Genesis
In December 2006, Alison Roth took a variety of field recordings during a research trip to Niger. The recordings were given to graduate students in Professor Chris Chafe and TA Sook Young Won's Spring 2007 Research Seminar in Computer-Generated Music (220c). Miriam Kolar, Brook Reeder, and Nate Whetsell used this material in their projects.
Realization
Miriam's project engaged the nature of sonic exploration, curation and representation. The practical result was presented for listeners in the context provided by the Cantor exhibition: a four-channel sonic installation through June 10. Tracings, duration 17:18, is now available as a stereo headphone experience (16-bit, 44.1Khz WAV format).
Initial Notes
Gather information; listen to recordings; read the book by Edmond Bernus, Francois Borel, Jean-Yves Brizot, Thomas K. Seligman and Kristyne Loughran (Editors); research the show; talk with Alison Roth; find out the contextual possibilities for the presentation of the work. ASK QUESTIONS. Ponder the nature of listening versus viewing; consider listeners' tendency to interpret recorded material according to personal experience; consider the musical practices of borrowing and reinterpretation; consider the tendency to interpret in terms of familiar and unfamiliar; consider the tendency to listen in terms of rhythmic structure or event parsing. Consider the role of curator. Consider the possible implied and explicit messages transmitted by the exhibit, and the roles the sonic work might encapsulate in these contexts.
Project Timeline
Week 1: April 3-7
+ 4/3: Project Idea presented by instructors at first class meeting.
+ 4/3: Received and listened to Alison Roth's field recordings, reviewed accompanying photos.
+ Initial review of book/exhibition catalogue: Art of Being Tuareg: Sahara Nomads in a Modern World.
+ Started project journal of ideas.
+ 4/5: Alison Roth spoke to class regarding exhibition and student project potential.
Week 2: April 8 - 14
+ 4/10: Presented selections from field recordings to class; discussion of initial ideas.
+ 4/13: Met with Alison Roth to discuss project details and potential presentation contexts.
+ Created initial notes, working title "Hearing the Tuareg", and project website.
+ Began selecting, editing, and working with sonic material.
Week 3: April 15 - 21
+ 4/17: Presented work-in-progress to class.
+ Continued reading exhibition catalogue, listening to recordings.
+ Continued selection, editing, and work with sonic material.
Week 4: April 22 - 28
+ 4/24: presented work-in-progress to class.
+ Continued reading exhibition catalogue, listening to recordings.
+ 4/26: Met with Alison Roth to discuss and view prospective presentation contexts at Cantor.
+ Determined presentation contexts: 4-channel playback in Auditorium, headphone listening station(s).
+ Conversations to assess interest in 6/01 jam session with Tuareg musicians.
Week 5: April 29 - May 5
+ 5/01: Presented work-in-progress to class.
+ Continued selection, editing, and work with sonic material.
+ Conversations to assess interest in 6/01 jam session with Tuareg musicians.
+ 5/02: Sent email to CCRMA list to assess interest in 6/01 jam session with Tuareg musicians.
+ 5/05: Correspondence with student musicians re: 6/01 jam session.
Week 6: May 6 - 12
+ 5/07: Correspondence with student musicians re: 6/01 jam session.
+ 5/08: In-class overview of CCRMA 4-channel workstations.
+ Continued selection, editing, and work with sonic material.
+ Began discussion of playback equipment with Cantor's Special Events Manager Lorran Bronnar.
Week 7: May 13 - 19
+ 5/14: Re-specified equipment needs (incl. Meyer speakers) for installation.
+ 5/14: Project update to Alison Roth.
+ 5/15: Presented work-in-progress to class.
+ Continued selection, editing, and work with sonic material.
Week 8: May 20 - 26
+ Determined title for 4-channel work, Tracings.
+ 5/22: Presented work-in-progress in class; discovered time alignment discrepancy in Ardour.
+ 5/22: Contacted Event Services to verifiy receipt of equipment request.
+ 5/23: Wrote and submitted text panel information (to be displayed with installation at Cantor).
+ Continued selection, editing, and work with sonic material.
Week 9: May 27 - June 2
+ 5/28: Completed final 4-channel version of Tracings.
+ 5/29: Sent event announcement of 6/01 jam session to CCRMA and Music lists.
+ 5/29: Brook Reeder created Ardour session for playback of all three works; configured together.
+ 5/29: Carr Wilkerson supplied CCRMA workstation to be used for installation playback.
+ 5/29: Set up 4-channel installation (w/Nate and Brook) in Cantor Art Center Auditorium.
+ 5/30: Attended Press Preview at Cantor Art Center.
+ 5/30: Attended exhibition tour led by curators Thomas Seligman and Kristyne Loughran.
+ 5/31: Attended exhibition Opening Party at Cantor Art Center.
+ 6/01: Hosted jam session at CCRMA (30+ attendees) with visiting Tuareg musicians of the group Tidawt.
Week 10: June 3 - 9
+ Remixed Tracings from original 4-channel (quad) format to 2-channel (stereo) format.
+ Created master CD (stereo versions) of all three students' pieces.
+ Delivered CD to Alison Roth at Cantor Art Center.
Week 11: June 10 - 16
+ Took guests to Cantor to view exhibition, hear installation.
+ Removed installation from Cantor Auditorium and returned computer equipment to CCRMA.
+ Updated and created design for website as final report for 220c.
Background photo: Alison Roth, Niger 2006.