One-Page Score Project - Jean Routhier (music), Erik and Michael (score) – The Imperfect Infinity скачать в хорошем качестве

One-Page Score Project - Jean Routhier (music), Erik and Michael (score) – The Imperfect Infinity

Vancouver New Music presents One-Page Score Project w/University Transition Program students Premiere: Friday, May 7, 11AM PDT https://newmusic.org/one-page-score-p... ARTIST NOTES The inspiration for our piece came from the different qualities of music: the rhythmic, orderly, structured pieces of the Baroque and the expressive, dynamic pieces of the Romantic. Fractals were chosen to convey this feeling as we felt they represented the innate beauty in structure, while the different coloured shapes are inspired by characteristics of certain instruments, from a monotone and structured bass to the wildly expressive singing of a melody. A slight asymmetry can be seen, representing moments of dissonance, moments of freedom to express yourself freely. After all, music is a medium of expression and communication between people, and people are rarely ever so perfect. – Erik and Michael The graphic score evoked a kind of hypnotic mandala, a map translating organic formation into a stylized patterned reminiscent of mosaic art. Three different sections I could identify were separated but shared what seemed to be an infinite space. I interpreted the numbers of repeating forms I could decipher as guides:8, 6 , 3, 4, 5... I read the score from the centre element (that I ominously nicknamed "black flake") and started trying to pin down what that anchor could be. Since the software I was recording with uses a linear framework, I put the elements of "black flake" around the 5min mark, mindful the final piece shouldn't exceed 10min, even though it felt like it could go on for hours, or years. The sharpness of the drawing (many dots as opposed to washes of colors, or opaque regions) inspired me to use short elements, repeating but never exactly in sync; I relied on the suggestion of the title (imperfect..) to purposefully "trip" myself and concentrate on what I was hearing/ creating as opposed to "fitting" new sounds within the previous elements or trying to build anything to sound a particular way. It got pretty gnarly… From my notes during our meeting that suggested "baroque era", so I performed different virtual instruments with a certain baroque flavor (organ, bassoon, choir, oboe, harp, etc). Many of the instruments get in a trance and morph throughout while others make only brief appearances. I tried to follow their suggestions to achieve a balance between the darker more relaxing and the brighter elements. Once I had the framework I mostly proceeded to modify the sonic qualities to achieve other sounds that I felt more unique and befitting the drawing. As these characteristics emerged I was able to find the movement of their depth and their placement in the stereo field. Somewhere along the creative process a more contemplative aspect emerged, which I found to be in line with what mood the score suggested to me. – Jean Routhier www.aurorenocturne.com …………………………... Thank you to Amy Safarik, Brian David Wilkie, Dr. Lucy Shepelev and the University Transition Program students. We gratefully acknowledge the support of the Canada Council for the Arts, the Government of Canada through the Department of Canadian Heritage, The Province of BC, the British Columbia Arts Council and the City of Vancouver Cultural Services. Special thank you to our media partner Stir Vancouver.