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SOMNA M BULIST
original work recordings biography statement collaboration |
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chronological list of music compositions and thematic performances Sonic Salutations 2009 harp alone or several harps not necessarily in unison The Cut-ups 2008 #1 Campbell's Soup, harp, vocals and laughter 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 blank 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 documenting an hour of imaginary journey in sound. 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 listener? 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) |