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chronological list of Somna M. Bulist's composed works and thematic performances "Remembering to Remember" 2009 ongoing Transcriptions of events from the dream time. Title quote from Deep Listening, A Composer's Sound Practice. by Pauline Oiveros, 2005. Perfume Offering 2011 I Lay My Heart Open to the Benign Indifference of the Universe 2010 bowed harp Acorns Are Banging Gongs 2010 harp alone - three movements I Acorns Are Banging Gongs AIMA AMA 2006-2010 ongoing harp alone Karmasulama 2010-ongoing harp alone Sonic Salutations 2009 harp alone or several harps not necessarily in unison sheet music available at www.XarpeArtistEditions.com 1 5 9 FIRE 2009 meditation in open instrumentation Cut-ups 2008 - form related to the intent initiated by Brion Gysin and William Burroughs #1 Campbell's Soup - harp & vocals I Thank the Sea for the Gifts She Gives Me 2008 open instrumentation - a mantra of gratitude transcribed to musical notation first performance: June 12, 2010 - The Gershwin Hotel NYC One is my foremost island of Oahu.. 2007 harp and spoken word - text from an ancient Hawaiian prayer of gratitude first performance: FireTribe Hawaii, Spring Equinox Fire Circle, Oahu, Hawaii. Invocation to Nonesuch of Nothingness 2006 harp and spoken word first performance(spoken word): Fall Equinox Ritual presentation by Kyklos Ton Asterion, NYC. Esoteric Chord 2005 harp alone or several harps in unison and live electronics sound documents . 2005 recording sessions in nine events on various harps usually documented within the hour. FolkArt Songs and Spirituals 2005 for harp and voice rooted in American literary folklore, ancient Egyptian mythology and personal pathos. Galadriel first performance: The Harp Consortium, with fellow harpist/composer/performers: Shelley Burgon and Mia Theadoratus. The Gershwin Hotel NYC Fragrance of the Blue Lotus :: music with shadow 2004 harp and electronic processing where the processed sounds shadow the harp, preceded by vocal invocations to aspects of hiddenness, infinity, darkness and the primordial waters of NUN. duration: 20-40 mins. first performance: The Shadow:to conceal and reveal, Port of Call Gallery, Warwick, NY. "singed" garment created by Rhonda Parker Pegg Pedal Forms-New Episodes 2002 Brillo for accordion and harp first performance: FLUX 6, Pittsburgh, PA, with Elise Onlife aka Mary Grandelis, accordion. Breath 2001 electronic installation of vocal recordings generated by the scrub wheel on a digital recording unit where the original vocal duration of 2 minutes is expanded to 84 minutes (approximately) _ setting up a perceptual relocation of awareness. What do our voices sound like to the infinitesimal? Breath online presentation: The Virtual Mine Project at Gegenort Mine, Germany, 2001. View concepts of participants::PARTICIPANT ID::mbsomna::NAME::somna m. bulist::PROJECT::Breath::ZONE1::COUNTRY::USA::REIGISTRATION DATE::2001-05-12 00:11::EMAIL::somna@somna.net Breath is documented on a 4 disc CD set Valentine Stigmata , with Thom Parrott, co-composer. 2001 Operatic vocals, harp and guitar effect pedals, organ, electronic accompaniment in a musical ritual of ceremonial chant. duration:40 minutes The (Qabalistic) Cross 44 minutes on the flatline_A Cry for the Millenium 1999 harp and electronic processing duration: 44 minutes based on documented accounts of the banshee's cry - compiled by Patricia Lysaght in her book, The Irish Death Messenger Akasha (1998 SMB) first performance: 1999 New York International Fringe Festival. The Faerye Invocations 1998 harp alone. duration: 30+ minutes Invocations to: first performance: Representations: Asian and Asian-American Women Artists at Brew House SPACE 101, Pittsburgh, PA and 1998 Philadelphia Fringe Festival and The Faerie Tale Ball, Endless Night Productions, Mother, NYC. CD release_Invocations Faerye, EP featuring, the Unseen, the Golden and the Mysterious Suite of Modes 1995 harp alone. duration: 20 minutes Mixolydian in G (sorrow) |