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INTERJACENCE (20:18)
1977
for clarinet, tuba, 2 tam-tams, 4-channel tape, and binaural tape delay system

All elements of the composition were recorded in a rectangular shaped room without audience. Twelve sinewave frequencies derived from the Fibonacci series were recorded onto a four-channel tape and played back at a moderate amplitude from loudspeakers placed in the corners of the room. The tuba player sat centrally, wearing binaural microphones in his ears, and played notated chromatic pitches for the duration of a full breath, each separated by an extended silence. The clarinet player walked slowly around the tuba counterclockwise while also playing notated chromatic pitches for the duration of a full breath, and likewise separated with silence. The tam-tam players played constant pulses, striking midway between the edge and center. The binaural microphones were input to the tape delay and mixer feedback system with a delay of approximately ten seconds. The mixing of the various drone elements was largely the result of the micro-movements made by the tuba player as his head intersected with standing waves and reflections created by the room’s acoustic properties.

credits

from At The Margin of The Sensate, released April 15, 2023
Robert Paredes – clarinet
Bart Cummings – tuba
Robin Gillette – tam-tam
David Savage – tam-tam

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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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