New track on Bandcamp here
A new album (on cassette/download) to be released on the Linear Obsessional label this summer.
Cove is a series of four pieces created during a residency at Cove Park in February 2019 as part of an ongoing project with Articulate Cultural Trust.
Sonification of landscape, field recordings and live improvisation with the elements.
Cover artwork from time-lapse movie looking out from the converted shipping container where I was living.
Sneak preview:Calm pond bubbling stream excerpt
Linear Obsessional: Linear Obsessional
Cove Park: http://covepark.org
Free download and booklet.
Part of a series of pieces exploring field recordings with generated materials and other incidental sounds.
Pholadidae, known as piddocks or angelwings, are a family of bivalve molluscs similar to a clam.Pidocks are unique in that each side of their shells is divided into 2 or 3 separate sections. Furthermore, one of the piddock’s shells has a set of ridges or “teeth”, which they use to grind away at clay or soft rock and create tubular burrows. The shape of these burrows is due to the rotating motion of the piddock as it grinds the rock to make its home. The piddock stays in the burrow it digs for the entirety of its eight-year lifespan, with only its siphon exposed to take in water that it filters for food. When the piddock dies and leaves an empty tubular burrow, other marine life such as sea anemone, crabs and other molluscs may use the burrow.
An experiment in seeing whether the dronespace pieces i’ve been making have a wider audience.
You can download tracks from my new Bandcamp site here
Some new dronespace pieces heading towards a download album
Following the premiere screenings at the Drone Cinema Festival in Leiden and Seattle my audiovisual drone composition Mode 5 Down the Mountain is now online.
More information about the festival is here http://vrijplaatsleiden.nl/agenda/drone-cinema-film-festival-2016-curated-by-kim-cascone/
Mode 5 Down the Mountain: In 2014 I was working at the Verbier Festival in Switzerland leading composition projects with young musicians. On my day off the weather was against me and I found myself at the top of the hill in rain with fog closing in all around. Somewhat dismayed I boarded the Telecabine at Savoleyres to go back to the village dangled the microphone of my recorder out of the window and recorded the journey. All the material comes from this recording with the addition of synthesised drones and images generated from the spectral content of the sound.
On April 9th in Leiden and Seattle
Mode 5: down the mountain
will be premiered (following the premiere it will be online)
More information here
I recently had to have a 24hour blood pressure monitor, (everything is fine).
I ended up with 24 hours of data consisting of Systolic and Diastolic pressure as well as heart rate. The machine took these readings every 20 minutes for 24 hours (with a longer interval at night time).
This is a mapping of this into audio for 2.5 cycles of the data
Systolic and Diastolic pressures are mapped directly onto pitch and the heart rate is mapped onto tempo (using audiomulch). After one cycle of 24 hours there are harmonics added into the sound so that the sound becomes more complex.
The graph is of these two figures starting at 9:30 am
Its quite a long piece (32 minutes)
……..Of Wind and Breath was a concert of new music in the 2013 Notting Hill May Festival
Two pieces from the concert
Speaking Breath ……..
Mike McInerney : Shakuhachi
Duncan Chapman : Electronics
Speaking breath is the 4th in a cycle of pieces that explores the sound of the Shakuhachi in a variety of environments. The previous pieces have included a performance in a 360º cinema (Rising Breath) an old power station in Budapest with live interactive video (Empty Breath) and a piece in a church in Leeds with a bass organ pipe and live electronic manipulation of the sound (Turning Breath). In Speaking Breath the Shakuhachi sound is integrated with a collection of organ sounds focusing particularly on the moment when the pipes “speak” and elongating this to reveal previously unheard detail.
Sounds from an unfinished organ : Laptop ensemble
All the sounds are created from samples of the organ in the church which was in a state of reconstruction after a major restoration project. The ensemble was made up of a group associated with the church and other musicians in the concert who surrounded the audience.
Thanks to Caryl Mann from the Organ Restoration project at St Johns
SoundSpiral is a uniquely interactive audio playback environment, holding forty-eight speakers within a specially-designed inflatable venue.
The first work to be shown in the space will be Babel Spring, by Amie Slavin and Duncan Chapman.
The whole project is the brainchild of Amie Slavin who has made an extraordinary piece using multiple languages for it’s first incarnation. The music I have made takes fragments of these languages and using specially designed granular processing creates pitch based music out of them.
