mimaroglu music sales ☞ artists ☞ david dunn

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previous artist: paul dunmall		there are 5 titles featuring david dunn in stock. they are listed below.		next artist: jeff dunn

$14.62

back in stock as of
december 22nd, 2010

first in stock on
november 28th, 2007

threads:
electro-acoustic-composition
modern-composition
digital-musics

new world (usa) #nw 80660 cd

david dunn “autonomous and dynamical systems” compact disc

lorenz (22:43) 2005
autonomous systems: red rocks (9:56) 2003
nine strange attractors (20:00) 2006
gradients (14:16) 1999

new world press release...

a relentless explorer, composer, performer and theorist, david dunn (born 1953) uses electro-acoustic resources, voice, non-human living systems, as well as traditional instruments. a creator of text-sound compositions, environmental installations, works for radio and video, he has also written and published extensively. underlying all his work is a common regard for music as a communicative source with a living world. growing up in san diego in the sixties and seventies, he encountered people like harry partch and kenneth gaburo. he worked with partch for about five years, and continued to be in his ensemble for a decade after his death. his association with gaburo was even longer, and lasted until gaburo’s death in the early 1990s.

this cd features four new compositions, all for electronic sound makers of one sort or another, and all four reveal his innate musicality. these are works that live between the arts and the sciences, coming from his lifelong involvement with interdisciplinary ideas.

lorenz (2005) is a collaboration between dunn and chaos scientist james crutchfield. in this piece, crutchfield’s program for exploring chaos equations, mode (multiple ordinary differential equations), is linked through an interface program called osc into a sound synthesis program. the sound synthesis program feeds information back through osc into mode, so the whole thing is not only a use of chaos to control sound—it’s a feedback loop itself, embodying the principles of chaos not only in its mathematics, but also in its very structure.

another aspect of dunn’s work has been setting up interactive systems within nature, whereby humans, machines, and the environment interact with each other. in the mid-1980s, as the technology became smaller, and cheaper, he began a series of works where he tried to set up interactive systems in which the environment could interact with itself. autonomous systems: red rocks (2003) is the latest in this series of works, and possibly the most elegant realization of the idea yet.

in nine strange attractors (2006), dunn guides us through a whole zoo of chaotic attractions. each one has different behavior, and each produces a different sound world. this is a work that is not simply about playing with new mathematical toys—it’s a work that exemplifies the structure of those toys, placing human, computer, and sound-making machine into a feedback loop that embodies the essential characteristics of that new science (chaos), and then lets us live within it for an extended period of time.

gradients (1999) is a work dunn made with a freeware graphics-to-sound conversion program. in this program, graphic lines become sounding sines, each single pixel-wide line being realized as one sounding pure electronic sine wave. if the sound world of red rocks represents nature at her messiest, and the attractor pieces show the slightly less messy world of mathematical abstractions of natural processes, in this piece we have the clean lines and simple shapes of man-made geometry. it is best heard at high volume, where the dynamism of the sound is revealed—gloriously.

$14.62

back in stock as of
march 22nd, 2011

first in stock on
june 22nd, 2007

threads:
modern-composition
experimental-instruments

new world (usa) #nw 80623 cd

harry partch “the harry partch collection, volume 3” compact disc

the dreamer that remains—a study in loving (10:29) 1972
rotate the body in all its planes—ballad for gymnasts (8:51) 1961
windsong (11:36) 1958
water! water! — an intermission with prologues and epilogues (37:49) 1961

new world press release...

the four works on this newly remastered cd are eloquent testimony to harry partch’s aesthetic of corporeality. the music he composed for the dreamer that remains, for rotate the body in all its planes, for windsong, and for water! water!, was intended as only one component in the total artistic experience. in these works music joins with drama, with film, with dance, even with gymnastics, as integral parts of the composer’s vision.

