Thursday 25 May 2023, 2-3.30pm
Pedro Rebelo – Music by Wind
Location: Shrigley, Downpatrick, Ireland.
Date: 13th April, 2020.
Time of the day: 02.00 pm.
Music by Wind is a recording of whistling gates in rural Co Down, Northern Ireland. With the significant decrease in noise pollution in nearby roads these sound events become ever more pronounced and attractive to listen to. The recording has no human intervention in terms of sound production and all sounds are the result of wind across the metal gate’s holes.
The recording was made with an ambisonic microphone, an omni microphone inside the gate and an accelerometer on the metal surface. The mix is in binaural and should be heard with headphones.
Panayiotis Kokoras – Sound Forest
Lidia Zielińska – Insektarion
Insektarion is a piece about Wroclaw – one of the biggest cities in Poland. “My” Wroclaw is not so much the city’s audiosphere, but rather a mental sketch of memory. The work established anew the atmosphere, sound logos, symbols and sonic emblems recalling different situations and people in Wroclaw. I used a field recordings made by myself and from the archive of the Soundscape Research Studio of the University of Wroclaw.
Alistair MacDonald – Arduaine peninsula
Sitting at the edge of the water on a remote bay on the west coast of Scotland in the summer of 2020. Water rushing and gurgling under and around the rocks, seaweed hissing and bubbling and the setting sun sending shafts of light across the waves.
Nick Virgo – A Confluence of Birds
Featuring bird recordings from the Isle of Lewis, Aberdeenshire, Northumberland and Dorset.
Meryl van Noie – Umnenga (2022, 7’10)
Louise Mackenzie – Tentacular Resonances
Kacey Pocius – waiting on the storm to break the heat
Weaving together field recordings taken during heat waves in Montreal & Cheltenham and synthesizer improvisations recorded while processing the breakdown of a romantic relationship, waiting on the storm to break the heat explores the dread and calm before the catastrophic, and the relief found therafter. Through intermodulation of the synthesized elements and transformations of both materials, the summer storm depends the heat and for a moment provides relief allowing the listener to find a new balance in the aftermath.
Markus Rumbino – Rhuna Yokiwa Village
Rhuna adalah salah satu hutan adat yang terletak di Kampung Yokiwa Kabupaten Jayapura Provinsi Papua. Hutan tersebut adalah rumah bagi salah satu burung endemik di Papua yaitu Cendrawasih. Masyarakat Sentani menggunakan burung tersebut sebagai simbol identitas budaya dan status sosial seseorang dalam upacara adat. Beberapa suku di Papua yang mendiami daearah pesisir,lembah dan pegunungan memiliki kepercayaan bahwa ketika manusia meninggal burung cendrawasih akan membawa roh manusia menuju ke surga. Selain itu, keberadaan burung cendrawasih di dalam sebuah hutan juga menjadi indikator hutan tersebut masih alami.
Kehidupan burung cendrawasih pada hutan yang masih alami menciptakan ambiance sound yang sangat harmonis. Pada rekaman di hutan adat Rhuna suara burung cendrwasih pada pagi hari dapat mengundang burung-burung yang lain untuk datang. Semakin banyak burung yang datang maka kita dapat mendengarkan beragam ambiance sound yang terjadi. Namun keberadaan burung tersebut saat ini terancam oleh eksploitasi sumber daya alam di hutan Papua salah satunya adalah kayu dan perkebunankelapasawit. Hutan tropis Papua terkenal akan potensi kayu yang berkualitas baik sehingga banyak diekspoitasi untuk beragam kebutuhan manusia. Proses tersebut banyak mengabaikan hak masyarakat adat dan juga kehidupan flora dan fauna yang hidup di dalam hutan tersebut.
Rhuna is a customary forest located in Yokiwa Village, Jayapura District, Papua Province. The forest is home to one of the endemic birds in Papua, namely Cendrawasih. The Sentani people use the bird as a symbol of one’s cultural identity and social status in traditional ceremonies. Several tribes in Papua who live in coastal areas, valleys and mountains have a belief that when humans die birds of paradise will carry the human spirit to heaven. In addition, the presence of birds of paradise in a forest is also an indicator that the forest is still natural.
