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Duel Tones (Visuals by Maura McDonnell)

Duel Tones will make its premier at the Seeing Sound Symposium 2016 held in Bath Spa University, UK. 'Seeing Sound is an informal practice-led symposium exploring multimedia work which foregrounds the relationship between sound and image. It explores areas such as visual music, abstract cinema, experimental animation, audiovisual performance and installation practice through paper sessions, screenings, performances and installations.' - SeeingSound   Programme Note: Duel Tones is a work that explores through a visual music collaborative effort, the emergence of synthetic tones and timbres and synthetic forms and motion elements from a ground of blackness and noise.  The visuals were created first and the electroacoustic music composition was composed using the visuals as its structure and a type of synthetic graphic score.    Music composed by Bebhinn McDonnell Visuals composed by Maura McDonnell - Website - Blog     
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Crash Ensemble Perform ‘Dimensions’

Composed for Piano and Taped Electronics. Performed on Piano by Isabelle O Connell with The Crash Ensemble. Chosen as part of Crash Ensemble's Free State 8 Concert at the Project Arts Centre 2014. Crash Ensemble and Project Arts Centre present Free State 8. The most vibrant music from Ireland’s up and coming composing talent, performed by the country’s leading contemporary music ensemble. Crash Ensemble’s annual open submission concert from new Irish composers is guest curated by composer Raymond Deane. Crashensemble.com It was an incredible experience to be a composer in this project. The Crash Ensemble & Isabelle O Connell are seriously talented and lovely people! Sound Engineering & Recording: Jimmy Eadie & Adrian Hart Free State 8   
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Sound Design and Composition for Alma Animation

Module: Programming and Sound Design for Animation. For an assignment in this module we were given the video without sound and had to put sound our own sound to it. *I do not own any video material. The rights to all visual material in this video belongs to its respective owners.* MA Audio Production: University of Westminster
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Ominous – (Piano & Taped Electronics)

A sonic story exploring sound and was inspired by contrast in textures; Dense and light; falling and rising; Appearing and disappearing; Space and cluster. It is portraying an attempt to try and go somewhere but then not quite reaching where you want to go.
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Dimensions (Piano & Taped Electronics)

When I began writing this piece I had the idea of layering sound to support the piano solo music in order to create a sense of different time dimensions arising from the melody of the piano part and to explore the possibilities of rhythmic gestures between piano and electronics. A relationship is sought between the piano and electronics through temporal delays and rhythm. This short piece is made up of two main melodies played by the piano, while the electronics add different textures that are active underneath these melodies. Between these two main melodies the piano part then switches its function and acts as a rhythmic gesture to enhance the electronics.
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‘Motion’ (2014) C-Sound Composition

‘Motion’ is an exploration of movement that is in sound through sound. This composition is rooted in the electro-acoustic world, and its concept stems from the practices of musique concrète. The foundation of ‘Motion’ lies in recordings of simple concrete sounds that produce different movement and fluctuations. I wanted to capture the sound of these movements and then develop these into various textures through processing and layering. I recorded the sound of birds flying, the sound of playing a piano note, the resonance of notes played on guitar strings, the sound of a window blind moving up and down, and the sound of the wind. These sounds were consequently imported into CSound and processed through granular synthesis, reverb, echoes, delays, pitch altering, looping, resonators and filtering, all for the purposes of exploring the different sounds that the same movement would make in different musical situations. Once the processing effect was created, widgets were then used to alter the movement of each recording through time. In some places, slight use of CSound generators was also used to add an extra layer of timbre to the composition, and I concluded the composition by bringing all of the material recorded live through CSound […]
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