This work is an exploration in four-part polyphony. Independent lines shift between foreground and background through contour, hocket, and mixture. Synthetic sound sources are generated and transformed with athenaCL, Csound, Max/MSP, and various other software and hardware. The title is taken from Allen Ginsberg's 1977 poem "Haunting Poe's Baltimore. This work is included in the Vox Novus 60x60 (2009 / International Mix)."
This composition is an exploration in scalar and temporal smearing and reflection. All electronic sounds are derived from the real-time signal of the bass clarinet. The signal, captured by a microphone and divided into three frequency bands, is treated by fourteen processors under dynamic algorithmic control. Each processor creates transformed signals based on the source signal, source signal events, and source signal amplitude contours. Output of these processors is dynamically allocated to eight outputs. The title of this composition is taken from Allen Ginsberg's 1958 poem "Europe! Europe!" In the context of this piece, the notion of endless ladders refers to both the pitch material and the real-time signal processing system. The pitch material makes use of sieves, a generative technique developed by Iannis Xenakis for creating ladder-like pitch space structures. The signal processing makes extensive of use of dynamic delays and feedback processors, creating ladder-like temporal structures.
Christopher Ariza performing live electronics with KIOKU. More information.