Goyder’s Line at ACMC 2017

Goyders Line 2017

My concert work forMax/MSP and vocoder, Goyder’s Line (2014-17) will be performed at Concert 2 (Saturday 30th September 2017, Elder Hall) as part of this year’s Australasian Computer Music Conference. Information regarding the conference and concert program can be found at the conference website.

I’ve been busy working at refining the MSP patch with a few tweaks and additional parameters. Rehearsals have begun in the studio and it’s sounding promising!

Earlier this year I wrote at length about the development of Goyder’s Line. You can find the post here.

Screen Shot 2017-09-11 at 3.17.33 pm
v. 4-5 of the Goyder’s Line Max/MSP patch
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Notes on Goyder’s Line

I’ve submitted a proposal to perform my work, Goyder’s Line (2014-2017) at this year’s Australasian Computer Music Conference which is taking place in Adelaide this year. I’ve reproduced the text of my proposal/abstract below. Although I’ve regularily commented on the inspiration and development of Goyder’s Line in the past on this blog, I feel as though this text perfectly sums up the essence of the work. With thanks to L for her thoughts and input.

 

The plains that I crossed in those days were not endlessly alike. Sometimes I looked over a great shallow valley with scattered trees and idle cattle and perhaps a meagre stream at its centre. Sometimes, at the end of a tract of utterly uncompromising country, the road rose towards what was unquestionably a hill before I saw ahead only another plain, level and bare and daunting. Gerald Murnane, The Plains (1982)

The plains surrounding the ghost town of Dawson are situated in the lower Flinders Ranges – a vast arena of ochre-coloured earth and sparse vegetation. The presence of distant hills that stretch around the plains appear to reinforce the utter stillness of this place. As if time and motion are suspended or are just inclined to unfold at their own pace. As one spends more time in this place, its unique properties are revealed. A subtle scent carried on a breeze that sends a rustle through dry leaves, the droning buzz of busy insects, the brief relief that lies in the shadows of clouds drifting slowly over the terrain and discrete rumbles that exist just on the audible periphery.

Sometime during 1865, a few kilometres south of where Dawson would be settled twenty-three years later, George Goyder was travelling across the region on horseback. Goyder, who was the South Australian colony’s Surveyor-General had been tasked with the duty of mapping the boundary between areas that received regular rainfall and those that were prone to drought. Based on Goyder’s Line of Rainfall and the subsequent report detailing his findings, farmers were discouraged from planting crops north of the line. In most instances, this advice was not heeded.

At the beginning of the 21st Century as much of Australia was enduring the Millennium Drought (1997-2009), Goyder’s Line became a point of reference for meteorologists, climate scientists and farming communities. During the drought it became evident that the line of rainfall as identified by Goyder in the late 19th Century – whilst being subsequently regarded as a highly accurate tool of analysis and agricultural planning for most of the following century – was requiring reassessment and pointed to a southward trend in light of protracted drought, shifting seasonal rainfall patterns and the impact of anthropogenic climate change.

Goyder’s original line of rainfall and a recent 21st Century revision inform the basis of this electro-acoustic work. The lines – their relative patterns and trajectories- represent the fundamental frequencies of two sawtooth waves, which are routed as inputs to a vocoder and extended effects modules. Although each of the frequencies remain distinct throughout the work, the resulting modulations reveal expansive sonorities and rich harmonic textures. At regular iterations the lines are purposefully suspended in parallel, allowing their harmonic relationship and modulations to unfold and develop.

I regard this work as an ode to the South Australian interior, as defined by Goyder’s original line and its contemporary revision. The interior, at its boundary appears as a vast, seemingly boundless space – rich with the possibility of uncertainty, terror and fascination.

TLR, July 2017

Call for Papers- Harvard

Might be time to start writing again!

Hearing Landscape Critically

Hearing Landscape Critically: Music, Place, and the Spaces of Sound

Harvard University

14-16 January 2015

Project website: https://hlcharvard.wordpress.com

Everything that is resounds … The landscape resounds; facades, caricatures, halos, shadows dance across it. (Alphonso Lingis)

Call for contributions:

Landscapes are spaces of community and segregation, of inspiration, mystification, nourishment, and devastation. Though landscape has long been acknowledged as a foundational element of our historical and contemporary engagement with the world, the significance of sound and music in shaping notions and perceptions of landscape has only recently begun to receive sustained critical attention.

The third meeting of the ‘Hearing Landscape Critically’ research network will take place at Harvard University, 14-16 January 2015. The aim of this three-year project funded by the Leverhulme Trust is to transform our sense of sound in landscape, and to document, investigate, and provoke critical encounters between the social and acoustic agents involved in the formations of…

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