There’s much more about the whole thing here
My piece started off as 48 Midi files …….. here they are played by a Marimba sound
and here (slightly rearranged) played by the granulated voices
Growing in the dark
As part of this years Huddersfield Contemporary Music Festival
a late night performance of Rhubarb Sounds
Thursday 24 November
Creative Arts Building Atrium, 10PM
more information here http://www.hcmf.co.uk/event/show/246
photo © Alex Beldea
Isabel and I scan the floor at Bretton Hall for interesting creaking sounds …………
Over the last 15 years Isabel Jones and Duncan Chapman have been collaborating with each other ,they have co-composed numerous films, recordings, installations and performances including their album ‘Corrosion’, the music for Salamanda Tandems performances and their eight year personal documentary project ‘8 Dark Januaries’
Since 1994 they have met every January to start the year with some sonic research that involves the creation of an original piece of music. This process has been partly one of self documentation as well as a way of reviewing the last 12 months in sound.
The works produced have therefore become a kind of snapshot of our individual and collective work and travels from the preceding year. By “documentising” ourselves we have sought to create an oasis of reflective practice that both looks back and forwards. On many occasions we have discovered connections in our sound palettes and worked these into the pieces.
Sonic materials have included field recordings from all over the world as well as voice, live acoustic instruments and electroacoustic processing.
12 Years ago Isabel Jones and I made a recording of her playing a one string Rabab complete with creaking tuning pegs and me playing the horn through a harmoniser. Some of this became another piece but yesterday Isabel emailed me a version of the original recording for us to think about making something out of in the future. My breath control isn’t this good any more BUT it the horn is now out of the case and we are contemplating a whole new world of long notes and mysterious textures
Three short pieces made as the start of a project with Wolverhampton Art Gallery and Museum in response to their exhibition of work by Ed Ruscha. All played live using a mixture of field recordings. This will form part of a performance installation at the gallery in October.
Made and played by
Elisha Millard aka Electric Farmer
More information on the exhibition here
Walking round the church at Conques, camera on my head pointing upwards, soundtrack from fragment of rehearsal that was taking place at the time stretched to last the length of the walk……..
1: Get up at 5am
2: Place camera on grass pointing upwards
3: Set camera to take one image every 30 seconds
4: Go back to sleep
6: When the day is done and its dark remove camera
7: Stitch images together
8: Add a random soundtrack
9: Watch and listen
A project at Spitalfields City farm for the 2011 Spitalfields Festival
June 18th @ Spitalfields City Farm (http://www.spitalfieldscityfarm.org/)
Hidden about the farm will be a series of pieces of music, composed by the Young Farmers group (and others) and built into specially made MP3 devices (electronics by the ever wonderful and multi-talented Yann Seznec of Looper and MapMixer fame)………. here are the pieces
The Sea in a Tree
World of Goats
Stuck in a bin ?
more information here http://www.spitalfieldsfestival.org.uk/index.php?pfid=17&cid=0&eid=288
On Monday 30th May Isabel Jones and myself will be performing a 4 hour installation performance. This forms part of the ROH Sounding Out For Families week of creative activities (more information on the Opera House Website (http://www.roh.org.uk/)
This short track was made today (Thursday 26th) as part of our preparations for Mondays event. It features field recordings we have recorded on our travels around the world , water sounds from Ireland, France, Australia, Switzerland, Japan, Derbyshire as well as live voice , synthesised layers and a very stretched version of a well know piece of Tchaikovsky Ballet music (a prize for spotting what it is).
From the River to the Sea (Duncan Chapman / Isabel Jones 26/5/2011)
The Rhubarb Rhubarb Rhubarb website is now online @ http://www.rhubarbrhubarbrhubarb.co.uk/
with recordings, recipes, film and photographs of the project
also coming in the Huddersfield Festival (21st November) a solo performance with Rhubarb sounds in the dark !
A project for the Huddersfield Contemporary Music Festival 2011
The Rhubarb Sheds of Yorkshire (its picked by candlelight to avoid the leaves turning green)
(from the HCMF website http://www.hcmf.co.uk/Playing-the-rhubarb-triangle)
West Yorkshire’s proud history of rhubarb-growing is providing inspiration for a new Learning and Participation project created by Huddersfield Contemporary Music Festival. Rhubarb, rhubarb, rhubarb involves sound artist, musician and educator Duncan Chapman working with pupils from Overthorpe Junior, Infant and Nursery School in Thornhill, Dewsbury to create an interactive online installation using audio and visuals from the farming of local rhubarb.
