Microstructures constitute the world. They are often repeat at larger and larger scales, and this feature is shared broadly with much music and real-time visual art. In electroacoustic music, micro-sound, embodying the technique of granular synthesis, is now a classic approach, and has become a virtually universal component of the music. This concert will focus on new and classic works which involve the use of micro-structural elements to make the musical form; and which also focus on relationships with structures to be found in our physical and biological environment.
The concert features shakuhachi virtuoso Riley Lee as our special guest. Riley will perform the idealistic American classic of his instrument, The Universal Flute, by pioneer Henry Cowell; and a work written for and premiered by him earlier this year, Roger Dean’s Feburary’s Pitches. Riley will also join members of austraLYSIS in an improvised piece. The concert also celebrates the Tall Poppies Records release in September of austraLYSIS’ latest cd History goes Everywhere, by presenting remixes of the worlds of the Blue Bus, and of Louis Couperin. A new electro acoustic piece by Daniel Blinkhorn reflects his encounter with the Masai, in Kenya, and his vocal sounds piece Voix sous (terra subfonica) complements a new work by Smith and Dean, Scaling the Voices, both exploring the physical nature of the vocal tract through its sounds. The concert is completed by two works from the Canadian electroacoustic community, by Sarah Peebles and Andra McCartney.
Performers: Riley Lee (shakuhachi); Roger Dean (Director; piano, computers); Sandy Evans (saxophones); Phil Slater (trumpet); Haze Smith (texts); Greg White (computers, sound projection).
Tickets are available at the door or may be purchased in advance at New Music Network.