The life of birds of paradise in an unspoiled forest creates a very harmonious ambiance sound. In the recordings in the Rhuna customary forest, the sounds of birds of paradise in the morning and evening can invite other birds to come. The more birds that come, the more ambiance sounds we can hear. However, the existence of these birds is currently threatened by the exploitation of natural resources in Papua’s forests, one of which is timber and oil palm plantations. Papua’s tropical forests are known for their potential for good quality wood, so they are widely exploited for various human needs. This process ignores the rights of indigenous peoples as well as the flora and fauna that live in the forest.
Janek Schaefer – Found Soundscape
Sylvi MacCormac – BROTHER BEAR & BENT BOXES: RUSSELL WALLACE, An Echo Acoustic Portrait of QEKSIYEKSUT [A&B sides] 2023
I am honoured to be Given Permission to create an Echo Acoustic Portrait of Russell Wallace, Awarded Stat’liamX Composer Producer, Traditional Lil’wat Singer and inDigiPop Musician, with excerpts from 20 tracks produced over 40 years. Is it Electro Acoustic or EcoAcoustic ?
Composed by sylvi macCormac wit eXcerpts of Russell Wallace Music 1980-2021, Interview and Soundscape Co-Produced & Engineered wit Bryden Veinot illustrations Corrine Hunt Russell Wallace Bria Symington Michèle Murphy Designs Naz Tamaddon Nicole Dextras
World Soundscape Project – Dawn Chorus
Dollar, Scotland May 25/1975
Duncan MacLeod – Lionacleit machair soundwalk
This soundwalk explores the traditions and ecology of Uist’s machair. A Gaelic word meaning fertile, low-lying grassy plain, machair is one of Europe’s rarest yet most species-rich habitats; only occurring on the exposed west-facing shores of Scotland and Ireland, 70% of which is found on Uist. Generations of low-intensity farming have shaped this unique landscape and encouraged wildlife over millennia. Developed in partnership with the local community, this work combines spoken narratives, field recordings, and compositions with archival sound recordings from Edinburgh University’s School of Scottish Studies, that chart over 70-years of living tradition.
• Common land on Uist – John MacDonald interviewed by Eric Cregeen (1973)
• An Cuan Siar – composition by Duncan MacLeod (2022)
• Uist Machair – Matthew Topsfield (2022)
• Eilean Uibhist Mo Rùin – Angus MacDonald (vocals), recorded Donald MacDonald (1982)
• Nam Bithinn na mo Mhaighdeann – Kenneth MacIver (vocals), recorded by fieldworker James Ross (1959).
• Gathering Seaweed on Uist – Roderick MacKillop, John MacIver, Angus MacKenzie, and John Morrison interviewed by fieldworker Emily Lyle (1977).
• Using seaweed to grow potatoes and crops – Alasdair MacEachen interviewed by Mairi McFadyen (2022).
• Mhòrag ‘s na Hòro-gheallaidh – sung by Christine Shaw, recorded by Morag MacLeod (1973).
• Uist seaweed – Matthew Topsfield (2022).
• Seaweeding the ground – Alasdair MacEachen interviewed by Mairi McFadyen (2022).
• The little yellow of the summer – composition by Duncan MacLeod (2022)
• Planting potatoes with seaweed – Roderick MacKillop, John MacIver, Angus MacKenzie, and John Morrison interviewed by fieldworker Emily Lyle (1977).
• Sgadan Saillt’ ‘s Buntàt’ – sung by Peggy MacIver, recorded by James Ross (1069).
• Orra Bhonnagan a Ghaoil – sung by Nan McKinnon, recorded by James Ross (1958).
• Lifting potatoes – Alasdair MacEachen interviewed by fieldworker Mairi McFayden (2022).
• Machair cropping – Matthew Topsfield interviewed by fieldworker Mairi McFayden (2022).
• Cropping on the machair – Alasdair MacEachen interviewed by fieldworker Mairi McFayden (2022).
• Cropping traditions on the machair – Matthew Topsfield interviewed by fieldworker Mairi McFayden (2022).
• Nam Bithinn na mo Mhaighdeann, Tha Fionnlagh ag Inneireadh, Mac a’ Phì – sung by Kenneth MacIver, recorded by James Ross (1959).
• Bailing on the machair – Freddie and Seoras MacDonald interviewed by fieldworker Mairi McFayden (2022).
• Am Buntàta ‘s an Sgadan – sung by Angus Fletcher, recorded by John Lorne Campbell (1950).
• Environmental field recordings & soundscape composition – Duncan MacLeod (2022)