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Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Randomness in the Hand of a Composer

More from Caitlin Rowley's "Year of Fear"

Caitlin Rowley has committed chance actions to a fixed document, making something not so much from nothing as from a collection of of things with nothing in common — nothing except her desire to challenge herself. The result is a narrative sequence of sonic snapshots, with the occasional striking moment, such as the glass-chime ping at 1:09, that evidence the constructing hand of a composer.

She writes:

“This piece experiments with a number of things I usually avoid when working with recordings – a very tight deadline (4 hours), loops, rhythmic material, voices, musical material and sounds from a variety of sources rather than a single location. … The bulk of the material for this piece was recorded at Borough Market, but there are also recordings from rehearsals at Trinity Laban, from the Kent County Fair and from Pompeii in Italy, as well as object recordings I made at home.”

Track originally posted at More from Rowley, who calls 2015 her “Year of Fear,” in which she’s challenging her artistic process by “seeking out new areas of insecurity,” at More power to her.

By Marc Weidenbaum

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