sound-meets-sound

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here is a new spooky track from my ambient/noise project pillar of garbage. I took 3 FX channel stems from other songs I'm working on & layered them; I pitched one of them down an octave, and another down two octaves. I like the result.

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Libi Lebel, conductor

Here she is conducting the stunning Concerto in One Movement by Florence Price:

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Transcript of podcast about One Voice Project Micro Opera Festival

Transcript of podcast about One Voice Project Micro Opera Festival

https://soundcloud.com/soundmeetssound/ep-15-one-voice-project-micro-opera-festival Meg Wilhoite (MW): Thanks for joining me, Kendra and Lisa. We’re here to talk about your One Voice Micro Opera festival, which is very cool. Can you tell me a little bit more about what One Voice is, and how that started, and the inspiration for that? Lisa Neher (LN): It’s been about seven or eight years now…

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Review of Living Voices for organ

Review of Living Voices for organ

Sarah Simko, organist, released Living Voices, Volume I – Sacred Inspirations in 2019 in an effort to promote contemporary organ compositions and make accessible this repertoire to other organists. The CD demonstrates Simko’s versatility as she interprets a variety of styles and compositional voices with this collection of pieces written within the last twenty years. Along with the excellent…

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Unlearning How White People Ask Personal Questions

http://www.samefacts.com/2014/05/culture-and-civil-society/unlearning-how-white-people-ask-personal-questions/

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Transcript of podcast with Regina Harris Baiocchi

Transcript of podcast with Regina Harris Baiocchi

https://soundcloud.com/soundmeetssound/ep-14-regina-harris-baiocchi

MW: Welcome to the Sound Meets Sound podcast. Today, our guest is Regina Harris Baiocchi. I’m very honored to have you on here. You’re the only person I’ve interviewed so far that is already in a history book. I’m holding up ​From Spirituals to Symphonies​ by Helen Walker-Hill. Please go pick up that book and read about…

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Transcript of podcast with Anomie

Transcript of podcast with Anomie

https://soundcloud.com/soundmeetssound/ep-13-anomie

MW: Welcome to Sound Meets Sound Sofie Loizou, a.k.a. Anomie, thank you for joining me here on the internet, all the way from Sydney. Sydney to California—so far apart we’re in different days!

A:Hi Meg. Thanks so much for having me. Yeah, I’m coming from the future, so watch out. I can tell you what’s going to happen in the future! No,…

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Transcript of podcast with Nicole Camacho

Transcript of podcast with Nicole Camacho

https://soundcloud.com/soundmeetssound/ep-06-flutist-nicole-camacho

MW: This is the Sound Meets Sound podcast. My guest today is Nicole Camacho. Welcome Nicole—why don’t you just tell us a little bit about yourself and what it is you do?

NC: So I’m a flutist, a performer, I love to perform, improvise, perform contemporary music. I’m a community concert producer, through my organization…

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Transcript of podcast with Holly Roadfeldt

Read on for a transcript of my interview with Holly Roadfeldt, which appeared as episode 5 of my podcast Sound Meets Sound:

https://soundcloud.com/soundmeetssound/ep-05-pianist-holly-roadfeldt

MW: This is the Sound Meets Sound Podcast. [music] Welcome, Holly Roadfeldt, to “Sound Meets Sound.” Why don’t you just say, like, a quick who you are and what you do.

HR:I’m a pianist. I started off…

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Transcript of podcast with Meerenai Shim

Read on for a transcript of my interview with Meerenai Shim, which appeared as episode 9 of my podcast Sound Meets Sound:

https://soundcloud.com/soundmeetssound/ep-09-flutist-meerenai-shim

MW:My guest this episode is flutist Meerenai Shim. Welcome to Sound Meets Sound, Meerenai Shim! I love your name, and I didn’t even know what it meant before, and I loved it already cause it’s just really…

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Transcript of podcast with Samantha Ege

Read on for a transcript of my interview with Samantha Ege, which appeared as episode 10 of my podcast Sound Meets Sound:

https://soundcloud.com/soundmeetssound/ep-10-pianist-samantha-ege

MW:Welcome Samantha Ege to the Sound Meets Sound podcast. Really excited to have you here. I want to just get started, jump right in as I usually do with your musician origin story where maybe you can tell us a…

