The wreck of former boundaries (5.1 channel fixed media)

Aaron Cassidy (Composer)

Research output: Non-textual formComposition

Abstract

The wreck of former boundaries (2015), for 5.1-channel electronics, is part of a larger conglomerate of works—each sharing the same title—that includes a range of solo works, small chamber works, works for electronics, and an extended ensemble work for two trumpet soloists, clarinet, saxophone, trombone, electric lap steel guitar, double bass, and multichannel electronics, ranging in duration from six to 35 minutes.

The electronic material throughout the network of pieces comes from recordings of earlier pieces of mine written for and/or recorded by the players of ELISION, which are processed and distorted in a variety of ways, including through my own improvisations with several gestural, touch-sensitive digital interfaces. That processed audio is treated as ‘found material’—in a sense, severed from its previous identities and histories—chopped up, rearranged, repurposed, and superimposed to create new multi-channel, fixed-media audio.

The larger conglomerate of works was commissioned by ELISION Ensemble, with support from the RMIT Gallery Sonic Arts Collection and technical assistance from the SIAL electronic music studio at RMIT University. Significant additional support for the project was provided by the University of Huddersfield, including the studios of the Huddersfield Immersive Sound System (HISS) and the University Research Fund.
LanguageEnglish
Publication statusPublished - 2015

Fingerprint

wreck
conglomerate
music
art
steel
electronics
history

Cite this

@misc{e0a1031c6e52425ca1213b2f33d8447c,
title = "The wreck of former boundaries (5.1 channel fixed media)",
abstract = "The wreck of former boundaries (2015), for 5.1-channel electronics, is part of a larger conglomerate of works—each sharing the same title—that includes a range of solo works, small chamber works, works for electronics, and an extended ensemble work for two trumpet soloists, clarinet, saxophone, trombone, electric lap steel guitar, double bass, and multichannel electronics, ranging in duration from six to 35 minutes.The electronic material throughout the network of pieces comes from recordings of earlier pieces of mine written for and/or recorded by the players of ELISION, which are processed and distorted in a variety of ways, including through my own improvisations with several gestural, touch-sensitive digital interfaces. That processed audio is treated as ‘found material’—in a sense, severed from its previous identities and histories—chopped up, rearranged, repurposed, and superimposed to create new multi-channel, fixed-media audio. The larger conglomerate of works was commissioned by ELISION Ensemble, with support from the RMIT Gallery Sonic Arts Collection and technical assistance from the SIAL electronic music studio at RMIT University. Significant additional support for the project was provided by the University of Huddersfield, including the studios of the Huddersfield Immersive Sound System (HISS) and the University Research Fund.",
author = "Aaron Cassidy",
note = "instrumentation: fixed media; 5.1-channel electronics date: 2014-15 duration: 10’46",
year = "2015",
language = "English",

}

The wreck of former boundaries (5.1 channel fixed media). Cassidy, Aaron (Composer). 2015.

Research output: Non-textual formComposition

TY - ADVS

T1 - The wreck of former boundaries (5.1 channel fixed media)

A2 - Cassidy, Aaron

N1 - instrumentation: fixed media; 5.1-channel electronics date: 2014-15 duration: 10’46

PY - 2015

Y1 - 2015

N2 - The wreck of former boundaries (2015), for 5.1-channel electronics, is part of a larger conglomerate of works—each sharing the same title—that includes a range of solo works, small chamber works, works for electronics, and an extended ensemble work for two trumpet soloists, clarinet, saxophone, trombone, electric lap steel guitar, double bass, and multichannel electronics, ranging in duration from six to 35 minutes.The electronic material throughout the network of pieces comes from recordings of earlier pieces of mine written for and/or recorded by the players of ELISION, which are processed and distorted in a variety of ways, including through my own improvisations with several gestural, touch-sensitive digital interfaces. That processed audio is treated as ‘found material’—in a sense, severed from its previous identities and histories—chopped up, rearranged, repurposed, and superimposed to create new multi-channel, fixed-media audio. The larger conglomerate of works was commissioned by ELISION Ensemble, with support from the RMIT Gallery Sonic Arts Collection and technical assistance from the SIAL electronic music studio at RMIT University. Significant additional support for the project was provided by the University of Huddersfield, including the studios of the Huddersfield Immersive Sound System (HISS) and the University Research Fund.

AB - The wreck of former boundaries (2015), for 5.1-channel electronics, is part of a larger conglomerate of works—each sharing the same title—that includes a range of solo works, small chamber works, works for electronics, and an extended ensemble work for two trumpet soloists, clarinet, saxophone, trombone, electric lap steel guitar, double bass, and multichannel electronics, ranging in duration from six to 35 minutes.The electronic material throughout the network of pieces comes from recordings of earlier pieces of mine written for and/or recorded by the players of ELISION, which are processed and distorted in a variety of ways, including through my own improvisations with several gestural, touch-sensitive digital interfaces. That processed audio is treated as ‘found material’—in a sense, severed from its previous identities and histories—chopped up, rearranged, repurposed, and superimposed to create new multi-channel, fixed-media audio. The larger conglomerate of works was commissioned by ELISION Ensemble, with support from the RMIT Gallery Sonic Arts Collection and technical assistance from the SIAL electronic music studio at RMIT University. Significant additional support for the project was provided by the University of Huddersfield, including the studios of the Huddersfield Immersive Sound System (HISS) and the University Research Fund.

UR - http://aaroncassidy.com/works_electronics/

M3 - Composition

ER -