Updated: Apr 27
Connie Beckly - The Note / Balancing Scales
Susan Philipsz - The Missing String / White Flood / Sleepclose and Fast / Part File Score
Samson Young - Real Music
Susan Hiller - Witness / Thoughts are Free
Annea Lockwood - Wild Energy
Sin Wai Kin (Victoria Sin) - And at the pinnacle, the foot of a mountain
Janet Cardiff -Forty-Part Motet / Whispering Room
Paul Cocksedge - Sesto Senso
Updated: Mar 30
I invited some musicians/composers to interpret to the Singing to the Seaweed score. Passing the score on to someone else, its a reinterpretation of a place and an experience. Feelings and sensations re-imagines. What does that open up? Do I invite more people to interpret the score? How does this fit into my wider work? Where does it fit conceptually? I am not sure where to go with this thread next.
Singing to the seaweed by Nicholas Escobar
He used shells, synthesizers, distorted soundscapes amongst other sounds to make the piece.
Cuppa by Joe Coghill
My original sound peice
Updated: Feb 25
The scores from 'Singing to the Seaweed' from 'Mukry Horizons' in my previous post need be stripped of the sound wave, its too technical, too distracting, the sound waves give too much away. Locating the work, with a photo perhaps could be something that would be more appropriate.
These are squished and rough, ideally, they would be printed in large format, these have been scanned in and collaged on photoshop