in seven parts (performance)

an overture in seven parts, setup 01
overall setup

an overture in seven parts, setup 02
main pair of tape loops

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an overture in seven parts, performance 01
part 1, david andree (photo: josh mason)

an overture in seven parts, performance 02
part 2, josh mason (photo: ryan potts)

an overture in seven parts, performance 03
part 3, jonathan kaiser (photo: josh mason)

an overture in seven parts, performance 04
part 4, nathan mclaughlin (photo: josh mason)

an overture in seven parts, performance 05
part 5, john marks (photo: josh mason)

an overture in seven parts, performance 06
part 6, casey deming (photo: josh mason)

an overture in seven parts, performance 07
part 7, ryan potts (aquarelle) (photo: josh mason)

An Overture in Seven Parts

overture_diptych

I am orchestrating a collaborative sound project between myself and six other artists that will take place during Northern Spark on 6/13/15 starting at 9pm. The lineup includes myself (David Andree), Josh Mason, Jonathan Kaiser, Nathan McLaughlin, John Marks, Casey Deming, and Ryan Potts (Aquarelle).

An Overture in Seven Parts is a long-form continuous sound composition that will be created in real time by a collective of seven different artists recording layered accompaniment onto the same pair of asynchronous tape loops. In a secondary room, there will be a multi-channel sound installation playing back an evolving combination of recorded samples that will be captured at regular intervals throughout the performance. Viewers will be able to move between the two rooms to either experience the larger composition unfolding in real time or walk around and in between the preserved previous moments of the sound piece.

The primary composition will rise out of the surrounding landscape by weaving atmospheres out of superimposed locally gathered field recordings which will then be manipulated and built on with various instrumentation. As the evolving composition is handed-off to the each subsequent artist, they will respond with their own additions and approach. This will both renew the soundscape and simultaneously degrade the sounds previously committed to the decaying tape loops that are continuously being worn away. The composition will close by reweaving the samples taken from all the artists throughout the performance into further iterations and new configurations.

Time: Saturday, June 13, 2015 from 9pm-5:26am
Location: Minneapolis College of Art + Design, 2501 Stevens Avenue South, Minneapolis, MN 55404

Schedule:
9pm Part 1, David Andree – Acoustic guitar, violin, objects, location recordings, electronics, tape loops
10pm Part 2, Josh Mason – Music box, electronics, cassette tapes, found objects, amplified surfaces
11pm Part 3, Jonathan Kaiser – Cello
12pm Part 4, Nathan McLaughlin – Guitar, electronics
1am Part 5, John Marks – Modular Synthesizer, tape
2am Part 6, Casey Deming – Tape
3am Part 7, Ryan Potts (Aquarelle) – Feedback, sine waves, guitar, electronics
4am A Revisiting / A Location of New Forms, David Andree – recordings recalling the previous seven parts, electronics, modified tape machines.

Links to participating artists:

David Andree
davidandree.com
twitter.com/davidandree

Josh Mason
https://facebook.com/josh.mason.music
twitter.com/josh__mason
instagram.com/josh__mason

Jonathan Kaiser
jonathankaiser.com
twitter.com/otherkaiser

Nathan McLaughlin
http://www.nathanmclaughlin.info
http://www.twitter.com/loudandsad

John Marks
alexvada.com
https://vimeo.com/user1101597

Casey Deming
http://insidesmusic.com/squidfist/
https://instagram.com/caseydeming

Ryan Potts (Aquarelle)
aquarelle-music.tumblr.com
twitter.com/aquarellemusic
aquarellemusic.bandcamp.com

call, response

i am pleased to announce that call, response, a collaborative album containing musical conversations between myself and artist josh mason (jacksonville, fl), will be published as a 12″ vinyl lp in early 2014 by own records (luxembourg).

Call, Response was conceived of as a long distance musical conversation between the two artists. A single take of material performed by one artist was recorded to magnetic tape and sent to the other with the restriction that accompaniment be recorded in real time as well, closely simulating a live performance. Over time, as the players learned more about each other and their methods, an overarching quality to the body of work developed from their shared sensibilities. The call and response format allowed the voice of each artist to be present, interacting and intersecting, within a murky atmosphere punctuated by melodic fragments and moments of clarity.

spring 2013 course offerings

i’ll be teaching four courses open to the public this spring at the minneapolis college of art and design through the continuing education program. registration opens today and there is a $25 early registration discount before january 14th, 2013.

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sound art: location, collection, manipulation http://mcad.edu/continuing-education/photography-and-filmmaking/sound-art-location-collection-and-manipulation

This class is designed for anyone interested in exploring sound. Over the duration of the class, students will build their own contact microphones designed to collect sounds on-location that otherwise might not be audible, as well as recording the results of intentionally manipulating instruments and objects.

