At The Margin of The Sensate

by David Dunn

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1.	Inscape 3 03:45	info	buy track
2.	Sunya 12:19	info	buy track
3.	Canon (Study for Synclavier 1) 05:18	info	buy track
4.	Listening To What I Cannot Hear 29:59	info	buy track
5.	Thresholds and Fragile States 12:25	info	buy track
6.	Suite for Disklavier 19:43	info	buy track
7.	Pinnacles 23:15	info	buy track
8.	Blue Moon (Study for Synclavier 2) 03:28	info	buy track
9.	Interjacence 20:18	info	buy track
10.	Chreiai 14:41	info	buy track
11.	Ennoia I 08:12	info	buy track
12.	Ultrasonic Walk 05:28	info	buy track
13.	Errant Light 01:00:00	info	buy track

about

At the Margin of the Sensate
David Dunn
13 Compositions (1977-2017)

As a kind of summary of my 70th year, it seemed appropriate that the works comprising this large compilation be chosen for their diversity of genre and materials. These compositions span a forty-year period and give testament to the range of my interests and influences as a composer. I have never been interested in creating a readily apparent “style” nor have I been able to intentionally emulate what is au courant. However, many of these works might be pigeon-holed as representative of various musical fashions that have come and gone over my lifetime. While I have never thought of them in this light at the time of their creation, in retrospect some of the compositions seem to anticipate certain celebrated trends while others came well after a particular genre was in vogue. What is consistent throughout is my motivation to explore a particular conceptual idea to its inevitable compositional fulfillment and quite often this would involve an overt challenge to what was familiar to my then current aural sensibilities. My friend and colleague, Warren Burt, characterized my most consistent trait as a tendency to make sui generis statements. While there are perceivable similarities between some works over time, many seen to emerge as contradictory to whatever has come before.

Obviously, these compositions explore a wide range of ideas, tools, and sound sources. While an astute listener can probably recognize many diverse styles and resources (minimalism, pointillism, drone music, spectralism, jazz, just intonation, musique concrete, acoustic ecology, bioacoustics, indeterminacy, compositional linguistics, hardware hacking, live electronic improvisation, traditional acoustic instrumentation, digital signal processing, ultrasonics, phonography, graphic scores, mathematics, etc.), none of these factors were enlisted in pursuit of a cohesive style, expressive veneer, or to fulfill the expectations of any particular audience. These myriad resources were the necessary means to explore a variety of underlying conceptual frameworks that might transcend—or challenge—my own aesthetic preferences and experience. Put simply, these compositions were merely steps along a personal path to discovery and knowledge.

credits

released April 15, 2023

Performer Credits:
David Dunn - violin
Robert Paredes - clarinet
Bart Cummings - tuba
Robin Gillette - tam-tam
David Savage - tam-tam
Gary Verkade – pipe organ

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about

David Dunn New Mexico

David Dunn was born in 1953 in San Diego, CA. From 1970 to 1974 he was assistant to the American composer Harry Partch & remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional & experimental music, installations for public exhibitions, video & film soundtracks, radio broadcasts, & bioacoustic research. ... more

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