The Yuha Archive :: “SONICFOLIO SCORES” Episode 7:: By Trajects— FIELD NOTES
SONICFOLIO SCORES was a collection of graphic scores jointly produced by The Yuha Archive (Toronto), and The Operating System Liminal Lab (New York). From August 2021- August 2022, eleven graphic scores were produced. Each graphic score endeavored to introduce new perspectives in musical notation and interpretation. The full archive can be found HERE
“BY TRAJECTS” is the seventh installment of the SONICFOLIO SCORES Project supported by the Operating System & Liminal Lab. To stay up to date with the Yuha Archive SONICFOLIO Series, follow the project on Soundcloud or the Archive’s website. For the introduction to this series here on the OS’ Medium platform, click here.
Working with the New York composer Erich Barganier, Stasis Study is a graphic score that uses a musical drone as the material for textural variation and invariance. By utilizing a single component of sonic material as the cut in space, sound cohabits personal transformations devoid of sonic relationships external to its inborn inherent process.
Deprived of external stimuli, the drone is prompted to collapse on its gravitational core to generate a fission of sounds and sonic beginnings. It is through the organic tampering within reductive and apparent insufficiencies in sonic material that an infinite textures can be inwardly conceived, comprehended and furthered. The resulting effects through an element of collapse results in a drone that conserves its sonic blueprint refrained from invitational prejudice or aesthetical accompaniment. The conservation of the drone as an inherent material finds a conservation between content and form which are symbiotically present.
INSTRUCTIONS for interpreting By Trajects:
The red and black haze suggests the invisible cut in space. The green line is a visual representation of the drone that cuts into this insufficient space.
1. take a drone and set the drone on fire
2. fin
Erich Barganier is a composer and multi-instrumentalist hailing from St. Petersburg, Florida, who currently resides between New York City and Montreal. Barganier’s works have been presented by organizations like Bang on a Can, The International Computer Music Conference (ICMC), New York City Electroacoustic Music Festival (NYCEMF), Mostly Modern Festival, The New Music Gathering, and National Sawdust among many others. His music marries timbres and sonic material from jazz, noise rock, experimental electronica, and contemporary classical musical styles, and his compositional process has been greatly inspired by the creative methods outlined in Andre Breton’s manifestos of surrealism.
Learn more at: http://www.barganiermusic.com/about.html
Stanford Cheung engages across a variety of creative hubs as a classical pianist, sonic artist, improvisor, and multi-disciplinary poet. From concerto performances with orchestras, poetry recitals, to electronic free-form improvisation for art installations, Cheung has collaborated internationally with a variety of artists and scholars, including Morgan Fisher, Steven J Fowler, Shahzad Ismaily and Nobuo Kubota. Cheung’s commissioned projects have been exhibited or forthcoming at the 43rd Rhubarb Festival (Buddies in Bad Times), Osaka University OCCA, Edinburgh University, Christchurch University, Banff Centre for the Arts, Orpheus Institute, Kitakyushu Centre for Contemporary Arts, Tokyo Poetry Journal, among others. Presently, Cheung is pursuing his Doctoral degree in music at McGill University where his research is dedicated to the Japanese composer Ryuichi Sakamoto. He runs a multimodal soundscape project called The Yuha Archive.
You can find him here: https://stanfordcheung.com/
