Stephen Preston is developing ecosonics to explore biological aspects of primitive music making as sonic communication. Ecosonic improvisations involve relationships between sound, movement and emotion. The performers draw on the intense expressivity that lies at the heart of emotional vocal utterance. Improvisations are shaped affectively as conversations in sonic gestures between players. The immediacy of the body defines player-instrument relationship and methods of sound production, while minimizing cognitive mediation of culturally acquired musical imperatives. Ancillary material: a downloadable pdf of notes on each sound file is available
How does one improvise? How can one learn the art of improvisation? By considering these two questio...
Musicians who improvise engage with the space and each other through listening. Listening is a compl...
The human auditory system can become an active agent in the production of sound when stimulated with...
Subsequent to a period of training as a flautist, I ultimately specialised professionally on the bar...
The baroque, one-keyed flute has, within the last half century, been rediscovered for performance, p...
This practice-led project investigates the development of improvisational skills for an advanced imp...
Musical improvisation, spontaneous and creative play with musical materials, offers opportunities to...
Rehearsal by the Ecosonic Ensemble at London College of Communication exploring the Ouija Board. The...
instruments with recordings (2012) comprises a series of environmental recordings paired with sustai...
In The Chatter Quartet, for string quartet and laptop, I attempted to extract musical aspects of pre...
The Ouija Board - a new form of group musical instrument. Based on the real-time video analysis of t...
Our paper will describe the creative process of Zaum: Beyond Mind an interactive sound theater perfo...
This paper develops the idea of ‘instrumentality’ to explore how the use of diverse tools or instrum...
During improvisation, musicians express themselves through live music. This project looks at the rel...
British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Wit...
How does one improvise? How can one learn the art of improvisation? By considering these two questio...
Musicians who improvise engage with the space and each other through listening. Listening is a compl...
The human auditory system can become an active agent in the production of sound when stimulated with...
Subsequent to a period of training as a flautist, I ultimately specialised professionally on the bar...
The baroque, one-keyed flute has, within the last half century, been rediscovered for performance, p...
This practice-led project investigates the development of improvisational skills for an advanced imp...
Musical improvisation, spontaneous and creative play with musical materials, offers opportunities to...
Rehearsal by the Ecosonic Ensemble at London College of Communication exploring the Ouija Board. The...
instruments with recordings (2012) comprises a series of environmental recordings paired with sustai...
In The Chatter Quartet, for string quartet and laptop, I attempted to extract musical aspects of pre...
The Ouija Board - a new form of group musical instrument. Based on the real-time video analysis of t...
Our paper will describe the creative process of Zaum: Beyond Mind an interactive sound theater perfo...
This paper develops the idea of ‘instrumentality’ to explore how the use of diverse tools or instrum...
During improvisation, musicians express themselves through live music. This project looks at the rel...
British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Wit...
How does one improvise? How can one learn the art of improvisation? By considering these two questio...
Musicians who improvise engage with the space and each other through listening. Listening is a compl...
The human auditory system can become an active agent in the production of sound when stimulated with...