instrumental sound -> instrumental and vocal sound simultaneously -> vocal sound -> breath. Between these different states of the sound material one can create transitions,  interruptions or sudden apparitions depending on  form demands.Among the multiple vocal sounds, I have chosen for Oria a short part: with  unvoiced phonemes (consonants), noisy and without pitch, and voiced phonemes (consonants and vowels) with precise pitch or ambitus.The temporal organisation of Oria is articulated by means of a sequence of durations, always the same, determining the internal structure of the eight sections. In each section the sequence appears expanded or compressed in time, the relationships of durations remaining identical.  As an organising element, the sequence appears under different forms: temporal blocks, rhythmic phrases, textures (superposed sequences in different speeds) or markers of changes at particular points of the score (redisposition, renewal or transformation of the material). "/>
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Oria

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Specifications
Region
Europe
Estimated Duration
11 - 15min
Date
2003

ISMN : 979-0-2325-0701-9

In Stock
Notes on this piece
Oria, the greek word for "threshold" or "limits", is freely used to indicate the "in-between" of the instrumental and vocal preformance represented by a double score: two parts of equal importance are assigned to each performer. "Between" these two worlds a space of continuity is opening: a continuity in the tension, the tension in the musical text and in the gesture of the performer. The composition is articulated around two categories of  natural sound, instrumental and vocal, both born from the breath, both produced by the gesture, one articulated out of, the other inside the body. A sonic space-body in motion, with multiple circuits, where one can move along, jumping maybe, from one sound category to the other, schematically outlined as: breath -> instrumental sound -> instrumental and vocal sound simultaneously -> vocal sound -> breath. Between these different states of the sound material one can create transitions,  interruptions or sudden apparitions depending on  form demands.Among the multiple vocal sounds, I have chosen for Oria a short part: with  unvoiced phonemes (consonants), noisy and without pitch, and voiced phonemes (consonants and vowels) with precise pitch or ambitus.The temporal organisation of Oria is articulated by means of a sequence of durations, always the same, determining the internal structure of the eight sections. In each section the sequence appears expanded or compressed in time, the relationships of durations remaining identical.  As an organising element, the sequence appears under different forms: temporal blocks, rhythmic phrases, textures (superposed sequences in different speeds) or markers of changes at particular points of the score (redisposition, renewal or transformation of the material).

Recording
Ensemble - L'Itinéraire
Conductor- Mark Foster
IRCAM (world premiere) - 2003
Instrumentation
flute
clarinet
cello
double bass
piano
percussion
Score Details
Format - A4 / US Letter
Pages - 40


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