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.
3 Pieces Horn (binaural mixdown).
3Pieces comprises three abstract works based on recordings of violin, horn and piano which can be played separately or together. They were written as part of a collaborative creative event focusing around a horn trio. Originally conceived as ‘electroacoustic interludes,’ 3Pieces evolved into something much larger, taking in a research project exploring the nature of free play and improvisation within fixed medium works. As with earlier works, my concerns whilst composing 3Pieces were focused towards cataloguing and choosing usable material from a vast array of experimental sounds. Whilst methods involving improvisation with material may lend themselves to bricolage, composers of electroacoustic music rarely resort to something so serendipitous. However, it remains difficult to describe and justify the decision making process through anything other than the medium itself. I approached this problem from two angles. The first was to create a performance instrument (using a graphics tablet) that would possibly enable more ‘human’ interaction with material. The second was to begin to investigate recording, tracking and cataloguing the composition process. 3Pieces relies heavily on the former process. Whilst each piece is focused upon one instrument, the spectre of the ‘horn trio’ remains.
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.