Further examples, older programme notes, multi-channel files and back catalogue can be found here
audiogentry (2019): audiogentry is a short soundscape work using field recordings made by staff and students in and around Kelham Island Museum. Prominent among the sounds recorded is the huge River Don Engine with squeals and bangs. Just off the island, on the other side of the Don, but still sitting easily against the loft apartments, restaurants, cafes and gastro pubs was Woodware Repetitions Ltd. (Wood turners), part of the famous George Barnsley dynasty. It was important that I captured ‘working’ sounds of then and now. On the wood turners’ factory floor you hear a repetitive saw as blocks were continuously cut by hand. All of these sounds are – to most people – loud (everyone on the Woodware factory floor had ear protectors), noisy (full of frequencies), harsh and ugly. Part of my process therefore was to bring these sounds under control by setting them in a new audio environment and exaggerating aspects of their pitch and rhythm. Squeals are extracted and turned to musical pitches, Loud, industrial noises are given a mechanical pulse (perhaps made to breathe). Harsh sounds are coloured to extract drones and harmonies. The noise of the dirty is rendered clean and popular through the addition of a layer of pitch and the structure of pulse. Gentrification of noisy audio? You decide.
Adrian Moore is a composer of electroacoustic music. He directs the University of Sheffield Sound Studios (USSS) where researchers and composers collaborate on new musical projects. Adrian Moore’s research interests are focused towards the development of the acousmatic tradition in electroacoustic music and the performance of electroacoustic music. A significant proportion of his music is available on 4 discs, ‘Traces’, ‘Rêve de l’aube’, ‘Contrechamps’ and ‘Sequences et Tropes’ on the Empreintes DIGITALes label (www.electrocd.com) and his book ‘Sonic Art: an Introduction to Electroacoustic Music Composition’ is published by Routledge.