So I woke up to this email yesterday morning:
Dear Kyle Vanderburg,
The Program Committee worked very hard to thoroughly review all the submitted pieces, and we want to apologize for the late announcement.
On behalf of the ICMC 2012 Music Program Committee, we are delighted to inform you that your submission:
Creatures from the Black Bassoon
has been accepted to appear as part of this year Music Program.
IMPORTANT DATES :
-Please make sure to register and finish the payment by June 10th, at:
http://www.icmc2012.si/submitRegister.html
-For the works with multiple authors, at least one author of your work must be registered for the conference by the early registration deadline of June 10th. Please include all the authors bio in case these was not include in the application.
-If your work involve acoustic instrument(s), and you had request local performer(s), you most send all the scores and parts by June 1st, through e-mail. to steven.loy@icmc2012.si
-All the Piece+Paper must be registered for the conference by the early registration deadline of June 10th, for the paper to be included in the proceedings. A paper without early registration will not be published.
Congratulations on your fine work. If you have any additional questions, please let us know.
Looking forward to see you in Ljubljana!
Best wishes,
Mauricio Valdés, Steven Loy, Gregor Pompe ICMC 2012 Music Chairs
———————– REVIEW 1 ———————
PAPER: 68
TITLE: Creatures from the Black Bassoon
AUTHORS: Kyle Vanderburg
OVERALL RATING: 2 (accept)
REVIEWER'S CONFIDENCE: 4 (expert)
Artistic Merit: 5 (high)
Technical Quality: 5 (high)
Feasibility of Performance: 5 (high)
There is a great balance between instrumental sounds, processed sounds and natural-like sounds, all within a frame of great structural coherence. Very nice work, I strongly recommend this piece.
———————– REVIEW 2 ———————
PAPER: 68
TITLE: Creatures from the Black Bassoon
AUTHORS: Kyle Vanderburg
OVERALL RATING: 2 (accept)
REVIEWER'S CONFIDENCE: 3 (high)
Artistic Merit: 3 (medium)
Technical Quality: 3 (medium)
Feasibility of Performance: 5 (high)
The most obvious aspect of this piece is that the material's source is very localized: bassoon's sounds, processed and unprocessed. The space between very naturalist sounds and electronic transformations is very large and involves an interesting risk: presenting easily recognizable sounds that will share a context with dramatically transformed sounds.
In this piece, the most naturalist sounds are often presented relatively detached, from an spatial point of view: they are in many occasions almost not reverberated, keeping, naturally, a high presence and thus proximity feeling for the listener. Sometimes (I think for example on 07'15″) sounds (coming certainly from sounds made by the read alone) presents spatial trajectories accompanied by a very remarkable reverberation, too obvious in my opinion.
Those are examples showing that the problem of integrating natural sounds (that naturally carry their space's information, specially with sounds produced by a “double read” as the bassoon, should it be a similar issue with an oboe I can add) with dramatically transformed sounds is a complex question. The piece do not reach a global, coherent and homogeneous solution, and has some problems of balance concerning the global formal profile, but has the undeniable merit to show the problem, to approach it carrying by the way interesting materials.
———————– REVIEW 3 ———————
PAPER: 68
TITLE: Creatures from the Black Bassoon
AUTHORS: Kyle Vanderburg
OVERALL RATING: 3 (strong accept)
REVIEWER'S CONFIDENCE: 4 (expert)
Artistic Merit: 4 (medium high)
Technical Quality: 4 (medium high)
Feasibility of Performance: 4 (medium high)
The composer shows as that he knows different techniques and resources of acousmatic composition. The artistic result is very interesting and suggestive.
————————- METAREVIEW ————————
PAPER: 68
TITLE: Creatures from the Black Bassoon
Please read the reviewers notes.
So apparently I'm going to Slovenia in September. Surprise!
