sarah weaver : composer

 
 

Ensemble Projects

Current Projects of Ensemble Works by Sarah Weaver

NowNet Arts
Sarah Weaver is the Director of NowNet Arts Inc., a not-for-profit organization founded in 2017 to produce and present contemporary network arts works, technologies, education programs, and publications. Network arts utilizes the Internet and related technologies as an artistic medium for works created for this platform. NowNet Arts Ensemble is a telematic group with artists in multiple international locations via the internet for a launch event festival 2017-2018 and ongoing programming. NowNet Arts is a continuation of Weaver's 11 years of works in the telematic music medium.

Sarah Weaver Ensemble
Sarah Weaver Ensemble is the primary performing group of Weaver's ensemble works since 2007. Sarah Weaver is a composer of Network Music for solo, chamber, ensemble, and telematic works via the internet. The group performs localized works throughout New York and serves as the New York site ensemble for network and telematic collaborations via the internet. The modular roster features pioneering musicians from jazz, contemporary classical, world, and computer music including Ray Anderson, trombone, Jane Ira Bloom, soprano saxophone, Samir Chatterjee, tabla, Yoon Sun Choi, voice, Robert Dick, flutes, Mark Dresser, bass, Marty Ehrlich, woodwinds, Amir ElSaffar, trumpet/voice/santur, Julie Ferrara, oboe, Gerry Hemingway, drumset, Oliver Lake, alto saxophone, Denman Maroney, piano, Miya Masaoka, koto, Sam Pluta, electronics, Ned Rothenberg, bass clarinet/shakuhachi, Ursel Schlicht, piano, Sara Schoenbeck, bassoon, Jen Shyu, voice, Satoshi Takeishi, percussion, Dave Taylor, bass trombone, Doug Van Nort, electronics, Min Xiao-Fen, pipa, Sarah Weaver, conductor. 

Universal Synchrony Music

Universal Synchrony Music (USM) is a cosmic multi-year telematic music project in collaboration with the NASA Kepler Mission and NASA ArtSpace exploring musical, technological, and metaphorical realizations of synchrony. Sonification of data from the Kepler Mission on stars and planets 1000-3000 light years away is utilized for presence and interaction for synchrony. Synchrony is defined as perception of alignment of distributed time and space components. This electroacoustic telematic ensemble is comprised of renowned experimental musicians utilizing their individual innovative musical languages in manifestation of the piece.

USM Volume 1 premiered in April 2013 as part of the “Virtual Tour: A Reduced-Carbon Footprint Concert Series” coordinated by Mark Dresser and Michael Dessen. Sonifications of data streams on variable stars from the NASA Kepler Mission were shaped as an ongoing “cosmic stream” component of the piece, together with musical concepts including interaction and harmonization with cosmic sounds, creating perception of synchrony across local and extreme distances, exploring the nature of closeness and distance beyond physical characteristics, the nature of sound in a vacuum, and cultural and human levels of synchrony.
<http://virtualtour2013.com/> <http://www.nasa.gov/connect/artspace/creative_works/feature-sarah-weaver.html>

USM Volume 2 April 2014 continued this work and focuses on the metaphor of the NASA Kepler Mission’s search for habitable planets as a search for synchrony. Over 700 planets had been identified in the habitable zone so far through this mission. USM Volume 2 sonifies these habitable planets and the stars they orbit, utilizing data such as light curves, phase curves, surface gravity, magnitude, radius, temperature, celestial coordinates, period, transit depth, transit duration, solar planet ratio, distance from Earth, and orbital alignments with Earth. This sonification gives presence to these planets and stars as a “third location” in the telematic concert and explores their attributes for synchrony. USM Volume 2 was developed in close consultation with the performers, data analysts, and technologists. The musical concepts include resonance, timbral synthesis, integration, nodal intersections, pulsation, contour, harmonics, inner universe and outer universe relations, and alignment as synchrony.
http://scgp.stonybrook.edu/archives/11021

USM Volume 3 January 2015 emphasizes interdependence of habitability. The surround sound enables the expansive experience of spatialized data sonification such as orbiting, constellations, and being inside of a habitable planetary system. Visualization of the data is utilized interactively with the sonifications for added presence and processing of the objects. The piece begins with alignments of the orbits of hundreds of habitable planets in multiplanetary systems with Earth. This continues into more orbital alignments spatialized in rotation around the Kepler field. The second section sonifies and visualizes constellations of the stars of multiplanetary systems with habitable planets in the Kepler field. The third section expresses the metaphor of inner habitability of the self.
http://web.stanford.edu/group/sso/cgi-bin/wordpress/concerts/2014-2015-season/
http://arts.stanford.edu/event/stanford-symphony-orchestra-3/

