Hunt (3) Chanterelles (2013) For mixed ensemble of 3 or more sustain instruments + field recordings. From disc “Music for Mycologists” by Experimental Music Unit, performed by Tina Pearson (flute, voice), George Tzanetakis (bass clarinet), Paul Walde (bass guitar).
High Prime Sines Fluttering Excerpt from audio tests for the installation “This Is For You ohrenhoch Berlin”, designed for stereo or multiple speakers playing a set of sine tones blended to create shifting beating frequencies – the shimmering effect that occurs when two or more tones of close frequency are sounded together. The tones in this sample are tuned to frequencies near or above the typical upper threshold of human perception . Not typically perceived singularly, these frequencies will produce lower beating frequencies that fall within human audio perception range when combined.
Measure for a Mayfly Using listening exercises, a soundwalk and relational games referencing animal and bird behaviour the composition gives participants a glimpse into a world where humans embody a perpetually acute, alive and nuanced awareness of listening and sounding. This recording is from the last 3 minutes of a performance in a forested area during the 2013 Electric Eclectics Festival in Meaford, Ontario. Performer-participants include Gayle Young, Andrew Timar, Julia White, Miguel Frasconi, Bob Gill and others. Recording by Ido Govrin.
Music For Natural History Music For Natural History (by Tina Pearson and Paul Walde) is a multi-media installation and live sound performance work that literally gives voice to the taxidermied birds and mammals, artificial trees and painted landscapes that form the dioramas of the Natural History Gallery at the Royal BC Museum (RBCM) in Victoria BC. This clip is a condensed 4’15” trailer of a 40 – 60 minute work. All sounds are made by human performers on acoustic instruments and voices.
Between Five and Six a 60-second solo composition for an avatar playing the Hummonica, a custom virtual performance instrument built within the online 3-D platform Second Life. Its pitch set comprises the 2nd through 25th harmonics of 50 Hz and 2nd through 29th harmonics of 60 Hz. (AC currents of Europe and North America respectively) made with sine tones of 8 seconds (lower tones) and 3 seconds (higher tones). The composition plays with the beating phenomena that occurs in the juxtaposition of these two series (a just minor third), as well as textural and melodic possibilities. Composed for 60×60 (Untwelve), May, 2014 at Mobius, Cambridge Mass. USA
Voicing the Widow Jane Mine Composer: Tina Pearson. Vocalists: Viv Corringham, Lisa B Kelly, Tina Pearson. Audio Engineer and recording: Matthew Cullen. Videographer and Assistance: Casey Frensz. Recorded inside the Widow Jane Mine in Rosendale, New York, July 23, 2013 during Tina Pearson’s residency at the Deep Listening Institute with Pauline Oliveros and Ione, Kingston, New York.
Tectonach a progression exploring slow moving harmonic changes, the blur of slow tuning and the exposition of beat frequencies, all within the scent of JS Bach. This version was performed byKristy Farkas (grand piano), Chris Reiche (Yamaha DX7), and Tina Pearson (accordion, voice) in concert November, 2008 in Victoria, BC. Recorded by Mario Milat.
Glacial Shift from Duos – Tina Pearson (flute) and Randy Raine-Reusch (bowed zheng) Raine-Reusch and Pearson meet in a deep time-space listening room, separated geographically, connected by networked technologies, listening to what might be present in a telematic connection. Recorded separately, mixed and edited by Raine-Reusch.
Rotating Brains / Beating Heart A virtual performance collaboration created by
Stelarc, Pauline Oliveros, Tina Pearson, and the Avatar Orchestra Metaverse with scripting by Norman Lowrey, Andreas Müller, Daniel Mounsey and Tim Risher in the networked platform Second Life. Filmed by Steve Millar from a live performance in Second Life and screened at OCAD University Toronto, Canada, November 2010.