Theatre for the Listening Mind, and the Thoughtful Listener.
Progress?? is a quick piece of narrative Audio Art is made from a selection of the Found Sounds around Whittlesea, Victoria supplied by composer colleague, Gary McKie, during a residency he calls The Whittlesea Sound Project.
Whittlesea, Australia, has been swallowed up by the growing outskirts of Melbourne, Victoria. Gary’s Found Sounds were recorded both in the natural environment, a major shopping shopping centre, and the ordinary daily sounds heard in a typical Aussie suburban backyard.
the project’s creative brief
“The Whittlesea Sound Project is about discovering, or reconnecting to, the diverse sounds around us, as COVID-19 restrictions continue to ease, and we venture back into our communities throughout the City of Whittlesea and beyond.
Consider how being aware of the sounds around you effects your connection to place and ask yourself, “is there anything in my environment that could be changed to improve the quality of sounds and the way we are living?”
This project is supported by the Whittlesea Creative Community Fund.
Waiting, a setting of text by Sue Woolfe, for live performance by Hamish Gould (counter-tenor) in concert at St James Old Cathedral, West Melbourne on April 24th 2021.
The lyrics reveal the thoughts of a handyman with chronic social anxiety, who is somewhat creepily voyeuristic, as he longs to interact with the woman he loves.
Waiting was jointly commissioned by Panoramic Music and the Melbourne Composer’s League with funding provided by the Victorian Government through Creative Victoria.
The song is composed for counter-tenor, accompanied by alto recorder, and digital samplers, all originally designed to be played live by human performers.
However, the virus times have affected the presentation of Waiting as much as anything else, in that the vocalist, Hamish Gould, wanted the concert to go ahead in any circumstances. Because of the pandemic, rehearsing and performing with other players could be problematic (given that currently Australian residents are still being infected with Covid-19).
So Hamish is live in performance and everything else is digital.
The concert begins at 4.30pm.
Ticket prices: $35 full or $20 concession.
The concert will also be live-streamed for free.
steps to . . .?
Is the growing city really progress or is it closing the door on old ways which might still be of value?
This 1 minute question mark premiered at Federation Hall, Melbourne, 9th July 2014…. as part of the 60*60 project curated by Susan Frykberg & Warren Burt for Australasian Computer Music Conference (ACMC2014).
Fine Hand-made Field Recordings carefully selected for piquancy.
Recorded and Composed by Ceridwen Suiter
Technology Inspired Visuals/Soundscape by Ceridwen Suiter and Flossie Peitsch.
The Gallery exhibits itself as a post-conceptual place where ‘Artistic Expression’ squares off against ‘High Art’. Galleries amass reputations and memories as exhibitions come and go. This work taps, denotes and speaks the volumes from the gallery’s collective memory. Transitory expressions that have passed through its doors appear to linger. As surprising and distinctive forms emerge from the walls one can actually hear ideas pulse and roll to the auditory surface of the space.
Oct 8th – Oct 19th, 2013 ANU FOYER ART GALLERY
College of Arts and Social Sciences Building 105, Childers Street
The Australian National University; Canberra ACT T: +61 2 6125 5841
Composer in Residence: National Rural Women’s Conference 2013
A Country Women’ s Chorus (2013) created over three days by audio artist Ceridwen Suiter, with delegates of the inaugural National Rural Women’s Conference, at the National Convention Centre, Canberra. The content of the music is derived from the acoustic ecology of place, namely found sounds from the conference venue and field recordings of the attending delegates and their music experiences. This environmental music captures the spirit of the conference and tapestry of sounds that envelope the every day lives of Australian rural women. The newly composed music performed at the closing ceremony of the conference, provides an aural document of three days of women gathering together.
The project is an initiative of Robyn Archer, the Festival director, Centenary Celebrations of the Founding of Canberra, Australia. She sought the deliberate inclusion of the arts in many activities taking place in Canberra during the centenary celebrations. The Canberra Convention Bureau, and the Board of the National Rural Women’s Coalition and Network actively participated in making this project happen, while the conference attendees enthusiastically embraced this opportunity to participate in making new music.