USM Volume 4 February 2016 focuses on sonification and intuitive music related to orbital and constellation alignment of multiplanetary habitable systems in the Kepler area, the circumbinary multi-planet system Kepler-47 with habitable zone, and inner habitability. Palette 1 involves sonification and musical abstractions of orbital alignments with Earth of Kepler area planets in multiplanetary habitable systems, and constellations of the stars of these systems. Palette 2 is a structured improvisation based on inner habitability that utilizes reflections, mirroring, and synchronies of Palette 1 material extensions and abstractions. Palette 3 is inspired by sonification of Kepler-47. As a circumbinary multi-planet system, Kepler-47 contains two stars instead of the more typical single star, and has three planets. Within the Kepler Mission discoveries, a suprisingly high percentage of binary and multiple star systems contain habitable zones. Palette 4 begins with a more literal sonification of Kepler-47, including periodicity of insolation (solar radiation received at the surface of each planet). The subsequent material of Palette 4 is based on habitable zone emergence from binaries. Palette 5 is a structured improvisation on inner habitable zones, individually and collectively, with extensions and abstractions of materials from Palettes 3 and 4. The resultant synchrony of the piece is realized through synthesis of presence with these deep space systems, representations and intuitive transmissions of inherent synchronies, and the metaphorical realizations.

Artists: Sarah Weaver, conductor, Doug Van Nort, computer, electronics, sonifications.
Jane Ira Bloom, soprano saxophone, David Morales Boroff, violin, Min Xiao-Fen, pipa, Ned Rothenberg, alto saxophone, bass clarinet, David Taylor, bass trombone, Denman Maroney, piano, Mark Helias, bass, Gerry Hemingway, drumset, Sam Pluta, computer, electronics, Ray Anderson, trombone, Miya Masaoka, koto, Matt Wilson, drumset, Nicole Mitchell, flutes, Michael Desson, trombone, Myra Melford, piano, Mark Dresser, bass, York University Electroacoustic Orchestra directed by Doug Van Nort, CCRMA Ensemble directed by Chris Chafe.

Kepler/K2 Mission Data Collaborators: Jon Jenkins - Analysis Lead for the NASA Kepler Mission, Senior Research Scientist, SETI Institute, NASA Ames Research Center. Professors William Welsh, Jerome Orosz, and Donald Short, Astronomy Department, San Diego State University. Madeline Huberth, CCRMA, Stanford University. Daniel C. Fabrycky, Assistant Professor, Department of Astronomy and Astrophysics, University of Chicago. 


 


Transform
"Multidimensional Tuning"
A piece on tunings of musical elements and intuition, utilizing microtonality and spectral components. The music is structured towards nodes within multiplicities of individualized and international music tuning systems present in contemporary music.

Premiered 10/8/15 at Roulette, New York. Ensemble: Jen Shyu, voice, Robert Dick, flute, Julie Ferrara, oboe, Rebekah Heller, bassoon, Jane Ira Bloom, soprano saxophone, Oliver Lake, alto saxophone, Ned Rothenberg, bass clarinet, shakuhachi, James Zollar, trumpet, Ray Anderson, trombone, Dave Taylor, bass trombone, George Ziadeh, oud, voice, Miya Masaoka, koto, Ursel Schlicht, piano, Gerry Hemingway, drumset, Mark Dresser, bass, composer, Sarah Weaver, conductor
Performed 2/19/16 at Symphony Space, New York. Ensemble:  Jane Ira Bloom, soprano saxophone, David Morales Boroff, violin, Min Xiao-Fen, pipa, Ned Rothenberg, alto saxophone, bass clarinet, David Taylor, bass trombone, Denman Maroney, piano, Mark Helias, bass, Gerry Hemingway, drumset, Sam Pluta, computer, Sarah Weaver, conductor

"Resonance Synthesis"
Resonance Synthesis is conceived as form of network music, with intersection as resonance and synthesis. The music system includes notation, gesture, improvisation, and the individual languages of the renowned performers on their instruments. Resonance of time is explored in addition to pitch and timbre, utilizing layers of spectrums and progressions that merge into nodes throughout the piece. The music is influenced by jazz, experimental, and world music.  

Premiered 9/22/16 on the Interpretations Series at Roulette, New York. Ensemble: Jane Ira Bloom, soprano saxophone, Min Xiao-Fen, pipa and sanxian, Ellery Eskelin, tenor saxophone, David Taylor, bass trombone, Samir Chatterjee, tabla, Satoshi Takeishi, percussion, Denman Maroney, hyperpiano, Mark Dresser, bass, Sarah Weaver, conductor