Crossref Citations
This article has been cited by the following publications. This list is generated based on data provided by Crossref.
Sofer, Danielle
2020.
Categorising Electronic Music.
Contemporary Music Review,
Vol. 39,
Issue. 2,
p.
231.
Article contents
CHASING SONIC THREADS: DISENTANGLING THE ELECTROACOUSTIC TAPESTRY OF IRELAND*
Published online by Cambridge University Press: 21 June 2017
Abstract
This article seeks to initiate discourse around the vibrant and somewhat uncharted electroacoustic weave that significantly contributes to Ireland's musical tapestry through a consideration of six diverse threads: Softday, Jennifer Walshe, Karen Power, Linda Buckley, Fergal Dowling and Jonathan Nangle. Investigation of Ireland's recent electroacoustic scene will confirm that an emerging DIY aesthetic aligns with international trends of the past decade, with pop-up events, improvisation groups, experimental music collectives and intermedia festivals providing avenues for collaborative and creative expression. It will provide contrasting, yet interconnected examples of what will be termed ‘DIYing’ including a discussion of influences, concepts, practices and brief analyses of works. It is hoped that this article will see the beginning of a wider acknowledgement of the rich musical dialogues that are taking place.
- Type
- RESEARCH ARTICLES
- Information
- Copyright
- Copyright © Cambridge University Press 2017
References
1 Jemima Foxtrot, New Tate Modern: Switched On, special programme for the opening of the New Tate Modern, London, BBC Two, aired 18 June 2016.
2 Atkinson, Simon and Emmerson, Simon, ‘Editorial’, Organised Sound 21 no. 1 (2016), pp. 1–3 CrossRefGoogle Scholar, here p. 1.
3 See the ‘Genres and Categories’ section of the EARS site: http://ears.pierrecouprie.fr/spip.php?rubrique3.
4 Unless otherwise stated, all quotations are extracted from interviews conducted with composers in researching this article.
5 Statistics according to the National Campaign for the Arts as extracted from the Council of Europe. See http://ncfa.ie./news.
6 For more information on the Creative Ireland Programme, please see: http://creative.ireland.ie.
8 The findings of the report carried out by Kantar Media TGI mostly related to the Republic of Ireland Target Group Index (TGI) 2014 – a survey conducted between October 2013 and May 2014. Valid results were obtained from a total 2,971 adults who completed a paper questionnaire and were considered a nationally representative sample of adults aged 15+ resident in the Republic of Ireland. See www.artscouncil.ie/News/Arts-attendance-jumps,-Irish-remain-%E2%80%98creative%E2%80%99-new-survey-shows/.
9 ‘The Arts in Irish Life’ survey.
10 ‘The Arts in Irish Life’ survey.
11 The final line from Samuel Beckett's novel The Unnamable, first published as L'Innomable (Paris: Les Éditions de Minuit, 1953).
12 Support here refers to financial backing or assistance with dedicated venues, space, technologies, and so forth.
13 Burke, Peter, ‘Introduction’, in Cultural Hybridity (Cambridge: Polity Press, 2009), p. 2Google Scholar.
14 See Atkinson and Emmerson, ‘Editorial’, p. 3.
15 Truax, Barry, ‘Paradigm Shifts and Electroacoustic Music: Some personal reflections’, Organised Sound 20(1): 105–110 (Cambridge: Cambridge University Press, 2015) p. 107Google Scholar.
16 See Truax, ‘Paradigm Shifts’, p. 105.
17 Toner Quinn, ‘The Splintering: Towards a Future of Micro Music Communities’, The Journal of Music (published online 23 May 2014) See http://journalofmusic.com/focus/splintering.
18 See Quinn, ‘The Splintering’.
19 See Quinn, ‘The Splintering’.
20 Eimear Noone, ‘From Bleeps and Bloops to the Epic Theme: The Rise of Video Game Music’, The Journal of Music (published online 26 April 2016) See http://journalofmusic.com/focus/bleeps-and-bloops-epic-theme-rise-video-game-music.
21 For more information, see www.dublinsoundlab.ie.
22 See www.irishcomposerscollective.org/about/, referencing Tom Service's writing on the collective in The Guardian, 2008.
