COMPUTER & E-MUSIC

sanglikeabelllikeafrog (1990)

Premiered Columbia University Computer Music Composers, Merce Cunningham Studio, May, 1990; Bard College, June 1990; University of Illinois/Champagne-Urbana Computer Music Concert, July 1991; Computer Music Conference, Athens, Greece, Summer 1991.

Bang on a Can Marathon, Alice Tully Hall, June 1996 with live rock scream and drums introduction.


UNIX CMIX (pvoc, mix, Doug Scott's ambience processing
, "organ"izing and trans of vocal fragments and more) sonic fantasy using sounds derived from a minute-long sample of a rock scream and drums.

5 min.

goneclamming (1989, 1993)

Premiered Columbia University Computer Music Composers, Merce Cunningham Studio, October, 1989.

Revised for voice and tape in 1993 and performed at Akademie der Künste, East Berlin, as part of USArts: American Art in the 20th Century, June 1993.


UNIX CMIX generated "pluck" set in Doug Scott's ambience programming and filtered ocean sounds with shakuhachi, percussion and voice.

9 min

asirememberedhymn (1987)

Analog tape piece based on Bach chorale created at Columbia-Princeton Electronic Music Center. Premiered Roulette, 1994.


3 min.
COMPUTER MUSIC AS COMPONENT

ecclesiastes: a modern oratorio (2008)

  1. preamble [eccles. 1:3-11, 15]
  2. beginning & ending
  3. motet [eccles. 3:1-8, 15]
  4. bells
  5. time to go, time to remain
  6. that which
  7. heaven
  8. every purpose
  9. under, to
  10. bells & words
  11. ending & beginning
  12. ending

This piece began as the accompaniment commissioned by choreographer Gina Gibney for her piece Time Remaining. We premiered Time Remaining in 2002, and continued to perform with the dance company until 2004. By this time the septet had developed a strong interactive sensitivity to the music and its purpose. So we gigged and recorded the piece with a focus around the text from the Bible book of Ecclesiastes which Time Remaining had drawn upon.

I finished the record developing the text further and singing two more pieces using further Ecclesiastes text. I became interested in re-translating this text from the original Hebrew through reference to the Vulgate's Latin translation. Through comparison, I came up with a text I felt spoke to a more contemporary spiritual practice, in partcular the 12 steps of recovery.

ecclesiastes: a modern oratorio and liner notes discussing the process are available on Innova recordings.

  • contratenor
  • tenor
  • baritone
  • bass
  • cello
  • extended drum kit
  • concert bass drum
  • pitched bells
  • hammered dulcimer
  • mandolin
  • soundtracks and drones developed on computer from sounds of ensemble "found" in rehearsal, using granular synthesis, comb-filtering, spectral manipulation and other processes.

 

73 min.

stabat mom
(co-composed with Dafna Naphtali, 2006, 2008)

A collage about motherhood created for Mother's Day 2006 at Tonic curated by Gisburg, with other mother musicmakers Miya Masaoka, Mari Kimura, Lois V. Vierk and Gisburg herself.

Adapted for full BAT? trio including Danny Tunick and premiered at Music with a View series at the Flea Theater, curated by Kathy Supové, January 2008, stabat mom juxtaposes 18th-c. Pergolesi Stabat mater duet for alto and soprano, with Naphtali's hard rock song about the rages of motherhood, and an adaptation of Brazelton's 1992 Lullaby for Handbells for hammered electric bass, glockenspiel, vocals, guitar and computer.

Recorded fall 2008 at HarvestWorks.

 

for WHAT IS IT LIKE TO BE A BAT?:

  • two voices
  • electric guitar
  • MAX live interactive processing
  • electric bass
  • laptop soundtracks processing Pergolesi and miscellaneous elements of piece
  • vibes
  • glockenspiel
  • music box
  • musical pull-toys
  • drums
  • "found" sounds of childern's voices, washing machine and other household, child-rearing associations, processed and collaged in MAX
  • Morse code ostinato of stabat mater created from musical pull-toy

20 min.

5 dreams; marriage
(co-composed with Dafna Naphtali, 2000)

Five arias based on her wedding vows composed for and sung by Dafna Naphtali, alternate with five answers by Kitty Brazelton derived from her 1978 song I Told You So which describes the decay of a marital relationship. Everything explodes at the end of Answer 5 and is concluded by the Glory Chorale with Dafna, Kitty, drummer Danny Tunick and sound designer Paul Geluso singing a fugue over CMIX pluck algorithms.

Premiered Sound Symposium 2000, St. John's, Newfoundland, Canada. American premiere, Whitney Museum Design Triennial, New York City, listed in New Yorker magazine.

