[a musical composition about sonic inundation]Fleur de Vie Weinstock Music 167b, HarvardFINAL PROJECT ...In Some Way LiveMarch 22, 1998Length: 5'56"Title: MARCH 18THEquipment Requirements: two DAT players.
This piece is entitled "MARCH 18TH." The title is mostly arbitrary, and reflects theimpetus behind the piece. This piece consciously rejects the power of live mixing possible withelectronic music in order to try and emulate many electronic sound environments that we findourselves in every day that we are unable to significantly influence. For example, such electronicand mechanical sounds as trains, buses, air conditioners, computers, printers, stereos, televisions,microwaves and many other electronic devices surround ears day in and day out, and in many,many cases we are at the Mercy of these sounds rather than having any kind of significant power over them. Thus, "MARCH 18TH" will be a "tribute" to such a state of affairs—the state of affairs of sonic inundation in which the receiver (the listener) very often has little control over the larger sonic environment... However, most sonic environments we encounter daily are notdeafening, and allow for creating sounds of our own which are audible to a certain restrictedsphere within the larger sounds.Thus, the Power Possessing electronic sonic environment will be totally predetermined.Sounds will be generated using the Mbira dzaVadzimu, for the sole reason that I'm quiteenamored of the instrument. Two 5'56" pieces will be created, to be played simultaneously. Thisreflects the aspect that many daily encountered environments are not exclusively one sound... I'mnot quite sure yet the ways in which I will make the pieces, but they will probably involvesampling of the mbira keys, use of MAX programs, and delay machines... The creation of the pieces will be determined by love for sound, intuitively based until the intuition leads to a rulewhich is inspiring enough to be followed. In any case, the net result will be two 5'56" pieces thathave utilized some of the programs we have learned in class this semester using the mbira assource material, recorded on two DATs.During the performance the two pieces will be played simultaneously, and will not be livemixed. One will be played at a significantly louder volume than the other. The playing of the twoDATs will be a static occurrence—the way cars sit in a parking lot, or the way snow rests on the