Audio Sample
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From the CD Sunrise |
$POA
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Work Overview
Simulation of moving sound-sources is one of the important
compositional elements in Mother Piece. I had to build
some electronic devices especially for the work. All the
sound-manipulation was done using a plethora of multi-track tape
recorders and the initial master was done in four channels. The
two-channel reduction presented here was mixed from an original
eight-track master. Much of the spatial movement is lost but I
think there is enough of the sensation of space to preserve the
compositional intent. Three types of sounds are used: the female
voice (as the most natural and human sound of all); sine tones
(the most unnatural and inhuman sound of all) and percussion
sounds, which serve as a bridge between the human and the
inhuman. Overall the piece is a progression from the naturalness
of the female voice to the harsh 'supra-reality' of industrial
synthesized sound.
The female voice was kindly supplied by Jenny Tebbut. The sounds
she sang all came from the [phonemes] of the word 'mother'. The
sine tones were all generated using a high-precision scientific
instrument (a wave-form generator). The percussion sounds were
derived from cymbals, a drum, crotales, and a set of small brass
bells [all played by the composer]. {Ian Fredericks, 1995}
Work Details
Duration: 16 min.
Commission note: Commissioned with funds provided by Australia Council. Music Board.. Commissioned by the Music Dept at the University of Sydney
Composed 1978-1979.
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