Music for the Augmented Pipe Organ
A series of experimental compositions which merge the vibrant material and ethereal space of the pipe organ and the techniques of electronic and generative music. The compositions use a custom digital interface to control acoustic pipe organs, allowing for real-time manipulation of all pipes and stops. With a reflexive attention to the organ’s context and harmonic design, the project incorporates site-specific elements such as the organ’s architecture and acoustics, using controlled feedback systems, algorithmic listening, and projection mapping to consider the resonant relationships between the instrument and its surrounding space as recursive and generative elements interwoven into the performance. Through this process of hybridizing acoustic and digital approaches, the project explores new possibilities for the world’s oldest mechanical synthesizer.
Supported by the Canada Council for the Arts Special Initiative: Frankfurt 2020 & the Centre for Interdisciplinary Research in Music, Media, and Technology (CIRMMT)
Performances: Pacific Spirit United Church (Vancouver 2019) + Kunst-Station Sankt Peter (Köln 2020)
A sound installation comprising 15 robotic bells. The array of instruments perform a composition for each location they are placed in. In reference to the historical role that bells played as an organizing rhythm and spatial-political tool, the installation stages new interactions between their resonances and a listening public.
With support from the Glenfraser Endowment Research Award in Acoustic Communication
Upcoming Installations: September 2019 at IN VITRØ: Artificial Sonification, Matera, Italy
A composition for a 32-channel speaker installation presented at the 2019 Fusebox Festival. Spread throughout a five storey parking garage in downtown Austin, this large-scale work incorporates the partitions of the architecture to create contrasting sound environments that are interlinked with mobile speaker arrays. The work can be listened to on each separate level and as a whole, experienced on a spiral walking path through the structure of the building.
pulses // patterns
Formed from technology from the pipe organ and electronic organ building traditions, pulses // patterns uses a custom array of rotary speakers and a single pipe-organ rank interfaced with MIDI and micro-controllers to create a system of interlinked sonic objects. The installation suggests the room’s space as an unfolding sculpture, as the air is compressed, accelerated, and spun into sound by the mechanics of the instrument, which assume a breathe like quality of phase and synchronize over the duration of the composition.
Audio composition for 3D sound system, Dieburg, Germany (2018)
multi-channel recordings of pipe organ improvisations, presented with the Soundscape & Environmental Media Lab.
studies for robotic marimba and disklavier
Inspired by the works of Nancarrow, this series of studies explores the compositional affordances of electro-mechanical instruments, such as their abilities to stretch perceptual boundaries in music and to entangle human creativity with digital and machine processes. The works map an electronic and computational approach onto acoustic instruments, conjoining the historically divergent, yet intertwined relationships between electronics and the physicalities of acoustic instruments.
a thousand pounds of vibrating metal
electro-acoustic work for 4 subwoofers presented at the Canadian Music Centre in Toronto.
Gamelan Bike Bike
Gamelan Bike Bike is a 10 member ensemble dedicated to performing new works for gamelan, including recent compositions from guest composer I Putu Gede Sukaryana (Balot) from Bali. In 2012, materials to build the instruments were collected from scrap metals, including 100 discarded bicycle frames, which were re-shaped into various metallophones and gongs. The ensemble has presented performances with the Western Front, Vancouver New Music, and the Vancouver Folk Music Festival, and in 2017 released Hi-Ten, a collection of original works with the Indonesia-based label Insitu Recordings.
In 2016 a series of replicas of Luigi Russolo’s intonarumori instruments were created for the Vancouver Art Gallery exhibit MashUp: The Birth of Modern Culture. An ensemble formed to explore the sonic and performative potentials of the replicas. The performance explored Russolo’s mechanical sound machines through a re-interpretation of an early score for the machines, convened by conductor and composer Giorgio Magnanensi.
The Bass Piano is an experimental piano created by Andrew Wedman in 2016 as part of the Western Front’s series 88 Tuned Bongos. Wedman, a musician and piano technician, tuned the piano down a full octave to A220, creating a tonal quality comparable to carillon bells and steel drums. Working with the inharmonic textures and the percussive nature of the piano, composer and pianist Robyn Jacob and I presented a suite of Colin McPhee’s piano transcriptions for Balinese Gamelan.