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this project is underwritten by the american composers forum with funds provided by the jerome foundation .
kathy is a fiscal year 2010 recipient of an artist support grant from the arrowhead regional arts council (www.aracouncil.org) which is made possible through an appropriation from the mcknight foundation. the funds from this grant were used to purchase the equipment used to record, mix, and master this work
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track » bent / hOwl 1 track » bent / hOwl 2 track » bent / hOwl 3 track » bent / hOwl 4 track » bent / hOwl 5 track » bent / hOwl 6 track » bent / hOwl 7 track » bent / hOwl 8 track » bent / hOwl 9 track » bent / hOwl 10 track » bent / hOwl 11 track » bent / hOwl 12 track » bent / hOwl 13 track » bent / hOwl 14 |
hole in the sky |
The the genesis for the project was a call for sound from www.untwelve.org. The original work: bent / hOwl (8:48 mp3) was written specifically for the UnTwelve 2010 composition competition. It is for solo cello with electronic delay. The program notes required a description of the approach given below:
As a cellist I live in a fretless world - on 4 strings - the infinite between. As a composer I write primarily for stringed instruments and found sound - tonal textures that stray from an equal temperament grid. The pitch landscape for me is a fluid continuum. I often use one or more pitch centers but think of them as gravitational forces instead of components in a scale. I work with the tension / release kinetics caused by moving near or far - by the geometry of movement within these gravitational fields. On my instrument the 4 strings (tuned in perfect fifths from my third string) form a natural lattice for much of my work.
I studied Theoretical Ecology (Mathematical Modeling) in graduate school. I have always leaned towards continuous rather than discrete models of the world. Continuous modeling is the language of water - in music it represents the bendability of life. Energy pools and disperses, probabilistic clouds form, tone clusters emerge, a system becomes dense or sparse, steady states arise or the world frays into chaos and disintegration. As a composer and player I love to use the harmonic richness of the cello - the confluence of pitch and tone possible through friction of bow and fingers pressed firmly or ghostlike against wood and wire.
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