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Output details

35 - Music, Drama, Dance and Performing Arts

University of Huddersfield

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Title and brief description

And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion)

Type
J - Composition
Year
2010
URL
-
Number of additional authors
0
Additional information

And the scream… was premiered by ELISION at Kings Place (London, April 2010). The piece extends my work with prescriptive, multi-layered tablature notations and is centred on the construction of a limited collection of physical gestural models that can be shared between different instrumental families, unifying and focusing the types of available sound-production actions while concomitantly generating highly distinct, unpredictable, and heterogeneous soundworlds. The work develops new performance techniques and new notational methods that emerge from the fundamental characteristics of the instruments’ mechanisms and the movements, musculature, and energy required for those instruments to generate sound, enabling richer and more multi-dimensional polyphonic, contrapuntal interactions between sound and sight. The research underpinning the composition is outlined in the article Cassidy, A., ‘Gestural modeling and compositional constraints in Being itself a catastrophe, the diagram must not create a catastrophe.’ Sonic Ideas/Ideas Sónicas (CMMAS, Vol 3 - No.1, Spring 2011), with further discussion in the conference paper Cassidy, A., ‘I am an experimental composer’ ORCiM, Orpheus Institute, Ghent, Belgium, February 2012. The piece includes three extractable works, which can be performed separately: What then renders these forces visible is a strange smile (2008) for solo trumpet. Performed at ABC Studios Brisbane (July 2008), HCMF (November 2009), and five further performances in the USA, Germany and UK. Because they mark the zone where the force is in the process of striking (2009) for solo trombone. Performed at HCMF (November 2009), with two further performances in the USA. Being itself a catastrophe, the diagram must not create a catastrophe (2009) for oboe and clarinet. Performed at Kings Place (London, April 2009) and Villa Elisabeth Berlin (October 2011). Live recordings are published on CD by HCR (strange forces, HCR03, 2011). Studio recordings published on a portrait CD (The Crutch of Memory, ELISION, NEOS11201, 2013).

Interdisciplinary
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Cross-referral requested
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Research group
None
Proposed double-weighted
No
Double-weighted statement
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Reserve for a double-weighted output
No
Non-English
No
English abstract
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