My work exposes the vibraphone as a largely unexplored and unfamiliar instrument whose timbre has the sonic precision and intensity of sine waves that is then.Listeners were presented with a sequence of sinusoidal tones, each tone 250 msec in duration and with no gap between adjacent tones. striking the instrument’s keys with mallets in the usual fashion). The piece is the result of several years of research with the vibraphone wherein I mined new and unusual sounds and acoustic properties from the instrument using almost entirely so-called “traditional” playing techniques (i.e. Gather is an electroacoustic work that pairs long periods of sustained tones (played on a vibraphone) with field recordings made at a system of waterfalls in Ithaca, NY (Buttermilk Falls State Park), as well as recordings made at home of a faulty radiator steam valve and FM radio static. The LMJ26 audio compilation is the audio companion to Leonardo Music Journal, Volume 26 (2016). Composed by Sarah Hennies, Ithaca, NY, U.S.A. Sarah Hennies, Gather, from the LMJ26 audio compilation entitled Sonic Commentary: All Ears, curated by Bill Bahng Boyer, 2016. Since 2008 they have created a series of immersive performances for horn, field recordings and live electronics in abandoned and public spaces including Wellington Tunnel, St Urbain Underpass, Bain St-Michel (Montreal), Mãe D’Água (Lisbon), Tunnel Bénedit-Jobin (Marseille,), Rotonda Besana (Milan), Vapaan Taiteen Tila (Helsinki) and Sottopassaggio di Porta Vescovo (Verona). Their work explores the resonances and serendipities of urban and rural sonic environments through in situ performances, installations and spatial recordings. JEN REIMER (Canada) and MAX STEIN (U.S.A.) are sound artists based in Montreal. The amplitude and flickering lights grew in intensity as the performance progressed. The light and sound guided the audience through the dark and resonant space. The light bulbs spanned the length of the tunnel, lining the ceiling from the entrance to the back of the tunnel, where two PA speakers were situated. The piece combined horn, field recordings, live electronics and 12 sound-responsive incandescent light bulbs. From inside the tunnel, you could hear the quiet resonance of cars driving overhead and dripping water from the canal leaking through the ceiling. When we first entered the tunnels, we walked 30 meters before plunging into complete darkness. Since moving to Montreal in 2008, we became increasingly intrigued by this location, and after visiting the space several times we decided to create a performance there. The concrete tunnels are approximately 200 meters in length. The tunnels were closed for security reasons and abandoned in 1994. The Wellington Tunnels were built in the 1930s as a passage underneath the Lachine Canal in Montreal. Recorded live in a subterranean tunnel, 15 November 2012, by Julian Stein. Performed by Jen Reimer and Max Stein in collaboration with Adam Basanta (light design). French horn, field recordings and live electronics. Composed by Jen Reimer and Max Stein, Montreal, Canada. Jen Reimer and Max Stein, Wellington Tunnel, from the LMJ26 audio compilation entitled Sonic Commentary: All Ears, curated by Bill Bahng Boyer, 2016. The location of Jen Reimer and Max Stein’s Wellington Tunnel recording, which features instruments and live electronics reverberating through a shuttered tunnel beneath Montreal.
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