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Ranz-des-vaches in L'écho des armaillis

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I used several ranz-des-vaches melodies in the composition L'écho des armaillis, for alphorn & live electronics . I sourced the melodies from the compilation Sammlung von Schweizer-Kühreihen und Volksliedern ( Collection of Swiss ranz-des-vaches and folk songs ) - mostly the third edition (1818) and the fourth edition (1826) . In the composition, you can hear the ranz-des-vaches from: Appenzeller Ormonds (Gruyère) Oberhasler Emmenthaler Ormonds (other melody) Entlebucher I also used this litany of cow names collected in the French Alps: Noisette, Jonquille, Pervenche, Reine, Violette, Papillon, Fleur de Lys, Paulette, Gentiane, Rosalie, Bleuette, Pivoine, Rosette. You can read them in this excerpt from our performance score: To know more about the alphorn and its use by composers, read Frances Jones's dissertation: The alphorn in western art music : a cultural and historical study .

Alphorn & live electronics: L'écho des armaillis

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The armailli, a cattleman, spends the summer on the alp with a herd of cows. The milk produced in these mountains gives cheese a unique taste. In some places, cows are trained to recognize their own ranz-des-vaches , i.e. the specific alphorn call of their cattleman. When the armailli plays the alphorn, rock faces and fir trees answer with echoes of different characters. This composition features ancestral melodies whose echoes you can still hear when you hike in the Swiss and French Alps.

Cowbells & washboard on stage

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Wednesday, December 8: authentic Swiss cow bells & washboard on stage in the Voxman Concert Hall. Ready for the premiere of a new piece for alphorn & live electronics, with Katy Ambrose.

LOUi: the Looper Concert!

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In the fall of 2021, I taught the LOUi ensemble (Laptop Orchestra at the University of Iowa) online. With a great group of six students, we learnt about the tradition of looper performances. Every student installed the Logelloop looper software and composed a new piece using it. The concert took place with a very limited audience (just the members of the course) and was streamed live. Here are a couple of experts that show a great diversity of aesthetic approaches: even though the students used the same software, they really managed to keep their creations very personal. Knoflicek by Lou Barker hey buddy by Trinton Prater Haynes Manual by Will Yager ...but will the witch drown? by Matt Mason Wanderlust, by Michael May Revibrational, by Ross Clowser

Jamshid Jam in Chicago

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A Form By Which To Be Possessed is an exhibition of new works by the BOLT artist-in-residence Maryam Taghavi . You are invited to the closing reception: Saturday, November 13, 6 pm Chicago Artists Coalition, 2130 W. Fulton St, Chicago, IL 60612 Ramin Roshandel and I are going to perform a duet setar & live electronics. We are going to respond to the art, and perform with Shams Asna (voice & spoken text). We hope to see you there!

Electroclarinet 5 in Madrid

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This Thursday, October 7, virtuoso clarinetist Jean-Marc Fessard is performing Electroclarinet 5 in Madrid. Ensemble Sillages are giving a concert of works for clarinet, saxophone (Stéphane Sordet), and live electronics : the event is part of the 23rd International Festival of Contemporary Music in Madrid .

Kino-Pravda No. 5 & 6: new soundtrack

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Kino-Pravda is a series of newsreels directed by Dziga Vertov between 1922 and 1925. This summer, during a residency at the Logelloù with Nicolas Sidoroff and Krystian Sarrau , we created a new soundtrack to Vertov's Kino-Pravda No. 5 and No. 6 : We recorded the soundtrack live on July 30, 2021. The Council of Three Dziga Vertov worked very closely with Mikhail Kaufman and Elizaveta Svilova . They constituted a Council of Three and published about Kino-Eye and their vision of film making. In these excerpts from a 1923 resolution, the Council of Three describe how the camera enables to see the world in new ways: I am kino-eye, I am a mechanical eye. I, a machine, show you the world as only I can see it. Now and forever, I free myself from humanity immobility, I am in constant motion, I draw near, then away from objects, I crawl under, I climb onto them. I move apace with the muzzler of a galloping horse, I plunge full speed into a crowd, I outstrip running soldiers, I