An archive of events curated by Oogoo Maia

 

INDEX|sound has hosted six live concerts of new and experimental music with six international and national premieres.

INDEX|sound/The Listening Club has been a monthly programme of events exploring current and historical developments in experimental music and sound work.

Recorded and mechanised music prevails, so why notate music? Why write music at all? What is music-writing for in the digital age? What is music performance for? What is it that is experienced in live performance that is not present at all in recorded music? What is singular about a real human presence that escapes recording? INDEX|sound treads these paths in experimental sound art.

INDEX|sound LIVE
on the spot, in the moment, never to return. Invited musicians, performers, composers. An innovative programme of quarterly live performances.

INDEX|sound LISTENING CLUB
on the spot, from before, fixed in recorded mechanisms. Iconic recordings of the last 100 years of experimental music. Focused listening, informed discussion.

new works for loud and quiet sounds   21st March, 2014  an evening of experimental music presented at INDEX|GALLERY  Composer Oogoo Maia performs a series of new works, ranging from the extremely quiet to the quite loud, in an evening of experimental music using a diverse and eclectic range of sound producing objects and instruments, from a Baroque Clavichord and the human voice, to a large woodworking machine, a saliva operated synthesizer, and Oogoo’s naked eyes.  The evening will include a set of improvised variations on Bach’s music, performed on the magically quiet clavichord; pieces and improvisations for unaccompanied voice, including Morton Feldman’s delicate Only; a new piece that uses only the eyes of the performer and of the audience; and the premiere of an ongoing collaboration between Oogoo Maia and artist Gavin McClafferty entitled For Machines and Machinists, that combines the sounds and personal experiences of one of Gavin’s tools – a wood working machine – with the sounds and personal experiences of Oogoo’s own electronic music instruments.     

new works for loud and quiet sounds

21st March, 2014

an evening of experimental music presented at INDEX|GALLERY

Composer Oogoo Maia performs a series of new works, ranging from the extremely quiet to the quite loud, in an evening of experimental music using a diverse and eclectic range of sound producing objects and instruments, from a Baroque Clavichord and the human voice, to a large woodworking machine, a saliva operated synthesizer, and Oogoo’s naked eyes.

The evening will include a set of improvised variations on Bach’s music, performed on the magically quiet clavichord; pieces and improvisations for unaccompanied voice, including Morton Feldman’s delicate Only; a new piece that uses only the eyes of the performer and of the audience; and the premiere of an ongoing collaboration between Oogoo Maia and artist Gavin McClafferty entitled For Machines and Machinists, that combines the sounds and personal experiences of one of Gavin’s tools – a wood working machine – with the sounds and personal experiences of Oogoo’s own electronic music instruments.
 

 

John Cage: Ryoan-ji (1983-5)    6th June, 2014  realisation for double-bass (Alun Hart), voice (Oogoo Maia) and percussion (Cameron Johnson).  An evening of performance featuring 3.5 tonnes of gravel, paper, leaves and stones.  Oogoo Maia: For One Instrumentalist (2014)  Jurg Frey: Un Champ de tendresse parsemme d'adieux (2012)  Oogoo Maia: For One or More (2014)  John Cage: "But what about the noise of crumpling paper which he used to do in order to paint the series of 'Papiers froisses' or Tearing up paper to make 'Papiers Dechires'? Arp was stimulated by water (Sea, Lake and Flowing waters like rivers), Forests." (1985)  James Saunders: With Paper (2009)  John Cage: Ryoan-ji (1983-5)

John Cage: Ryoan-ji (1983-5)

6th June, 2014

realisation for double-bass (Alun Hart), voice (Oogoo Maia) and percussion (Cameron Johnson).

An evening of performance featuring 3.5 tonnes of gravel, paper, leaves and stones.

Oogoo Maia: For One Instrumentalist (2014)

Jurg Frey: Un Champ de tendresse parsemme d'adieux (2012)

Oogoo Maia: For One or More (2014)

John Cage: "But what about the noise of crumpling paper which he used to do in order to paint the series of 'Papiers froisses' or Tearing up paper to make 'Papiers Dechires'? Arp was stimulated by water (Sea, Lake and Flowing waters like rivers), Forests." (1985)

James Saunders: With Paper (2009)

John Cage: Ryoan-ji (1983-5)

Luciano Berio: Laborintus II (1965)  , Sinfonia (1968-9)   20th September, 2013

Luciano Berio: Laborintus II (1965), Sinfonia (1968-9)

20th September, 2013

 
Michael Pisaro: Transparent City (2005)   The listening club at INDEX|SOUND presented a series of electronic pieces assembled from the combination of field recordings made in Los Angeles and sine tones. Each piece is 10 minutes long, presented in groups of six followed by two minutes of silence.

Michael Pisaro: Transparent City (2005)

The listening club at INDEX|SOUND presented a series of electronic pieces assembled from the combination of field recordings made in Los Angeles and sine tones. Each piece is 10 minutes long, presented in groups of six followed by two minutes of silence.