Yorkshire’s famous ‘Rhubarb Triangle’ is an area between Wakefield, Morley and Rothwell known for producing forced rhubarb. This technique for growing rhubarb, which is originally native to Siberia, became popular in the 19th century. The plants are grown outside for two years then transferred indoors to sheds that are heated and kept in complete darkness, prompting the sprouting of new stems with a prized tenderness and sweet flavour. In 2010 Yorkshire Forced Rhubarb was awarded European Protected Designation of Origin status, putting it in the same category as champagne, gorgonzola and Swaledale cheese.
Here are a few sound samples of the project so far
a mix of lots of popping sounds that it makes as it grows (with some pitch manipulation)
Here’s a short film of it growing in the sheds (the camera is still there taking one photo every 4 hours so there will be more to come soon !)
A version of the piece “The measure of all things is the breath” , this version has a sequence of images of lights found in lifts on the docklands light railway. The sound is all generated using a Sibelius version of the score (Score is in the SOUNDS section of this website) which has then been performed using a series of live Ableton patches.
Staying in a hotel in Birmingham this week doing a project with the BCMG, there was a huge plasma screen TV in the room , but all the channels were different types of video interference.
So here’s a short film of this with a soundtrack made by improvising with an Audiomulch patch (the same one that I used on the current sound of the week)
There are 20 years of notebooks on my shelf
so i am gradually going through them and scanning interesting looking score fragments and graphics
maybe this will become a more formed piece ?
The soundtrack is a mixture of field recordings, generated things and solo improvisations
more to follow
having just written a blog entry following on from a visit to Steim in Amsterdam last month (you can read it here http://steim.org/projectblog/?p=2549 ) i remembered the list of short articles i was going to write for this website……… so here are the titles (to be added to and written about as time permits)
- indoctrinated imagination
- intrinsic forms
- owning and meaning
- 500 types of cheese (on diversity)
- provenance and meaning
- a repertoire of processes
- false histories of music
- Microphony and Mikrophonie
- the myth of spontaneity in popular music
- what are the fundamental elements ?
- against “workshops” (with Alexi)
- what’s music for ? multiplicity of function , functional models (and their limits)
- “music technology” and the invention of the piano
- abusing tools
- the problem of R&B in participatory work (homogenisation and choice limitation)
- the tyranny of choice
- the essence of collaboration
- Gertie and Gus (how to teach people to fish)
- Imagining music (without sound or object)
- Curiosity as the primary motivation
- participation at all costs ?
- Content, context and accessibility
- the types of musical experience (a recording is not a performance , this is not a pipe !)
- glitch and “error” as sound objects
- Sound over pitch
- the difference between a note, pitch,frequency and the dangers of confusing these
- the conspiracy theory of contemporary music
- the familiar vs the strange
- unique opportunities , recognising them and building things from them.
– Free, downloadable sonic guides
It’s time to throw out the guide book and open your ears as we invite you to take a guided tour of the East End, through the experiences and imaginations of local people with compelling stories to share.
Working with artists Marcia Farquhar and Duncan Chapman, five very different local residents have created sonic guides, providing unique perspectives into the area, revealing the connections and locations that matter to them. Simply explore each individual’s piece online, print out the map and download the mp3s, then come to the area and listen through your headphones to the sounds of the East End, as heard by the people who live here.
Download the PDF maps and audio here
Time Dance was a collaboration in 1997 between choreographer Catherine Seymour, artist Tatsuo Miyajima with Duncan Chapman (Composer) and what was described as “an extraordinary cast”.
The performance took place on the roof of the Royal Festival Hall with a sound installation (recording below) and projections onto the sides of the building. This co-incided with an exhibition of Miyajimas work at the Hayward Gallery.
Here is a recording of the sound installation that was installed in the roof garden on top of the Festival Hall, the Latin Names are the names of the fossils that are in the marble that clads the building and are spoken by Sarah Goldfarb other sounds include signal horns, sounds made from Oyster Shells and environmental recordings.