“the eloquent and affecting the dreamer that remains (1972) was partch’s last work. it was commissioned by the patroness betty freeman for her film on partch which was directed by stephen pouliot. rotate the body in all its planes (1961) was a spin-off of the “tumble on” sequence in partch’s large-scale theatre piece revelation in the courthouse park. it was premiered at the national collegiate gymnasts championship in 1961. windsong (1958) was also written for film, the soundtrack to a film by madeline tourtelot in which partch saw the greek myth of daphne and apollo. (a later version of the work was named daphne of the dunes). finally, somewhat akin to a broadway musical, water! water! (1961) is perhaps partch’s most lively and lighthearted work. it pokes fun at many targets, especially the rush of audiences for water at the interval; thus the subtitle: "an intermission with prologues and epilogues.” — jon szanto

$14.62

back in stock as of
march 22nd, 2011

first in stock on
june 22nd, 2007

threads:
modern-composition
experimental-instruments

new world (usa) #nw 80622 cd

harry partch “the harry partch collection, volume 2” compact disc

u.s. highball—a musical account of a transcontinental hobo trip (25:20) 1943, rev. 1955
san francisco—a setting of the cries of two newsboys on a foggy night in the twenties (2:28) 1943, rev. 1955
the letter (2:48) 1943, rev. 1972
barstow—eight hitchhiker inscriptions from a highway railing at barstow, california (9:57) 1941, rev. 1968
and on the seventh day petals fell in petaluma (35:50) 1963–64, rev. 1966

new world press release...

harry partch’s compositions of the 1940s—and to some extent his work in general—have remained until recently an unwritten chapter in the history of american music. and yet it was these very pieces—the collection of four works he would later collectively entitle the wayward—that brought him to the attention of the new york musical world. his concert of these pieces for the league of composers (april 22, 1944) established for him a small but permanent reputation as a musical maverick who had wandered off well-worn tracks and had developed a sort of lateral extension of his art, independently of any of the main circles of american music.

the musical starting point of the compositions of the wayward is the inflections and rhythms of everyday american speech. from the beginnings of his mature output in 1930 partch had been devoted to what he called “the intrinsic music of spoken words,” and these four works capture something of the spontaneous musicality of the conversations of the hoboes he befriended during the depression. in their original form these pieces used only the small collection of instruments partch had built or customized by 1943: adapted viola, adapted guitar, chromelodeon, and kithara. the versions recorded here are all later reworkings, sometimes with only small changes (as in the case of san francisco), and sometimes involving a substantial amount of recomposition (as in the case of u.s. highball).

the final work on this disc dates from twenty years later than the compositions of the wayward, and represents one of the high points of partch’s later instrumental idiom. and on the seventh day petals fell in petaluma was composed in petaluma, california, in march–april 1964, and revised at various times and places until the completion of the final copy of the score in san diego in october 1966. it marks a radical departure from the theater works he had written at the university of illinois in the early 1960s, and shows a renewed concentration on technical innovation and on fusing his activities as composer and instrument-builder within the context of a single composition. newly remastered.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
modern-composition
minimalism-drones
field-recordings
electro-acoustic-composition

pogus (usa) #p 21045 cd

annea lockwood “thousand year dreaming • floating world” compact disc

thousand year dreaming (1990)

breathing and dreaming (5:19)
the chi stirs (10:40)
floating in mid-air (9:55)
in full bloom (part 1) (10:10)
in full bloom (part 2) (6:52)
floating world (1999)

part 1 (6:02)
part 2 (14:08)
part 3 (15:55)

pogus press release...