23 See www.cmc.ie/composers.
24 Extract from ‘Cross Currents Radio Series’ featuring contemporary Irish composers and their works, including Linda Buckley. The series was broadcast on RTÉ Lyric FM across three Fridays, 9, 16 and 23 September 2016. See www.cmc.ie/features/cross-currents-radio-series-audio-shorts.
25 See Quinn, ‘The Splintering’.
26 James Hullick, ‘Fuck It, I'll Do It Myself: Or, why on Earth would anyone start a sound art organization in Melbourne and call it JOLT?’, eContact! ‘Sonic DIY: Repurposing the Creative Self’ (18.3, published online December 2016) See http://econtact.ca/18_3/hullick_jolt.html.
27 See Hullick, ‘Fuck It, I'll Do It Myself’.
28 Jean-Michel Maujean and Cissi Tsang, ‘Making the Makestra: Repurposed, bio-electronic and 3D-printed instruments’, eContact! ‘Sonic DIY: Repurposing the Creative Self’ (18.3, published online December 2016) See http://econtact.ca/18_3/maujean-tsang_makestra.html
29 See Maujean and Tsang, ‘Making the Makestra’.
30 Adam Scott Neal, ‘Using Everything and the Kitchen Sink: Interview with Atlanta-based composer Klimchak’, eContact! ‘Sonic DIY: Repurposing the Creative Self’ (18.3, published online December 2016) See http://econtact.ca/18_3/neal_klimchak.html For more information, see http://klimchakmusic.com/new/.
31 Velloso, Rodrigo Cicchelli, Barros, Frederico, Neto, Orlando Scarpa, Bezz, Cláudio, and Ardila, Jorge, ‘Theoretical Frameworks in Brazilian Electroacoustic Music’, Organised Sound 21, no. 2 (2016), pp. 97–105, here p. 103CrossRefGoogle Scholar.
32 Velloso et al., ‘Theoretical Frameworks’, p. 103.
33 Velloso et al., ‘Theoretical Frameworks’, p. 104.
34 Velloso et al., ‘Theoretical Frameworks’, p. 104.
35 See https:// www.cafeoto.co.uk/.
38 See http://muslab.org/index-en.html.
40 Quotation extracted from Softday website. Audio recording of Softday, Sonic Sidewalks available here: http://softday.ie/sonicsidewalks/.
41 Jennifer Walshe, in conversation with Stephen Graham, ‘Gaming Tactics’, The Journal of Music (published online 11 June 2012) See http://journalofmusic.com/radar/gaming-tactics.
42 Krause, Bernie, The Great Animal Orchestra (London: Profile Books, 2012), p. 9Google Scholar. Krause's writings are based on 40 years of experience recording ecological landscapes.
43 Extract from the ‘Development’ section of the Amhrán na mBeach (Song of the Bees) project. See http://softday.ie/bees/development. The work was premiered on the 27 April 2013, Church of Glenstal Abbey. Video excerpt of premiere available here: http://softday.ie/bees/. Performers included the Irish Chamber Orchestra (Violin: Katherine Hunka (leader), Oonagh Keogh, Kenneth Rice, Niamh Fitzpatrick; Viola: Joachim Roewer, Beth Mc Ninch; Cello: Rudi De Groote, Richard Angell; Double Bass: Sarah Halpin), the Glenstal Abbey Choir (incl. Wolodymyr Smishkewych), Cyprian Love (organ), Judy Kravis (readings) and the Softday Apiary Ensemble (laptops) consisting of Ciarán Casey, Jenny Haughton, Simon Sleeman, Áine Nic Giolla Coda and Softday.
44 Extract from the ‘Cross Currents Radio Series’ featuring Walshe.
45 Jennifer Walshe, The New Discipline, written for ‘The Borealis Festival’ 2016. See www.borealisfestival.no/2016/the-new-discipline-4/ for complete text.
46 For a brief excerpt from The Total Mountain performed by Jennifer Walshe and accompanying notes on the work commissioned by the Donaueschinger Musiktage 2014, see http://milker.org/thetotalmountain.
47 Walshe, Jennifer, Historical Documents of the Irish Avant Garde Vol.1: Dada (1921) (2012)Google Scholar. The example referred to here was performed by Walshe at New Music Dublin, 8 March 2014. The work is a collaboration by Dermot O'Reilly, Brian Sheridan and Jennifer Walshe. For a recording of the live performance by Jennifer Walshe, see www.aisteach.org/?p=164.