Released on Tzadik/Oracles summer 2003. Reviews: The Wire, All Music Guide, Boston Herald, etc.

 

for WHAT IS IT LIKE TO BE A BAT?:

  • four voices
  • electric guitar
  • MAX live interactive processing with Eventide delay unit
  • electric bass
  • laptop soundtracks
  • MIDI-controlled sampler using Logic software
  • drums
26 min.

she said–she said, "can you sing 'Sermonette' with me?"
(co-composed with Dafna Naphtali, 1997)

Life study created in collaboration with composer Dafna Naphtali for our trio WHAT IS IT LIKE TO BE A BAT?; my portion developed at Columbia University Computer Music Center, March-June 1997.

Women's Avant Fest '97, Chicago, October 12 1997. Columbia University Computer Music Center's Interactive Arts Festival 99, The Kitchen, April 1999. Reviewed in Chicago Tribune 10/14/97 and Reader 10/23/97.

Released on Tzadik/Oracles summer 2003. Reviews: The Wire, All Music Guide, Boston Herald, etc.

for WHAT IS IT LIKE TO BE A BAT?:

  • two voices on microphones
  • electric guitar
  • MAX live interactive processing with Eventide delay unit
  • electric bass
  • DAT soundtracks with CMIX-processed "found" sounds and recordings of Dafna's dreams
  • MIDI-controlled sampler
  • drums
  • soprano recorder
26 min.

Sonar Como Una Tromba Larga
(to sound like a great waterspout)
(1998)

CMIX-processed trombone sounds (use of granular synthesis, comb-filters, Ceres, algorithmic processes, etc.) at first canonically then rhythmically interactive with live trombone. Composed for Chris Washburne and premiered by him at Composers Concordance concert, Leowe Theater, New York University, May 15 1998.

Performed by trombonist Chris McIntyre at Mannes School of Music 1999. Performed by Washburne, Frank Oteri's 21st Century Schizoid Series, 2000. And by Nicholas Keelan at Lawrence University Women Composers Conference 2001. Recorded by Chris Washburne August 2001 for CRI-Emergency CD 889 Kitty Brazelton: Chamber Music for the Inner Ear.

  • solo trombone
  • CD soundtrack

CRI CD 889 Released on CRI-Emergency CD 889 Kitty Brazelton: Chamber Music for the Inner Ear.

11 min.

Dark Secret(1998)

Commissioned by choreographer Beth Leonard. Premiered by her, Music Under Construction Loft, April 18, 1998. Repeat performances Ersatz Marathon May '98, Battery Park Lunchtime Series Sept. '98.

Also broadcast on newmusicradio: choose Joe Pehrson's 5/15/98 interview with Kitty Brazelton

CMIX-processed household sounds:

  • clock chime
  • whispering Shakespeare
  • water dripping and washing
  • going up creaky stairs
  • rainstorm outside

using granular synthesis, comb-filters, Ceres, etc. See COMPUTER MUSIC.

15 min

i touched your cheek (1995-7)

Developed at Columbia University Computer Music Center from conversations between composer and performers. Commissioned by twisted tutu through American Composer Forum's CCP Program (substantially funded by Jerome Foundation). Recorded for o.o.discs, Copland Recording Program; released fall 1999.

goto: Recordings by Kitty Brazelton—twisted tutu: play nice

for twisted tutu:

10 min.

Hildegurls'
Electric “Ordo Virtutum”
Act II
(adapted from Hildegard von Bingen's plainchant by Kitty Brazelton in 1996; revised for Lincoln Center Festival 1998)

Hildegurls' Act IV

21st-c. settings of 12th-c. Hildegard von Bingen's miracle play "Ordo Virtutum" by Brazelton in collaboration with composers Eve Beglarian, Lisa Bielawa and Elaine Kaplinsky; digital soundtracks developed in part at Columbia University Computer Music Center for Festival of Women Composers, Context Hall, October 5, 1996. Revised version commissioned and premiered by Lincoln Center Festival '98. Final performance: Edgewood College, Madison WI, September 17, 1998 (Hildegard's 900th birthday).

(more)

Hildegurls at Lincoln Center Festival, photo by Stephanie Berger

Hildegurls:
  • Eve Beglarian, voice, MIDI wand (Act III)
  • Lisa Bielawa, percussion
    (Act I)
  • Kitty Brazelton, soprano recorder, electric bass (Act II)
  • Elaine Kaplinsky, sampler (Act IV)

accompanied by digital soundtracks created individually and collectively

(Act II) 17 of 70 min