Embedded Files
HYDROPHONIA
for waterphone | 7'ca. (2025)pending revision...
PROGRAM NOTE
Hydrophonia is a sonic exploration of resonance and liquidity — a meditation on sound as a shifting, breathing phenomenon rather than as fixed gesture or rhythmic pattern. Built exclusively from waterphone colors, the piece emerges from sustained metallic timbres that seem to float and refract in time, dissolving the boundary between pitch and space.
The work unfolds in an open temporal field where individual events do not occur as discrete beats but as fluid, overlapping voices. Each sound is shaped by subtle irregularities in attack and decay, creating the impression of droplets colliding and merging within a larger body of sound. The composition’s surface is inherently unstable, suggesting motion and stillness simultaneously — much like water in a state of tension between inertia and flow.
Rather than relying on metrical organization or traditional harmonic progression, Hydrophonia relies on gradations of density, texture, and spectral interplay to generate form. Long, resonant sine-like sonorities peel away gradually from clustered masses, allowing listeners to perceive micro-shifts in timbre and spatial depth. Reverberation is not a mere effect here but a structural component that magnifies the sense of immersion and continuity.
The piece is an invitation to engage with sound as a living material: to hear not only the notes themselves, but the spaces between them, and the slow dissolution of each tone into silence.
PROGRAM NOTE
Hydrophonia is a sonic exploration of resonance and liquidity — a meditation on sound as a shifting, breathing phenomenon rather than as fixed gesture or rhythmic pattern. Built exclusively from waterphone colors, the piece emerges from sustained metallic timbres that seem to float and refract in time, dissolving the boundary between pitch and space.
The work unfolds in an open temporal field where individual events do not occur as discrete beats but as fluid, overlapping voices. Each sound is shaped by subtle irregularities in attack and decay, creating the impression of droplets colliding and merging within a larger body of sound. The composition’s surface is inherently unstable, suggesting motion and stillness simultaneously — much like water in a state of tension between inertia and flow.
Rather than relying on metrical organization or traditional harmonic progression, Hydrophonia relies on gradations of density, texture, and spectral interplay to generate form. Long, resonant sine-like sonorities peel away gradually from clustered masses, allowing listeners to perceive micro-shifts in timbre and spatial depth. Reverberation is not a mere effect here but a structural component that magnifies the sense of immersion and continuity.
The piece is an invitation to engage with sound as a living material: to hear not only the notes themselves, but the spaces between them, and the slow dissolution of each tone into silence.
Google Sites
Report abuse