ICMC/25/d4/1120 Concert n12/03 Where Water Meets Memory

• Where Water Meets Memory

  • My Notes To Listen Again

    • 18:06 piece starts - #Acousmatic. lush bass and sparkles, with wave crash. Rich sonic stage.
    • Sound/Speaker/Multichannel/8 Channel
    • 18:07 love the Train sound. Sound/Sample/Ambient
      • This Sound/Recording/Ambisonic/5th Order is so rich
      • 18:10 some kind of fog horn
      • 18:12 so freaking #Cool when the water is 3-d with the Instrument/Voice/Choir
      • 18:13 some startling skittering with some kid samples
      • water splashing
      • wow, would this survive stereo?
      • the piano and plunky splashy sounds with thunder 18:14

  • #Description

    • #Short
      • Electroacoustic montage built from Shenandoah field recordings, processed strings, and the composer's childhood tapes, exploring fluid identities of place and recollection.
    • #Long
      • *Where Water Meets Memory. *During the summers of 2018 and 2019, I spent time at the Anheuser-Busch Coastal Research Center (Oyster, Virginia), recording sounds including oyster reefs. Since that experience, I have thought about my lifelong relationship to water: trips to the beach as a child, a fear of deep, dark water (thalassophobia), recent collaboration with environmental scientists researching sea life, and, of course, the rising of our oceans as a function of global warming. All of these experiences swirled around compositionally for a year or two, until I began working on this piece in earnest during the beginning of 2021, while holed up in Oberlin, Ohio during the COVID-19 pandemic.
      • Creating this work, I challenged myself in several ways:
        • to use a completely higher-order ambisonic workflow,
        • to incorporate recorded or sampled instruments in each section, and to work in a number of different electroacoustic styles. The resulting work is for full Sound/Recording/Ambisonic/5th Order Ambisonics, presented here as an Octophonic decoding.
        • Includes performance recordings of David Bowlin, violin, Kate Copeland, soprano, and Kevin William Davis, cello.

      • Sections

        • I. The Bay (Of Trains and Shorebirds)

          • with solo #Violin

        • II. The Reef (Of Predator and Prey)

          • with cello, piano, glockenspiel.

        • III. The Ocean (The Lull of the Sirens)

          • soprano soloists, choir

        • IV. The Deep (Beneath the Rain)

          • string quartet, orchestra.

  • #Composer Person/Eli Stine

    • #Pic
      • 
    • #Bio/Short
      • Media-artist and software designer
      • Published on SEAMUS, ICAD, and Computer Music Journal labels
    • #Bio/Long
      • Assistant Professor of Computer Music & Digital Arts at Uni/Oberlin Conservatory's TIMARA program
      • Previously worked as Software Engineer at Company/Meta Reality Labs Audio Research
      • Ph.D. and Masters in Composition and Computer Technologies from Uni/Virginia, Bachelors in TIMARA and Computer Science from Uni/Oberlin
      • Work spans immersive electronic music, mixed reality storytelling, and interactive multimedia
      • Notable projects include sound design for VR adaptation of Kafka's Metamorphosis and electronics performance on George Lewis' Recombinant Trilogy
      • Recordings available on New Focus, Ravello, Naxos, and SEAMUS Records