Some of the installation sound
A series of projects for the City Learning Centre in Lambeth, based at the BFI. These projects include a sound installation for the Young Vic special schools theatre festival, a series of sound art projects in primary schools exploring notions of time, place and sound and a sound installation for the new CLC Building in Clapham. Sounding It Out Primary Schools project some of the initial ideas
Starting points: (conceptual)
Acoustic Ecology: Acoustic ecology (sometimes called soundscape ecology), is the relationship, mediated through sound, between living beings and their environment.
Audio-geography: The mapping of sounds onto locations
Anamnesis: an effect of reminiscence in which a past situation or atmosphere is brought back to the listeners consciousness, provoked by a particular signal or sonic context.
In the project we will be making work that explores the soundscape of where we are in Lambeth. We will think about how that has changed over time and project some sounds forward in time into the future. The final piece we will be making will form the basis of an interactive installation that will be placed in the new CLC building in Clapham.
Some questions that we can address during the process.
What are the unique sounds of your school / locality ?
What were they in the past ?
What do imagine they will be in 100 years time ?
What sounds would you like to preserve for the future and how can we preserve them in a way that the people in the future will be able to hear them ?
Can we picture sounds in ways that other people will be able to “see” how they sound ?
Some of the work , all of these are in the form of Past/Present/Future sequences and this material will be used in the final installed piece in the new building.
Here are some of the pieces
A series of headphone pieces created with members of CoolTan Arts (http://www.cooltanarts.org.uk/wp-content/uploads/2009/05/E-bulletin-August-20091.pdf) and Young Minds (http://www.youngminds.org.uk/videos-and-podcasts/podcasts/hayward-audio-bites/?searchterm=Hayward) made in response to the exhibition “Walking in My Mind” at the Hayward Gallery summer 2009.
The pieces played on headphones in the pavilion overlooking the river.
Here are a few excerpts
Young Minds Pieces
you are not children
please don’t touch the white dots !
a blind man on the beach
I’m making a series of pieces for this festival at Kings Place , London. My event is on Saturday October 3rd @ 4.30 and features a number of new works made in collaboration with a group of young people and three musicians from the ensemble. We will also be playing a piece which is entirely generated by imgage to sound software (using this http://hem.passagen.se/rasmuse/Coagula.htm) on 8 computers linked to 8 loudspeakers. I’m also writing an acoustic version for Bassoon (Adam Mackenzie), Trumpet (Bruce Nockles) and Viola (Bridget Carey) so that the same sequence of sound events happen in both pieces.
Here’s the score
more information on the festival can be found here
Here is a photo of the rehersal
the piece was called
o1: compose <play>
NewSound was a project at Kings Place in London as part of the London Sinfonietta “ART OF NEWS” weekend.
I worked with Zoe Martlew and Bruce Nockles from the Sinfonietta, a group from the Copenhagen Youth project and Poet Kenny Baraka to create a sound installation that was presented on Talking Paper. This was made for the project by the extraordinary Patrick Furness and David Cranmer. 100 sheets were scattered about the foyer spaces which could be played by pressing the PLAY button.
Some examples of the pieces
Tales of a rebellion
Talking paper made by Patrick and David for the project
Here’s a film of the space
Sinfonietta Project Website
A sound installation for Forbury Gardens in Reading.
I was one of 7 artists commissioned to make soundworks for the Gardens. For a year audiences could pick up a portable mp3 player and listen to specially created works for particular locations in the Victorian Gardens.
Here is some information about my pieces from the catalogue
The sounds of bells and gongs signal significant events in our lives. Beginnings and endings, birth, death, and marriage are all marked by these sounds. Bells are a universal signifier of stopping, pausing and change. In the past, the days in the Abbey were structured around the sound of bells. A bell signalled the time for monks to rise at 2am to sing the Office of the Lauds, and other bells signalled the time for work, silent contemplation and meals. In the prison the bell marks the division of the day into work, mealtimes and sleeping.
A series of seven short works respond to the juxtaposition of the prison with the Abbey ruins. The sounds of bells and gongs correspond to different parts of the day, inviting the listener to pause, listen, contemplate, and move on, changed in some way. Combined with recordings of daily activities, and the crackling of candles at St James’s Church, the sounds of bells ultimately disappear into silence. Thanks to: Professor Brian Kemp and Tony Stokes