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Transcript of podcast with DJ Luisa

Read on for a transcript of my interview with DJ Luisa, which appeared as episode 12 of my podcast Sound Meets Sound:

https://soundcloud.com/soundmeetssound/sms-12-djluisa

MW:Welcome to Sound Meets Sound. This episode, my guest is DJ Luisa, co-creator of Ask a Freak and Beanalog. She called me recently to talk about how she got her start as a DJ, the importance of community, and the electronic…

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Transcript of podcast with Sakari Dixon

Read on for a transcript of my interview with Sakari Dixon (now Sakari Dixon Vanderveer), which appeared as episode 7 of my podcast Sound Meets Sound:

https://soundcloud.com/soundmeetssound/ep-07-composerviolist-sakari-dixon

MW: Welcome Sakari Dixon to the Sound Meets Sound Podcast thank you very much for joining me and can you just give me a short description of who you are and what it is you do?

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I awake from my long music-reviewer slumber to tell you about two recently-released albums I’ve been enjoying: Moments from Michael Vincent Waller, featuring pianist R. Andrew Lee and percussionist William Winant; and Autumn Winds from Kirk O’Riordan, featuring pianist Holly Roadfeldt, soprano Ann Moss, and violist Peter Dutilly.

Album title: Moments Composer: Michael Vincent Waller Performers: R. Andrew Lee, piano; William Winant, vibraphone Released by: Unseen Words on October 4, 2019

Moments presents eighteen autobiographical pieces that each evoke a certain spirit or imagery. Waller’s compositional voice draws the listener in with its care and sincerity, and the album’s diaphanous atmospheres and delicate expressions are faithfully captured by pianist R. Andrew Lee and vibraphonist William Winant. The first track, “For Papa,” establishes this approach with its tenderness and the sense of openness provided by F Lydian. This is followed by the first of a four-movement work titled “Return from L.A.,” which embraces that space where yearning and gladness join hands, wonderfully expressed by Waller’s use of D Dorian.

“For Pauline” pays homage to Oliveros and her accordion with its alternating quintal harmonies and sense of stasis. I can imagine watching Lee perform this live and hearing the notes hover and intermingle within the body of the piano as an exercise in deep listening. The final track on the album, “Bounding,” also seems written so that the pianist is imitating another instrument, this time a Flamenco guitar, performing for the bulk of the piece a slightly modified Andalusian cadence. The Nocturnes, meanwhile, are fully pianistic, continuing in the vein of their predecessors in their pensive tranquility, with Lee eliciting great sensibility from the slow, undulating melodies.

The album includes a four-movement suite for vibraphone called Love, beginning with the aptly titled “Valentine,” which sounds like a metal-tined music box—with brief bop-like flares—haunting in its juxtaposition of intricacy and innocence. The middle section of “Baby’s Return” has Winant performing complex polyrhythms, while “Images” blurs together notes of the octatonic scale to create spiky but alluring harmonies. “Sizing” provides more polyrhythm, the number of lines in its polyphony seeming almost more than is possible for one person to play. Love, it seems, is a complex undertaking.

Album title: Autumn Winds Composer: Kirk O’Riordan Performers: Holly Roadfeldt, piano; Ann Moss, soprano; Peter Dutilly, viola Released by: Ravello Records on February 14, 2020

The title piece is a fifteen-movement song cycle for piano and voice, each setting a haiku by Matsuo Basho. A study in stillness, many of the songs inhabit a liminal space; like Autumn, they tremble between one state of being and the next. As Roadfeldt puts it in her liner note, “each deals with [the image of Autumn Winds] as a literal image and as a metaphor.”

In the first two tracks, voice and piano both hover in a soft dynamic, scattering sparse lines across a fleeting span. The third song opens with Roadfeldt performing a rocking, dissonant ostinato as Moss sings in full voice for the first time so far in the cycle. She returns sotto voce in the next song, as the piano’s melody climbs around the keyboard. Moss’s voice radiates crystalline in “bright red” and “speaking out”; Roadfeldt’s vigorous might is on display in the rhythmically active “blowing stones” and “though autumn winds blow.”

