[microsound-announce] Call & Response presents James Dashow: selections from 'Soundings in Pure Duration' (London, UK)

Call & Response hello at callandresponse.org.uk
Wed Mar 9 09:35:00 EST 2016

James Dashow: selections from 'Soundings in Pure Duration'

*Call & Response* is looking forward to hosting an audition of works
from *Soundings
in Pure Duration *by *James Dashow*.

This session is dedicated to the memory of flautist
Ann Cherry <http://www.paulrodriguezmusic.co.uk/75-artist.html>


Friday March 25th
6pm - 10pm (looping playlist)

C&R space
Enclave <http://www.enclaveprojects.com/>, Unit 9
50 Resolution Way
James Dashow:
A pioneer in the field of computer music, Dashow was one of the founders of
the Centro di Sonologia Computazionale at the University of Padova, where
he composed the first works of computer music in Italy; he has taught at
MIT, Princeton University, the Centro para la Difusion di Musica
Contemporanea in Madrid and the Musica Viva Festival in Lisbon; he was
invited by the Conservatorio di Musica Benedetto Marcello in Venezia to
teach an intensive series of workshop/masterclasses in digital sound
synthesis techniques applied in particular to compositional practices, and
to various aspects of the spatialization of sound.

James Dashow has had commissions, awards and grants from the Bourges
International Festival of Experimental Music, the Guggenheim Memorial
Foundation, Linz Ars Electronica Festival,the Fromm Foundation, the
Biennale di Venezia, the USA National Endowment for the Arts, RAI (Italian
National Radio), the American Academy and Institute of Arts and Letters,
the Rockefeller Foundation, Il Cantiere Internazionale d'Arte
(Montepulciano, Italy), the Koussevitzky Foundation, Prague Musica Nova,
and the Harvard Musical Association of Boston. In 2000, he was awarded the
prestigious Prix Magistere at the 30th Festival International de Musique et
d'Art Sonore Electroacoustiques in Bourges.

In 2011, Dashow was presented with the distinguished career award "Il CEMAT
per la Musica" from the Federazione CEMAT (Roma) for his outstanding
contributions to electronic music.

Soundings in Pure Duration n.2a, for pre-recorded percussion and hexaphonic
electronic sounds:
This n. 2a in the Soundings in Pure Duration series makes considerable use
of pre-recorded percussion sounds, especially a selection of wonderfully
resonant African and Latin American instruments. The electronic sounds were
generated entirely by Gustavo Del Gado's real time implementation via
Max/MSP of Dashow's Dyad System, which offers a highly efficient way of
generating and evaluating an immense variety of sounds using the Generating
Dyad principle of the System. Further information and downloadable software
relative to the composer's Dyad System and MUSIC30 are available at his
website: http://www.jamesdashow.net/inglese/soft.html

Spatialization is of fundamental importance to the compositional
conception, as both an expressive element as well as a structural
determinant, particularly the movement >in< space and the movement >of<
space, in synchronization with timbral and rhythmic developments. The
sounds sometimes seem to generate space which can vary from the immediacy
of close up to the huge dimensions and depths of enormous sonic panoramas.

On occasion, 2 or 3 different kinds of space are present simultaneously to
coincide with different kinds of phrasings...an attempt at spatial
counterpoint that matches the contrapuntal interactions of the sounds and
percussion phrases. Soundings 2b benefits from the abundance of material
generated for this work, and has the same combination of instruments and
electronic sound: another form, another conception.

Soundings in Pure Duration n.6, for octophonic electronic sounds:
This 6th in Dashow's series of Soundings in Pure Duration is all about
timbre, time and space. Timbral developments are closely synchronized with
the movement of sonic events, structured as variously paced dynamic
phrases, in space.  Sequences of events are realized in a sort of spatial
counterpoint where multiple trajectories of sounds are played
simultaneously. The spatial choreography of the several timbral lines
attempts to place the listener inside the counterpoint as it moves and
transforms around the hall.  Composing with space generates a uniquely
expressive kind of musical experience that can fully involve the listener
in the musical work in genuinely new ways.
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