Canadian Music Centre | SydneyEnterprise (Final)
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Vox aeternam
RSN:
70239
|
Composition Date:
2014
|
Revision Date:
N/A
|
Duration:
00:24:04
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Library Record
Programme Notes
Cataloguing Information
Call Number
AR3219
Material Type
Sound recording, archival
Acquisition Date
2015-08-17
Preview
Additional Information
For digitally manipulated audio. Composer-performer: Gilles Fresnais. From a recital-dissemination 5 April 2014, Tourelle, Musée national des beaux-arts du Québec.
Master Location
Toronto
Physical Description
Found 3 record(s)
Available Actions
Extent of Item
This is a streaming audio track, part of the CentreStreams project. CentreStreams is made possible through the support of the Department of Canadian Heritage, the Audio-Visual Preservation Trust of Canada and CBC Radio 2.
1 streaming audio file ; (24:04)
This is a streaming audio track, part of the CentreStreams project. CentreStreams is made possible through the support of the Department of Canadian Heritage, the Audio-Visual Preservation Trust of Canada and CBC Radio 2.
Instrumentation
Found 1 record(s)
Available Actions
Set No.
Category
Instrument
Number
50064
Electronic
Synthesizer
1
Divided
No
Solo
No
This piece, based on all that is inexpressible, refers to the eternity of minerals (rocks and water) and the eternity of time always sought by humans (monk chants). But beyond the eternal voices of rocks and monks, there is the human being who is expressed in the processing of musical objects: recordings of percussion on rocks and water sounds, natural or somewhat unprocessed, and the ’natural’ voice of Tibetan monks, which have never been processed or artificially created by the digital processing of voices. Contrasts leading to human rhythmic sequencing are so artificial; but percussion on rocks are so natural. The promise is a kind of meditation developed with all used sound objects.
Cette pièce, fondée sur l’indicible, fait référence à l’éternité minérale (roches et eau) et l’éternité recherchée de tout temps par l’homme (chants de moines). Mais au-delà des voies/voix éternelles des roches et des moines, il y a l’humain qui se manifeste par le traitement des objets musicaux : enregistrements de percussions sur des roches et bruits d’eau, naturels ou peu traités, et voix de moines tibétains « naturelles », peu traitées ou artificiellement créées par traitement numérique de la voix. Contrastes aboutissants à une séquence rythmique humaine, donc artificielle, de percussions sur des roches, donc naturelles. La résolution est une sorte de méditation élaborée avec tous les objets sonores utilisés.
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