The final three songs of the cycle cross the liminal threshold as autumn winds transform into trembling graves. Proceeding from two of the cycle’s sparsest songs, Moss’s dramatic exclamation “shake, oh grave!” introduces a kind of final awakening, in which tremolos “tremble, oh my grave-mound,” and angular, fluctuating vocal lines rise and dip, before the music slowly fades to black.

The album opens with Four Beautiful Songs for piano, voice, and viola, with text by Lee Upton. The cycle features dramatic shifts in mood with moments of frenetic activity, melodious repose, and yearning lines in counterpoint. Roadfeldt, Moss, and Dutilly blend such that each part coalesces into a whole; no part is written for primacy over the others, and the group expertly combine and trade off to create a holistic piano-voice-viola timbre. Though writing diatonic music, O’Riordan deftly shifts expectation from harmony to gesture, beckoning the listener to hitch on for the ride. The fourth song, “The Blouse,” is especially tender and enticing.

Bookending the title song cycle are two standalone pieces. Prayer Stones is a tour de force for violist Peter Dutilly, with wide-ranging melodies and extended sections of rich double stops. Roadfeldt introduces a dramatic panorama, expansive and stark. Dutilly enters with a keening supplication, soaring over the piano’s landscape. The piece then moves into a more pensive mood, with the piano providing shimmering figures like sparks of light falling from the sky, as the viola speaks in harmony with itself. The energy gradually increases in the piece’s final minutes, exploding into a joyous coda.

The album closes with Beautiful Nightmares, whose forceful outbursts alternate with troubled spinning and churning. Even before reading in Roadfeldt’s notes that it is a serial work, I was seeing in my mind’s eye colors and shapes reminiscent of early 20th century expressionist art, typified by Schoenberg’s painting “The Red Gaze.” Roadfeldt moves through the complex lines and textures with discernment, emphasizing the piece’s turbulent spirit.

One last note for engineer Andreas Meyer, who created impeccable atmospheres for each of the four worlds this album inhabits.

Reviews: Moments and Autumn Winds I awake from my long music-reviewer slumber to tell you about two recently-released albums I've been enjoying: …

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https://deathofcodes.bandcamp.com/album/vision

Check out my new EP! It has synths and electric guitar and angsty singing

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v cool to see my research posted on tumblr 

In an interview with Jan Williams, Morton Feldman described his fascination with ancient Middle Eastern patterned rugs: “In older oriental rugs the dyes are made in small amounts and so what happens is that there is an imperfection throughout the rug of changing colors of these dyes. Most people feel that they are imperfections. Actually it is the refraction of the light on these small dye batches that makes the rugs wonderful. I interpreted this as going in and out of tune. There is a name for that in rugs - it’s called abrash - a change of colors that leads us into pieces like Instruments III [1977] which was the beginning of my rug idea.”

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this ones for the girls

the water warriors fighting for access to clean water for all

the teenagers imprisoned for fighting back against oppressive regimes 

those fighting for access to education for all

for the future of the planet 

for gender equality 

for safety and protection from gun violence

for governmental representation and engagement for youths 

for the rights of immigrants 

for syria and the rights of refugees 

for literacy and the representation of WOC in books

for trans and queer rights 

for protection of girls against forced marriage and child slavery

i hope that one day we live in a world where children are allowed to just be children, where they dont have to fight tooth and nail for their rights and their futures, but i could not be prouder of this generation 

(from top to bottom: Autumn Peltier, Amariyanna “Mari” Copeny, Ahed Tamimi, Malala, Greta Thunberg, Melati and Isabel Wijsen, Artemisa Xakriabá, Ridhima Pandey, Jamie Margolin, Rowan Blanchard, Jaclyn Corin and Emma Gonzalez, Shamma bint Suhail Faris Mazrui, Sophie Cruz, Bana al-Abed, Marley Dias, Jazz Jennings, Sonita Alizadeh, Payal Jangid)