ESTELLE SCHORPP

In My Ears (for Maryanne)

OUT OCTOBER 4 ON ALL DIGITAL PLATFORMS

In My Ears (for Maryanne) is a tribute to the work of American composer and sound artist Maryanne Amacher. Algorithmically composed using SuperCollider, the album highlights several aspects of her work: amplitude dynamics, sound-walk-inspired temporal structure and, above all, the musical exploration of distortion product otoacoustic emissions*. The composition encourages the creation of “perceptual geographies,” to use Amacher’s terms, by making space, body and ear resonate at the same time. Thus, by alternating scales of perception within the temporality of an unfolding landscape, In My Ears (for Maryanne) is a sound experience that is both delicate and visceral, essentially physical.

* Distortion product otoacoustic emissions are sounds emitted by the inner ear when it is stimulated by two pure tones of close frequencies, generally between 1000 hz and 4000 hz at a certain amplitude. In response, the inner ear produces harmonic artifacts, resulting in a buzzing effect in the auditory canal.

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Catalog:: LINE_155

Format:: digital

Edition:: open edition

Release:: October 2024

Tracklist:

1. synaptic choral I (08:12)
2. one city away (17:52)
3. synaptic choral II (09:05)

Composition, programming, synthesis : Estelle Schorpp
Album cover : Juliette Francine Frenay
Production : MITACS, Sporobole, Le Mans Sonore
Thank you : Sylvie Baillargeon, Sylvain Bazinet, Erik Beck, Éric Desmarais, Gaëtan Desmarais, Sophie Drouin, Magalie Leclerc-Casavant, Olivier Robin.

Estelle Schorpp is a French-born and Montreal-based sound artist, composer and researcher active in the field of experimental music and sound ecology.

She uses the tools and methods of research-creation to set up projects that take a critical and creative look at our relationship with the sonic environment. Integrating concepts from disciplines such as sound ecology, sound studies, media theory, history of science, acoustics and psychoacoustics, her polymorphous approach combines performance, sound installation and algorithmic composition, as well as academic communication and the writing of articles.

Her ever-changing and immersive sonic landscapes, characterized by their ambiguous shimmering sounds and the use of field recordings, seek both a physical and intellectual experience where listening is central.

Since 2022, she has taught at the Music Faculty of Université de Montréal (CA).

Estelle Schorpp was selected by the Biennale College Musica in Venice from among 300 artists from all over the world. Along with nine other composers, performers and musicians, she was given an artistic residency to produce her performance ‘A Conversation Between a Partially Educated Parrot and a Machine’ premiered at the Biennale Musica di Venezia 2023 curated by Lucia Ronchetti.

Her work is founded by several research and creation grants and has been presented internationally at festivals such as La Biennale di Venezia (IT), Ars Electronica (AT), MUTEK (MX, CA, AR, JP), Akousma (CA), FIMAV (CA), Le Mans Sonore (FR), Exhibitronic (FR, DE), MuTeFest (FI) and at galleries such as Centre d’Exposition de l’Université de Montréal (CA), Palais des Beaux-Arts de Paris (FR) and Exhibition Laboratory (FI).

Her research has been presented in several symposiums at ISEA22 (SP), CIRMMT (CA), Université de Montréal (CA) and EHESS (FR) and she regularly publishes peer-reviewed papers as main author or co-author. In 2016 she received the first Exhibitronic award for her electroacoustic composition ‘Bagdad 9ème siècle.’

Estelle Schorpp graduated from École Nationale Supérieure des Beaux-Arts de Paris (MFA) and from the Music Faculty of Université de Montréal (Master of Music).

estelle-schorpp.com

REVIEWS OF
In My Ears (for Maryanne)

Friday Five recommendation
—themoderns.blog
“In My Ears (for Maryanne)” (Line) von ESTELLE SCHORPP führt uns ins ElektroAvantgardistische. Der erste von zwei hier zu hörenden “synaptic choral”s besteht im Grunde aus wenig mehr als 8 Minuten elektronischem GrillenZirpen, das irgendwann mit HörgeräteAkustikerTestTönen verschränkt wird. Wobei sich – getreu dem alten Reich’schen “Phase Patterns”-Prinzip (dürfen wir das zukünftig als PPP abkürzen?) – aus den sacht gegeneinander verschobenen GrundSamples feinste und immer neue Überlagerungen ergeben. Der 18Minüter “one city away” wurde aus GlasGlocken-artigem Zwitschern, dämonischem Zischen, geisterhaftem Gluckern und anderen elektroakustischen Phänomenen zusammengesetzt. Und für “synaptic choral 2” verflicht das Französisch SoundArtistin in ihren SuperCollider-Algorhythmen schließlich sieben kurze Morsezeichen mit knapp-signalhaften (semi)TelefonKlingelTönen. 4/5
—westzeit.de

ESTELLE SCHORPP

Tracklist:

REVIEWS OF In My Ears (for Maryanne)

REVIEWS OF
In My Ears (for Maryanne)