Sea of Singularity

Adrian Moore

Programme notes

Sea of Singularity presents a world of sound interrelationships in 6 movements. Its techniques are the ‘coloring’ and ‘framing’ of natural sound within a broad electroacoustic environment with the use of a blunt knife and relatively simple processes. I was influenced by the theories and artwork of the Fauves whose early 20th century works question the emotional experience with intense colour.

[ix-06]


Sea of Singularity was realized in 2000-02 at The University of Sheffield Sound Studios (USSS) (UK) and the complete cycle premiered on October 4, 2002 during the 9th International Acousmatic Festival L’Espace du son in Théâtre Marni (Brussels, Belgium)

Premiere

  • October 4, 2002, L’Espace du son 2002: Concert portrait Adrian Moore, Théâtre Marni, Brussels (Belgium)

Awards

  • Composer(s): Adrian Moore
  • Year of composition: 2001-03
  • Instrumentation: stereo fixed medium
  • ISWC: T0111028193
  • Publisher(s): Ymx média

Movements

Becalmed

This movement was composed around samples of two horses breathing, two contrasting water samples (harmonised with the sound of an accordion), a funfair and an expansive open air scene near my home. This movement is formed around two attack gestures and is otherwise very slow moving, light and reflective. Resonating with the overall title of the work, Becalmed is an escape away from the rapid flow of information in my previous electroacoustic work.

[ix-06]

  • Instrumentation: fixed medium
  • ISWC: T0111028182
  • Duration: 4:00

Mutiny on the Bounty

A brash opening leads to music heard in a Berlin subway station before a drawn-out bell-like texture takes over the remainder of the movement (which in turn moves towards St Mark’s, Venice).

[ix-06]

  • Instrumentation: fixed medium
  • ISWC: T0111028206
  • Duration: 5:35
  • ISRC: CAD500620460

Third mint sauce (or sheep appoggiatura)

Section A: The Plaintive sounds of the flock are captured in time and contrasted with Venetian gondolas lapping against the canal-side. Section B, ties a memory of the past with metaphors of travel in another relaxed scene, leading to a new water harmonisation. The title of this movement naturally refers to some of the source material (with caricature).

[ix-06]

  • Instrumentation: fixed medium
  • ISWC: T0111028217
  • Duration: 5:39
  • ISRC: CAD500620470

Horse with shouting

Horse / Hoarse: a play on words. This movement contrasts vocal synthesis with two German Police horses trotting in the park. Juxtaposition of contrasting sound is the primary motivating force behind the movement. The sounds are cut into slabs and placed ‘mosaic’ style in time.

[ix-06]

  • Instrumentation: fixed medium
  • ISWC: T0111028239
  • Duration: 4:12
  • ISRC: CAD500620480

Still Life (as we know it)

In a bizarre twist of the 18th and 20th Centuries this movement places the inanimate on a pedestal, shrugs its shoulders, laughs at it and gets on with life. More synthetic sounds including some of the grit, blips and bursts of the here and now wrestle with the peaceful sounds of lapping water against Italian gondolas (oscillating in pitch and duration). After a fairly hectic opening minute, this movement too remains fairly static. The title plays upon our conception of paintings of the same name seen (in negative) through the eyes of Captain Spock (“it’s life Jim, but not as we know it”) and pre-empts…

[ix-06]

  • Instrumentation: fixed medium
  • ISWC: T0111028240
  • Duration: 7:03
  • ISRC: CAD500620490

In Paradisum

The white, fluffy clouds of a permanent ecstasy are stained with the grease of commercialism. The Sea of Singularity may well be crowded, but we are all alone.

[ix-06]

  • Instrumentation: fixed medium
  • ISWC: T0111028251
  • Duration: 5:14
  • ISRC: CAD500620500