Tristan Perich on Connections Across Structure, Genre & Style

Mixtapes Streams Wednesdays at 3 pm on Q2 Music

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Wednesday, September 04, 2013

Tristan Perich's Microtonal Wall at Lydgalleriet, Norway (Courtesy of the artist)

Sound, visual and installation artist Tristan Perich is fascinated with the sound of 1-bit electronics – low fidelity tones generated with the least possible amount of digital information.

His music has been performed by Eighth Blackbird, Calder Quartet and Mantra Percussion and at events and venues as diverse as the Bang on a Can Marathon, South by Southwest and the Whitney Museum. Perich's Microtonal Wall, which uses 1500 1-bit speakers mounted to create a 25-foot wall of sound, is currently on display at the Museum of Modern Art's "Soundings: A Contemporary Score." 

Perich writes the following of his Mixtape:

I was lucky enough to be in the audience when Amanda Deboer performed Georges Aperghis's complete Récitations for solo soprano. The piece is a stunningly virtuostic feat, borderline electronic in its discrete treatment of phonemes. I had been listening at the time to Anne-James Chaton's experimental poetry, and it was clear the two artists were exploring something deeply related in vastly different contexts: the ingrained rhythm of language, via traditionally composed score or digitally sequenced voice. (Coincidentally for both, French.)

These kinds of connections – across structure, instrumentation, genre, and style – are the focus of this playlist. Each piece is in dialogue with multiple others. A gesture that is electronic in one (i.e. Mark Fell), is acoustic in another (David Lang's So-Called Laws of Nature), or in another is still acoustic but rather mechanically induced (Achim Wollscheid). I don't believe any piece directly influenced any other, but the links between experiments in each genre are obvious and, to me, absolutely exciting.


Morton Feldman - Only (Joan La Barbara, voice)
Fausto Romitelli - An Index of Metals: I. Introduzione (Ictus Ensemble)
Morton Feldman - Rothko Chapel 3 (UC Berkeley Chamber Chorus; David Abel, viola; Karen Rosenak, celeste; William Winant, percussion; California EAR Unit)
Alva Noto - F117.tiff
Fausto Romitelli - An Index of Metals: II. Primo intermezzo (Ictus Ensemble)
Ryoji Ikeda - +
Morton Feldman - Rothko Chapel 5 (UC Berkeley Chamber Chorus; David Abel, viola; Karen Rosenak, celeste; William Winant, percussion; California EAR Unit)
Ryoji Ikeda - Opus: I
Alva Noto - Xerrox Rin
David Lang - Memory Pieces: III. wed (Lisa Moore, piano)
Mark Fell - Multistability 2-A
Georges Aperghis - Recitation 1 (Donatienne Michel-Dansac, soprano)
Mark Fell - Vortex Studies - 3
Philip Glass - Ave
Anne-James Chaton - Vendredi 12 Juin 2009 - Événement N°22
John Adams - China Gates (Christopher O'Riley, piano)
Achim Wollscheid - Chair 3
Ryoji Ikeda - Test Pattern #0001
David Lang -The So-Called Laws of Nature: Part I (So Percussion)
John Cage - Four Walls: Act I, Scene VII (Jay Clayton, voice)
Alva Noto - Highmatrix
John Cage - Four Walls: Act I, Scene I (Richard Bunger, piano)

Comments [1]


'via traditionally composed score or digitally sequenced voice' - obviously whether someone uses notation or a computer to make something doesn't tell us anything intrinsic about what they made or how they made it. something made with a computer can be just as, or more traditional than something made with notation and vice versa, or not. (not that you were implying that necessarily.) otherwise i don't really like the words 'style' and 'genre' in art. sure they're easy ways of describing things but i don't like the idea that these people are dedicated to doing this and these people to that. when art is made really well it should be judged not only from artist to artist but from piece to piece. on the other hand i completely agree that it's really interesting to see the same interests explored in different people's work with completely different results.

Sep. 06 2013 01:19 PM

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