Notam på Ultima: Kringlydsdagene 2024

I forbindelsen med Ultima 2024 arrangerer Notam Kringlydsdagar for tredje gang!

I studio ved Den Norske Filmskolen vil vi rigge til en høytalerdom for arbeider med 3D-lyd. Over to dager blir det urfremføringer av Tulle Ruth, Natasha Barrett og Signe Heinfelt. I tillegg blir det fremføring av verk av Trond Lossius, Ruth Wilhelmine Meyer, Bjarne Kvinnsland, Giuseppe Pisano, Gunn Tove Grønsberg og Rune van Deurs. Billetter til Kringlydsdagane finner du her.

Program

Mandag 16.09.2024

Konsert I: kl. 19:30
Natasha Barrett – Glass Eye (vp)
Knut Wiggen – Sommarmorgon
Ruth Wilhelmine Meyer – LOKESLOTTET (vp)

Onsdag 18.09.2024

Konsert II: 18:00
Tulle Ruth – REIN-Symfoni (vp)
Signe Heinfelt – Fairies (vp)
Trond Lossius/ David Rothenberg/ Bjarne Kvinnsland – The Moving Sounds of Whales (vp)

Konsert III: 20:30
Giuseppe Pisano – a chuva, talvez // la pluie, peut-être (vp)
Trond Lossius – Drift studies (Clouds) (vp)
Gunn Tove Grønsberg og Rune van Deurs – Glemselens pøl

Om verkene

Glass Eye
Natasha Barrett
Glass Eye is a spatial audio, electroacoustic dystopia in which the proliferation of surveillance technology is an invisible force, quietly eliminating resistance and projecting an appearance of normality. The energised sounds of protesters are displaced by the sounds of youths playing football on the street. The Glass Eye focuses on undesirables in the crowd, singles them out and eliminates them in a transformation from expression to apathy that eventually dissolves into harmless tones as surveillance secretly controls our opinions and behaviour.

Glass Eye was commissioned by Notam with support from the Norwegian Composers Fund and a Norwegian Government Grants for Artists.

LOKESLOTTET
Ruth Wilhelmine Meyer
LOKESLOTTET er skapt og framført av Ruth Wilhelmine Meyers umanipulerte multivokale stemme og er et bestillingsverk til Det Norske Solistkor med verdenspremiere i Universitetets Aula, Oslo 10. februar 2023.

Stykket har navnet LOKESLOTTET etter et dyphavsområde i Norskehavet på 2-3000 meters dyp med hydrotermiske skorsteiner.  I faunaen i området oppdaget forskerne kjemobaserte organismer som også finnes i vårt DNA. Forskerne omtaler disse skapningene som våre første forfedre. Loki-feltet er det nordligste kjente hydrotermiske feltet som inneholder forekomster av mineraler og metaller. Det er stor interesse og pågående planer for å utvinne disse forekomstene for kommersielle interesser – med ukjente miljøkonsekvenser.

REIN-Symfoni
Tulle Ruth
Tulle Ruth har komponert en symfoni «av og for» reinen – en hyllest til dette enestående dyr og kulturen rundt. Lytteren føres inn i et omskiftelig lydunivers av klikkelyder og garting. Opptakene til symfonien har foregått i reinflokken de siste 5 årene og er et samarbeid med den Sørsamiske Reindrift hos Gråebrie Sijti i Brekken. Tulle Ruth har observert reinen og undersøkt klikkene, som viser seg å være en meget viktig del av reinens kommunikasjon. Analyser av klikk avslører, at alle klikk har tone, som kan danne en skala og sammen med et kor av rein-garting utvikles symfonien. Lydens koreografi tegnes av reinflokkens bevegelser innen gjerdene og publikum vil sitte omsluttet av symfonien i en 3D-Ambisonics fremføring, som sat de midt i reinflokken.

 

Fairies
Signe Heinfelt
In Fairies, composer and sound artist Signe Heinfelt delves into the auditory world of English folklore and fairy beliefs. Inspired by field recordings from sites reputed for contemporary fairy sightings, Heinfelt crafts a piece that intertwines the mystique of these legendary creatures with the natural soundscapes of their alleged habitats.

Heinfelt’s field recording journey took her to various enchanted locations across England. In Cornwall, near St. Just, she explored a location where a man was said to have been kidnapped by fairies. In Dartmoor, she drew inspiration from the music of composer Thomas Wood, who once claimed to have heard the fairies’ music in the national park. The infamous Cottingley, known for the 1917 hoax where two young girls convinced many of the existence of fairies through fabricated photographs, also plays a significant role in the composition.

This piece investigates the sonic representation of fairies through the lens of Norwegian folklorist Jeanette Sky’s theory: our perception of nature shapes our beliefs in magical beings. By manipulating the concept of fairies, Heinfelt suggests, we might influence broader societal views on nature conservation.

 

The Moving Sounds of Whales
Trond Lossius/ David Rothenberg/ Bjarne Kvinnsland
Humpback whales sing long, beautiful songs that are closer to music than language, sometimes moving human listeners to tears. The male whales change this song, all together, from month to month and year to year. When one whale changes his tune and the new song is accepted, all the other whales quickly follow and change theirs so they all wail the new tune.

Sperm whales, the largest of the toothed whales, use clicks for echolocation and also to identify their family groups. They are the only animals we know of that have clan-specific percussive sounds. This precise and cultural way of using sound suggests that these whales have a complex and nuanced social life that humans can barely understand. We knew nothing about this when we hunted them to near extermination for their oil and ambergris.

When sung deep enough under the ocean’s surface, Blue whale songs can travel thousands of miles across oceans in less than an hour.

Bowhead whales sing lilting, simple songs like the bowing of a cello back and forth. They chant as they migrate under the ice. Their sounds suggest ancient time, a slow movement that could outlast human civilization.

Pilot whales use a mix of echolocation clicks to find food and whistles and grunts to communicate. Their crisp complicated warbles and thlacks can be easily recorded with an underwater microphone called a hydrophone. Scientists today are trying to analyze hundreds of hours of pilot whale sounds to teach machines to decode what is being said.

a chuva, talvez // la pluie, peut-être
Giuseppe Pisano
This piece emerged from some recordings I made in Madeira, where I was trying to record the exact moment when a rainstorm would start. The rainstorm never really started, but other things happened during that time, which eventually became the background for a deeper reflection on field recording, tourism, intentionality and the purposefulness of our actions. 

In fact, this piece consists of the music that will be played here and the short essay «In Praise of the Unimpressive», which can be read while listening to the sounds, or before, or after, or whenever it suits the listener. It must be said that the experience of the piece cannot be considered complete if one part is accessed without the other, and that the text, although not functional to the musical performance, is constitutive of the piece on the same level as the sound.

 

Drift studies (Clouds)
Trond Lossius
Verket undersøkelser teknikker innen komposisjon og lyddesign for å skape utstrakte og diffuse klangmasser i bevegelse gjennom og over rommet, inspirert av ambient og atmosfærisk tenkning. Stedslyd danner bakteppe for mer abstrakte lag av lyd med assosiasjoner til tåke eller skyer som driver over en åpen himmel.

Glemselens pøl
Gunn Tove Grønsberg og Rune van Deurs 

En verden av avfall som vi for lengst har glemt.
Tingene ødelegges og oppstår gjerne i ny form.
En støyete runddans i konstruktiv destruksjon.

Cover Art: Brian Cliff Olguin / NODE for Ultima