This developed library of recorded material will be used as a basis for arrangements and experimentation using accessible hardware and software through in-class demonstrations and hands-on sessions. The class will prepare students with the tools and knowledge necessary to create and present their own sound works, culminating in a sound performance event lead by the instructor.

drawing as process http://mcad.edu/continuing-education/drawing-and-painting/drawing-process-spring-2013

This class examines the act of drawing as a means for research, examination, experimentation, and, ultimately, a record of experience.

Students will explore approaches stemming from basic observational drawing to generative processes based on conceptual prompts in the studio through demonstrations, in-class exercises and discussions. This class is designed for anyone interested in using drawing as a means to generate ideas.

drawing into printmaking http://mcad.edu/continuing-education/drawing-and-painting/drawing-printmaking-spring-2013

How do artists start to generate ideas that may lead to a meaningful body of work? Working in both the drawing and print studios, students in this class will combine the issues of drawing and the processes of printmaking to explore how they work in tandem to encourage expansive imagery creation and idea generation.

Through in-class exercises and demonstrations, students will learn strategies to make dynamic and responsive drawings, and discover how to use printmaking as a method in and of itself for creating further meaning and ideation. Students will also learn the processes involved in producing editions of intaglio prints, providing an opportunity to experiment with using the “finished” print as starting point for creating new drawings and other works. / While printmaking and drawing experience is beneficial, it is not required.

botanical drawing http://mcad.edu/continuing-education/drawing-and-painting/botanical-drawing-spring-2013

This class provides an introduction to the history and splendor of botanical drawing. Students will use a variety of media such as graphite, colored pencils, and watercolor to create their own series of illustrations.

This class will also address the basic techniques used to capture both the detail and the beautiful and mysterious qualities of the botanical world. Class sessions will include presentations, demonstrations, and on-location drawing at the Como Conservatory in Saint Paul. / Basic drawing skills are recommended, but not required.

trio

[soundcloud]http://soundcloud.com/davidandree/trio-disquiet0040[/soundcloud]

condition: (as determined by the fortieth junto project) create a unique performance as a third part to accompany kenneth kirschner (piano) and tawnya popoff’s (viola) duet “june 5, 2012 – iii.” you cannot change the existing audio. the finished work should have a duration between two and eleven minutes.

process: after listening to the track one time through, an improvisation for acoustic guitar was recorded in response on open reel tape in one pass with no overdubs, with the intention to at first follow then lead.

for acoustic guitar, resonant filter, home-made tape echo, modified reel-to-reel tape machines, tape loops

the river makes its own refrain

[soundcloud]http://soundcloud.com/davidandree/the-river-makes-its-own[/soundcloud]

condition: (as determined by the twenty-ninth junto project) make a field recording of source material that involves running water to act as a foundation for a sound work providing both rhythmic and melodic material. add elements and treatments to the foundation recording, with the intention of highlighting the water’s internal sense of rhythm and melody, while keeping the original recording recognizable. duration should be between 2 and 4 minutes.

process: melodic content was produced from a field recording of a river as the only source material using a resonant filter and reel to reel tape loops. the recording documents the gradual removal of elements allowing different elements to surface.

at a great distance

[soundcloud]http://soundcloud.com/davidandree/at-a-great-distance[/soundcloud]

condition: (as determined by the eighth junto project) you will select a single sentence (or extended, self-contained clause) from chapter 11 in the autobiography of benjamin franklin. you will use that recording as the sole audio source material in your work. at some point, the sentence/clause must be comprehensible to the listener. you will not add any other sounds. duration must be between two and five minutes.

process: selected sentence was read by kara andree and recorded to a dictaphone. the dictaphone was then used for live play back which was processed using electronics and layered on a pair of modified reel to reel recorders with closed tape loops.

gather, response

[soundcloud]http://soundcloud.com/davidandree/gather-response-disquiet0005[/soundcloud]

condition : (as determined by the fifth junto project) make a field recording from everyday life and use the recording as a foundation for a composition layering additional sounds, 3-5 minutes in length, while keeping the original recording discernible in the final mix.

location : mississippi river lock and dam, upper st. anthony falls, minneapolis, minnesota. the original field recording was captured while traversing the terrain starting at an elevated out-skirt and ending at a melting block of ice and snow draining at the river basin. i am first familiar with the space from drawing and painting on site. there are pockets of dynamic spaces tucked around the architecture of the facility filled with trees, river shore, mud, sand and coarse rock. the sounds-cape of the location is equally rich, with man-made sounds of nearby traffic and the drone of the turbines contrasting more natural aspects such as falling water, melting ice, birds and diverse terrain underfoot.

intent : my initial aim with the work was to allow the shifting diversity of the location and presence of the original field recording to stay paramount, while adding additional melodic and textural elements to further articulate the already present tension and atmosphere.

process : after the field recording was collected and put down as a foundation, additional improvisations were woven throughout by multi-tracking on open reel tape in the following order:

1 : harmonium, closed tape loop
2 : acoustic guitar, closed tape loop
3 : acoustic guitar, rubber mallet, tape feedback + closed tape loop
4 : contact mic surface, toy bird call, multi-rods, glass slide, breath