Reluctant Americans

November 9th, 2013 8:30 pm 

 

grandtheftauto5artworkthetrunkWe would like to be your friends, if necessary.

Keir Neuringer (alto) & Joel Ryan (DSP) :: @ STEIM  Saturday 9 Nov 2013  8:30 pm
Keir is in town for performances of Heiner Goebbles’ new piece Walden that feature Keir both speaking and playing.
This gives us a change to get together again at STEIM after a break of more than a few years.
We are really looking forward to playing and you can depend on there being a surplus of ecstatic high energy music.

Keir Neuringer is performing this week at the Muziekgebouw, November Music and de Doelen
w/ Ensemble Klang (album release of  Heiner Goebbels’ WALDEN)
11/05 Amsterdam: Muziekgebouw
11/06 Rotterdam: De Doelen
11/07 Den Bosch: November Music Festival
http://ensembleklangrecords.com/album/walden-heiner-goebbels-2

DETAILS:

Date: Saturday 9 November, 2013
Time: 20:30 hrs. (doors open 20:00 hrs.)
Cost: €5
Location: STEIM Concert Space, Utrechtsedwarsstraat 134, Amsterdam

bump-with-cloak-250One way to think about our electro-acoustic music [analog or digital] is as not only replacing an instrument but also the medium in which sound is propagated. Air is the familiar medium and many instruments are largely containers chosen for the way they reflect and amplify sounds in the air they contain. Geometry and physical properties (especially elasticity) determine acoustic behavior. Knocking on a piece of wood or metal produces very distinct sounds because of the very different response to vibration in materials denser and stiffer than air. Cymbals hold a thrilling sonic world reflecting the high velocity of sound in metal (> 10 x air) and the fractal folded structure of hammered bronze. Electronic music is similarly a leveraging of material  and spatial properties: in an electro-magnetic medium we trigger waves with new behavior at speeds approaching that of light in circuits of our own design. More recently, we are exploring another medium, apparently electronic, but in fact computation, where both vibration and the properties of the medium itself are simulated. Here we can alternately steer impulses of “sound” through a brittle knot of yellow metal or into a theater sized space filled with ‘slowAir’. We still can only listen to this via our air-ear link, so (for the present) whatever happens has to be returned by moving the air which surrounds us.

In live performance this is a kind of spatialization, not the steering audio bits around speakers kind, but one in which the elastic properties of the instrument and the room are shifted to musical advantage. The music no longer radiates from Kier’s alto but from the room itself, though not exactly the one that you are sitting in.