures that so interested me and highlight them from within the context of ‘Mary’s’ aural and physical journey. The structure of the work faithfully follows this journey. M Rosas Cobian studied and worked professionally throughout the American continent, where he experienced various cultural environments, was involved in what is loosely termed ” fusion music” and worked as a recording artist and arranger for CBS Argentina. His works are regularly performed and broadcast internationally and he is the recipient of prizes and awards including the 2nd European Competition for Composition, Bourges, and the prestigious Prix Ars Electronica in 1992 and 1993. Besides orchestral, chamber and electroacoustic music, he also composes music for experimental films, dance and theatre, which stems from a deep held belief in multi-media, collaborative and inter-disciplinary projects. Since 1979 he lives and works in London .
This work is about sound records made in the City of Morelia, Mexico, where different sound gestures through each other’s will be made emulating and developing via electronic processes forming a virtual urban sound landscape work. It goes from an everyday reference to another artificially created. PhD in Musical Technology at UNAM, whose tutor is Dr. Rodrigo Sigal Sefchovich. He has a Master in Musical Technology from UNAM. National Prize of Costa Rica in Musical Composition Aquileo J. Echeverría (2010) ACAM Award (2009, 2010, 2018). He has been a jury for The International Computer Music Conference – ICMC – (2012, Ljubljana, Slovenia).
Simon Le Boggit
THIS IS NO REHEARSAL
Simon Le Boggit is a multimedia artist living and working in Lincolnshire, UK. Focussing on the distillation of “meaning” from chaos, his recent works have resulted in the creation of abstract or skewed imagery, mesmeric videos, evocative textured walls of sound, and the generation of chaotic algorithmic musical compositions capable of generating moments of “apparent intentionality” (where any melody, harmony and syncopation is a product of chance and the human compulsion to identify patterns). Simon’s works have appeared in exhibitions and festivals throughout of the world including London, Manchester, Edinburgh, Stockholm, Athens, Barcelona, Moscow, Seoul, Vancouver and New York.
A live, improvised piece reacting to a room space using tape loops and effects. I took room space recordings using tape loops, feeding back though a mixer. Then played them back, overdubbing a sea of effects. Then, repeating the process, recording the previous loops plus effects onto new tape loops and again submerging them in lush effects. A Hybrid DJ, mixing field recording loops with outboard fx A very intense psychedelic moving set that I really felt in my brain and bones. Intrigued people where sitting down, probably tripping balls on this precious set but I personally couldn’t sit still. This was so damn great, to me it was the perfect highlight of the evening, making me hear and see things that actually hadn’t been there, triggering my senses into a dancing tripping mess that I really hoped to encounter on this atmospherically diverse night of experimentation, interaction and prosperous sounds.