I have been writing both music compositions and creating audio installations that utilize very long glissandi, and I am particularly interested in the fundamental elements and principles of speed, and the varying speed and its associative perception for the listener. For The Movement of Things, the many divisi of the sections of the orchestra were a treated in this manner, and I was astounded at the psycho-acoustic effects that glissandi had on me and perhaps to others as well. Working with the brilliant Ilan Volkov was an honor and a fascinating experience.
I was also fortunate to have Slivering, an earlier orchestra piece performed and recorded at the exemplary recording concert hall at ENPAC, Rensselaer Polytecnic Institute, conducted by Nicolas deMasion. Here, I was able to organize my ideas and hear an orchestra perform some of these concepts I had been developing. I am extremely grateful for to Nicolas for this opportunity.
(insert photo of the RPI Orchestra)
There is more on this piece in Work in this website.
Conducted by Ilan Volkov, The Movement of Things, a new work for orchestra and choir, conveys a sense that things are going nowhere – when in fact they are going some – where – just very slowly.
Musician, composer and performance artist Miya Masaoka is interested in the nuances of speed, time and perception.
The Movement of Things, her new work for orchestra and choir, conveys a sense that things are going nowhere – when in fact they are going some – where – just very slowly. With the Glasgow Chamber choir. Based on alternative ideologies and aesthetics of speed, duration and perception, The Movement of Things inflects small changes of the movement of sound over time, and has extended divisi of nearly all the instruments in the orchestra and choir.
The 2′ Opening has soloists Nathalie Forget (ondes Martenot), Deborah Walker (cello), Silvia Tarozzi (vln) and Hiko Hiko. The 16′ piece that follows is with the Glasgow Chamber Choir.Tectonics 2018, Glasgow, Scotland