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Lines of Flight

Digital Audio Album

Lines of Flight / performed by GreyWing Ensemble.

  • Published by Tone List — 25 March, 2018 — 1 online resource
  • Sales Availability: This item may be available to purchase from the Australian Music Centre.
    Please contact our Sales Department to confirm pricing and availability.
  • Library Availability: This item is not available from the Australian Music Centre Library

$POA

This item may be available to purchase from the Australian Music Centre.
Please contact our Sales Department to confirm pricing and availability.

Featured Australian works

  Work Composer PerformersDuration
Marking Time (2016) for three sustaining instruments Cat Hope GreyWing Ensemble 12 mins, 8 sec.
Signals Directorate (2014) for electroacoustic Cat Hope GreyWing Ensemble 7 mins, 11 sec.
detritus (2015) — trios: bass clarinet, guitar, harp with live electronics Lindsay Vickery GreyWing Ensemble 9 mins, 6 sec.
here, apparently, there was time for everything (2015) — trios: saxophone, guitar, harp with live electronics Lindsay Vickery GreyWing Ensemble 8 mins, 21 sec.
lines of flight (2017) — clarinet with live electronics Lindsay Vickery 7 mins, 37 sec.
Tectonic: rodinia (2016) for flexible instrumentation Lindsay Vickery GreyWing Ensemble 11 mins, 1 sec.

Also includes: Snowden (eyes in the sky) / Sam Gillies -- Hostage / Catherine Ashley -- Ghost / Eduardo Cossio.

Product details

GreyWing Ensemble is a New Music group consisting of Kirsten Smith (flute), Lindsay Vickery (reeds), Jameson Feakes (guitar) and Catherine Ashley (harp). Since their debut in 2016, the group has focused on new Australian music and environmental music. The recordings here are an eclectic combination of responses by Western Australian composers Catherine Ashley, Eduardo Cossio, Sam Gillies, Cat Hope and Lindsay Vickery, exploring a range of current (and ongoing) preoccupations.
Perhaps the most common theme running through the collection is desire to blur the lines between compositionally prescribed and improvised situations for the performers. The works approach this goal through a range of extended, graphical, textual and extended notations (some examples are included with this release). Nearly all of the works here take advantage of the potentials of digital notation presented on networked iPads. This can be seen in the attention to the aesthetic qualities of the notation and heard through
the often idiosyncratic musical structures, such as indeterminate sectional structure (Marking Time, lines of flight) rhizomatic form (detritus) and game-like generative notation (Tectonic: rodinia), or in the case of here, apparently using digital tools to precisely transcribe a recorded improvisation.
Another thread of GreyWing's repertoire - the exploration of contemporary social issues - is reflected in the focus on 2014's revelations about mass-surveillance in Snowden and Signals Directorate and the expanding global refugee crisis in Marking Time. Hostage and ghost take a more intimate approach, reflecting trauma on a personal scale in one case and the sonic world of a childhood memory of the supernatural in the other.


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