HILDEGARD WESTERKAMP TRANSFORMATIONS DOWNLOAD

How do you do that? This piece creates a wonderful sense of peace in the listener, which is the intention. Each horn is distinctly recognisable: But whether I do it more than men do I really do not know. She explains in mildly poetic terms what is going on and then displays some technical tricks which come across as a sort of lesson at the School of Audio Engineering. In the other pieces Westerkamp seems, to me at least, present and accompanying the listener:

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Once my pieces are on cassette or CD they take on a new life in the world. She was rransformations of The Soundscape Newsletter [4] from - and joined the editorial committee of Soundscape: The first adds little or no processing to the recorded samples while the third adds the most processing to the sounds. I find this very hard to answer. It is always changing I do like the direct aural interaction in the studio. Have we been suppressing unwanted noise for so westdrkamp that we have dulled our capacity to hear?

The cricket recording is played at various speeds, sounding like a cosmic heartbeat in places, and like peculiar birds in others. Each time I hear this piece, I remember growing up by the sea and listening to the moan of the coastal foghorns, reminding me of the awe-inspiring power and energy of the sea.

By using this site, you agree to the Terms of Use and Privacy Policy. Hildegard Westerkamp is sensitive to soundscape. Her latest ttansformations, Transformationsis no exception.

Many of her compositions deal with the acoustic environment hipdegard she often incorporates the medium of tape in conjunction with live instruments or voices, combining, manipulating and processing environmental sounds. This work fed into Schafer's book The Tuning of the World. This usually means that people will become aware of the acoustic imbalances in urban environments and can begin to rectify that, design their life in a more balanced fashion. A Women Composer Triplet. Outdoor performances are more nerve wracking usually if they involve equipment and I like to avoid them for that reason.

She calls herself a sound ecologist and handles her subject with a great deal of care.

Hildegard Westerkamp – electrothèque

westerkaml Just when kitsch-ness was on the cards the music shifted a gear upwards and became a more abstract, transcendent encounter. I can only answer for myself.

These meanings — as well as the actual recording experience that I have while gathering the sounds — play into my compositional process and usually give the pieces life for me and the audience. The effect of being transported is everpresent whether the piece be one involving first person narration, beat poetry collage, or a Fantasie for Horns II.

Her work is remarkable for its careful and exact transformations of natural sound into musical material. This composition wesyerkamp as expansive as the desert, intimate as the voice of a single cricket. Hildegard Westerkampvoice.

Electroacoustics to Carry Along

Hildegard is, as it pointed out by Pauline Oliveros in her brief introduction, sensitive to soundscape. Exactly how important is the technological aspect? Then Westerkamp demonstrates some of her filtering and equalising techniques. I hope it does for you, too. In the s, she developed an interest in music for live performance, and in trabsformations installations and other "composed environments" sometimes in collaboration for specific sites.

I know a lot of women and men who have their fingers in many different activities and aspects of life, especially here in North America, where it is a way of life to do more than one thing. She explains in mildly poetic terms what is going on and then displays some westerkanp tricks which come across as a sort of lesson at the School of Audio Engineering.

One work feature readings by poet Norbert Ruebsaat. Gayle Young mentioned that as a woman, she has learned to work with her music in between ten other activities like doing the dishes, feeding the children. And does it show? I guess you give that transition a lot of thought.