Weston Olencki & Laura Cocks - Music for Two Flutes (2024)
Artist: Weston Olencki, Laura Cocks
Title: Music for Two Flutes
Year Of Release: 2024
Label: Hideous Replica
Genre: Free Improvisation, Drone, Modern Classical
Quality: FLAC (tracks)
Total Time: 00:50:39
Total Size: 302 MB
WebSite: Album Preview
Tracklist:Title: Music for Two Flutes
Year Of Release: 2024
Label: Hideous Replica
Genre: Free Improvisation, Drone, Modern Classical
Quality: FLAC (tracks)
Total Time: 00:50:39
Total Size: 302 MB
WebSite: Album Preview
01. ceòl meadhonach .(29:37)
02. SLUB .(21:02)
Weston Olencki. flute, composition (01)
. Laura Cocks. flute, composition (02)
01. ceòl meadhonach
From the Kilberry Book of Ceol Meadhonach, published in 1908 by Captain John Campbell and Archibald Campbell:
- "The music of the Highland bagpipe is usually said to be divided into three categories: Ceol Mor, the 'big music' or Piobaireachd; Ceol Beag, the 'little music', that is quicksteps and dance music, and Ceol Meadhonach, the 'middle music' which lies between the other two, and consists of such tunes as are neither constructed in the measure of Piobaireachd, nor adapted for the quick march or dance."
02. SLUB
As an instrument activated via buzzing, the flute's scales and acoustic systems are reconfigured; SLUB is the act of submerging into the instabilities of this reconfiguration, building a world of internal physical disturbance that shifts, envelopes, and becomes quasi-environmental as it moves along the body of the flutes.
From the Kilberry Book of Ceol Meadhonach, published in 1908 by Captain John Campbell and Archibald Campbell:
- "The music of the Highland bagpipe is usually said to be divided into three categories: Ceol Mor, the 'big music' or Piobaireachd; Ceol Beag, the 'little music', that is quicksteps and dance music, and Ceol Meadhonach, the 'middle music' which lies between the other two, and consists of such tunes as are neither constructed in the measure of Piobaireachd, nor adapted for the quick march or dance."
02. SLUB
As an instrument activated via buzzing, the flute's scales and acoustic systems are reconfigured; SLUB is the act of submerging into the instabilities of this reconfiguration, building a world of internal physical disturbance that shifts, envelopes, and becomes quasi-environmental as it moves along the body of the flutes.