Fells, N. and Adams, N. (2019) field/harbour/thaw. [Compositions]

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field/harbour/thaw is a work for solo cello and live ambisonic sound processing. The research process embodied a social model of composition through collaboration, working to find a shared sonic language exploring the combined instrumental and electronic ‘voice’, centred on such matters as timbre, touch, lyricism, poise, gestural dynamics and physical movement (a ‘kinetics of style’). Experimentation involved exploring the interaction of the physical cello with performance space, through the control of feedback, use of impulse responses and convolution, and developing spatial concepts such as interior/exterior, proximity, enclosure, ‘embrace’, and ‘yonder’ to shape the spatial experience of the audience. Outcomes of the experimentation were combined in what was effectively a ‘sequential performance ecosystem’ suitable for redeployment in other collaborative contexts. Conceptually, the piece owes much to Heidegger’s description of sunrise as an event that ‘discloses space’; it tries to tap into the liminal aspect of performance, as utterance projected forth into the world, and into the marginal regions between light and dark, real and imaginary landscapes, body and world. The piece too dwells in a space between territories, drawing on field recording and developmental workshop activity undertaken in Glasgow and rural Nova Scotia, creating an opening for discourse around creative application of phonography in exploring complex colonial histories. It was first performed at Acadia University, Nova Scotia in March 2019 and is released on the Never Come Ashore label.

Item Type:Compositions
Keywords:Composition, ambisonic, surround sound, cello, live electronics, electroacoustic.
Glasgow Author(s) Enlighten ID:Fells, Professor Nick
Authors: Fells, N., and Adams, N.
Subjects:M Music and Books on Music > M Music
College/School:College of Arts & Humanities > School of Culture and Creative Arts > Music
Publisher:Never Come Ashore
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