21045-2 cd

annea lockwood
thousand year dreaming/floating world

performers on thousand year dreaming:

art baron, conch shell, trombone, didjeridu
libby van cleve, oboe, english horn
jon gibson, didjeridu
annea lockwood, voice
j.d. parran, clarinet, contrabass clarinet
michael pugliese, tam-tam, clapping sticks
n. scott robinson, conch shell, frame drums, pod rattle, tam-tam
john snyder, didjeridu, waterphone
charles wood, tam-tam, stones
peter zummo, trombone, didjeridu

thousand year dreaming (1990) was commissioned by essential music and was written with the musicians on this recording, their particular strengths and inclinations, very much in mind. it grew out of an improvisatory piece, nautilus, which art baron, scott robinson and lockwood realised in 1989. they found that the sound of conch shell trumpets, didjeridu and frame drums really flowered in the resonant spaces they were using for the piece. lockwood started imagining the sonorities possible with four didjeridus, gongs, conches and trombones and frame drums, all shaped by the penetrating and sensuous edge of oboes and clarinets.

four sections emerged to which she gave the subtitles: breathing and dreaming; the chi stirs; floating in mid-air; in full bloom. while most of the work is fully scored, it contains two improvisations: a duet for john snyder (didjeridu) and scott robinson (frame drum), and a section for all four didjeridus. in performance, at this point the four players wander amongst the audience, exploring the space’s acoustics, playing into a listener s shoulder here, a foot there - sonic massage.

when close to completing the piece lockwood realised that its underlying, generative idea was the gradual awakening and release of sonic energy, energy which i think of as coiled and latent, in breathing and dreaming, but with an embedded power which will nourish when summoned.

floating world (1999) is an immersion in place and transience. the composer invited friends who work with environmental sounds themselves, and who have a strong sense of place, to make recordings for her in places of personal, spiritual significance to them, so it is a collaborative work. from their field recordings (edited but not processed), and other sounds lockwood wove the slowly shifting texture forming floating world.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
electro-acoustic-composition
field-recordings
digital-musics
analogue-synth

pogus (usa) #p 21026 cd

david dunn “four electro-acoustic compositions” compact disc

...with zitterings of flight released (in memoriam kenneth gaburo) (13:55) 1993
simulation 1: sonic mirror (15:03) 1986
wildflowers (14:17) 1994
ennoia 2 (10:10) 1999

pogus press release...

pogus 21026-2 cd

david dunn - four electro-acoustic compositions

composer and sound artist david dunn was born in 1953 in san diego, california. from 1970 to 1974 he was assistant to the american composer harry partch and remained active as a performer in the harry partch ensemble for over a decade. he has worked in a wide variety of audio media inclusive of traditional and experimental music, installations for public exhibitions, video and film soundtracks, radio broadcasts, and bioacoustic research.

"...with zitterings of flight released" (in memoriam kenneth gaburo) was composed over an intense and continuous five-day period (including nights). while working on the piece i had in mind various images and metaphors for the drama of the spirit's separation from the body as described by a variety of shamanic and spiritual traditions. it is a memorial for my teacher, kenneth gaburo. "gaburology" led him to state that he preferred knobs to terminals.

simulation 1: (sonic mirror) was an attempt to model a utopian project yet to be built. the original concept was conceived as a stationary cybernetic sound sculpture capable of processing acoustic data within an outdoor environment. eventually the sculpture might function as an autonomous system structurally coupled to its surrounding environment in a manner that might allow for "learning" between components. this initial modeling was generated from a soundscape recording of the cuyamaca mountains of california.

wildflowers is a bit of nostalgia for the 20th century composer's search for the unique sonic and expressive attributes of electronic technology, an ideal mostly out of fashion. i wanted to compose a reclamation of the sounds of circuitry as material substance, those "sci-fi" clichés and glissandi now banished to the video game parlors.

ennoia 2 is a computer-generated composition that explores the time-domain synthesis algorithms created by arun chandra's wigout program. these algorithms generate continuously changing waveforms with unique structural behaviors over time. the resulting sounds have continuously changing interdependent parameters that are controlled by very few variables.

previous artist:
paul dunmall

...and that's everything in stock featuring david dunn.
(why not take a look at the previous and next artists?)

next artist:
jeff dunn

.home.

.artists.

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.restocks.

.best.

.faq.

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... this page was last updated on saturday, february 11th, 2012 @ 5:28 pm