The concert draws attention the assumptions of embodiment associated with the performance of music, especially classical music. In the concert, sonic material departs from its source – the world out side the concert hall, or the imagination of the composer – and is re-embodied in the form of the performers, only to be displaced again as their sounds are projected through speakers around the hall and the time of the performance. counter)induction will again devote its signature imagination and virtuosity to discover new paths of musical expression, this time through the cutting-edge technology of VRSonic, a technology company developing audio spatialization software and audio arrays (first used for virtual-reality training systems). Jorge García del Valle Méndez’s road river and rail spatializes the sound of a Korean temple bell, deriving musical material from the digital audio trace. Douglas Boyce’s displacements 1b explores the mediating function of the body of the performer, using spatialization to disembody and re-embody the performer as the perceived source of sound. Katharina Rosenberger’s scatter is a presentation of movement – a chase, a pursuit, a run in all directions; moments of agitation are depicted in three different segments that overlap and share similar material in ever-changing configurations. Jukka Tiensuu’s Oddjob temporally displaces the live performance to create a duet of a solo performance. Kyle Bartlett’s Tombeau. Tattoo. Tether. will take as its source audio recordings of her grandmother recounting family mythology, producing a highly virtuosic exploration of the nature of relationships, memory, connection, and absence. This will be the world premiere performance of the piece, written especially for c)i violinist Miranda Cuckson.
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Musical transformations of space and time.
The concert draws attention the assumptions of embodiment associated with the performance of music, especially classical music. In the concert, sonic material departs from its source – the world out side the concert hall, or the imagination of the composer – and is re-embodied in the form of the performers, only to be displaced again as their sounds are projected through speakers around the hall and the time of the performance. counter)induction will again devote its signature imagination and virtuosity to discover new paths of musical expression, this time through the cutting-edge technology of VRSonic, a technology company developing audio spatialization software and audio arrays (first used for virtual-reality training systems). Jorge García del Valle Méndez’s road river and rail spatializes the sound of a Korean temple bell, deriving musical material from the digital audio trace. Douglas Boyce’s displacements 1b explores the mediating function of the body of the performer, using spatialization to disembody and re-embody the performer as the perceived source of sound. Katharina Rosenberger’s scatter is a presentation of movement – a chase, a pursuit, a run in all directions; moments of agitation are depicted in three different segments that overlap and share similar material in ever-changing configurations. Jukka Tiensuu’s Oddjob temporally displaces the live performance to create a duet of a solo performance. Kyle Bartlett’s Tombeau. Tattoo. Tether. will take as its source audio recordings of her grandmother recounting family mythology, producing a highly virtuosic exploration of the nature of relationships, memory, connection, and absence. This will be the world premiere performance of the piece, written especially for c)i violinist Miranda Cuckson.
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