48 Extract from the ‘Cross Currents Radio Series’ featuring Walshe. See www.cmc.ie/features/cross-currents-radio-series-audio-shorts.
49 veiled babble was written for Ensemble Mosaik and premiered on 22 January 2016, at the Ultraschall Festival, Berlin. For an excerpt from the premiere of veiled babble performed by Ensemble Mosaik, see www.youtube.com/watch?v=RKOhVyW9mag.
50 Bernie Krause, The Great Animal Orchestra, p. 8.
51 instruments of ice was premiered by the Quiet Music Ensemble with Karen Power, 28 May 2015, at the DAAD Gallery, Berlin. It was also programmed for the New Music Dublin Festival 2017, again for performance by the Quiet Music Ensemble. Promotional video including extracts from the premiere available here: www.youtube.com/watch?v=dnjpIm7MdSk.
52 once below was premiered 26–30 August 2015 at the Kapelle der Versöhnung (Chapel of Reconciliation), Berlin during the Mikromusik Festival 2015. Soloists: Michelle O’ Rourke (Voice), Erik Drescher (Glissando Flute), Johnny Chang (Viola), Rishin Singh (Trombone). An excerpt from the premiere of once below at the MikroMusik Festival 2015, Berlin is available here: www.youtube.com/watch?v=J6H1K2cECfo.
53 Buckley explains the influences that formed her choice of programme for The Kaleidoscope Night, 7 September 2010 here: www.cmc.ie/news/180810/composer-linda-buckley-will-curate-september-kaleidoscope. Also see www.kaleidoscopenight.com.
54 Extract from ‘Cross Currents Radio Series’ featuring Buckley.
55 Quotations extracted from www.anniegosfield.com/bio.html in reference to a BBC review and ‘A guide to Kaija Saariaho's music’ by Tom Service in The Guardian, Monday 9 July 2012. See www.theguardian.com/music/tomserviceblog/2012/jul/09/kaija-saariaho-contemporary-music-guide.
56 Extract from ‘Cross Currents Radio Series’.
57 Changeling was premiered 7 July 2016, Scots Church Clonmel as part of the Clonmel Junction Festival. Choreography & performance: Stephanie Dufresne; Visuals: Laura Sheeran; Original score: Linda Buckley; Director: Laura Sheeran.
58 For an excerpt from ‘Fire Dance’ from Buckley's Changeling See https://soundcloud.com/irishcomposers.
59 Passages was premiered 4 July 2016, Kickham Barracks Clonmel as part of the Clonmel Junction Festival. Video: Ailbhe Ní Bhriain; Soundtrack: Linda and Irene Buckley. See www.junctionfestival.com/events/2016/6/4/passages. For an excerpt from Passages, see https://soundcloud.com/irishcomposers.
60 Extract from ‘Cross Currents Radio Series’ featuring Buckley.
61 Partial quotation from interview with composer; partial quotation from the original score of Stops VIII.
62 Stops VII was first recorded at the AIC Directions Series, Lutheran Hall, Dublin, 19 May 2016. Piano: David Bremner.
63 A recording of Stops VIII with David Bremner performing as solo pianist is available here https://soundcloud.com/irishcomposers/fergal-dowling-stops-viii-david-bremner-piano.
64 Spoils was first recorded at Smock Alley Theatre, 8 April 2016. Performers: Aoife Ní Dhornáin (Baroque violin), Marja Gaynor (Baroque violin), Ilse de Ziah (Baroque cello), Michael Quinn (harpsichord), Olwen Fouéré (recorded voice), Mihai Cucu (video), Fergal Dowling (computer).
65 A recording of Movement 5 ‘Grounds’ from Spoils is available here at https://soundcloud.com/irishcomposers/fergal-dowling-grounds-5th-movement-from-spoils.
66 For an extract from the video footage of Trip the Light Fantastic at the Contemporary Music Centre on Culture Night 2011, see https://vimeo.com/29518280.
67 A video of untitled (after Dan Flavin) is available here at www.jonathannangle.com/works/untitled-after-dan-flavin/.
- 1
- Cited by