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On May 20th the composer R. Luke DuBois and the writer Colby Chamberlain will join me to discuss and screen three episodes (about 45 minutes of video) of an artist commentary I began working on this past fall. It’s a free event open to the public (details above, and here). The clip embedded above is an introduction that explains the project. It is a work-in-progress that will round out to be 14 or so episodes, each focusing on ten or so minutes of the original 1977 Star Wars film (A New Hope). I recently began collaborating with DuBois, who is providing an original score for the commentary. He explains his contribution to the project much better than I could ever hope to:
On May 20th the composer R. Luke DuBois and the writer Colby Chamberlain will join me to discuss and screen three episodes (about 45 minutes of video) of an artist commentary I began working on this past fall. It’s a free event open to the public (details above, and here). The clip embedded above is an introduction that explains the project. It is a work-in-progress that will round out to be 14 or so episodes, each focusing on ten or so minutes of the original 1977 Star Wars film (A New Hope). I recently began collaborating with DuBois, who is providing an original score for the commentary. He explains his contribution to the project much better than I could ever hope to:
The soundtrack is constructed using the harmonies and melodies of John Williams’ orchestral score for Star Wars: A New Hope, mutated with the rhythms and keyboard performance practice of Philip Glass in his minimalist compositions from the 1970s.
The music is algorithmically constructed and takes the conceit of the mash-up into the realm of musical, rather than sonic, information space. In the mash-up, an audio artist takes multiple popular recordings and samples them both, overlaying them to create a third, hybrid track. In the music for this film, I decided to create a mash-up based not on sampling the recordings of John Williams and Philip Glass, but by subjecting their music to computer analysis to deconstruct the essential musical vocabulary of both composers so that I could blend them seamlessly into a new body of music.
The result is an algorithmic, aleatoric work for keyboard that evokes Star Wars without ever sampling it, sounds like Glass without sampling any, and perfectly suits the tone and subject matter of John's commentary.
All Are welcome.
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ReplyDeletewhere can i watch the whole thing ?
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