SEAMUS

Society for Electro-Acoustic Music in the United States

  • News
    • SEAMUS Journal 29-1-2 Released
    • Suzanne Ciani [SEAMUS Award 2023] acceptance speech excerpt
    • CIME – ICEM 2023 and HELMCA Electroacoustic Music Days 2023
  • Conferences
    • Past Conferences
      • Most Recent Past Conference
      • 2023 Conference, April 7 – 8, NYC
    • Future Hosts Interest Form
      • How to Host a Conference
  • Opportunities
    • CREATE grants
    • SEAMUS Student Commissioning Awards
      • Student Awards Recipients 2023
      • FAQ
      • Previous Student Award Recipients
    • Sweetwater Student Commissioning Award [newly est!]
    • Allen Strange Memorial Award
    • SEAMUS Award
  • SEAMUS Publications
    • Journal SEAMUS (Log-In Req’d)
    • Member Newsletter
    • Blog
  • For Members
    • Music from SEAMUS
    • 2023 Conference Video Archive
      • List of Pieces and Composers [2023 Conference, by concert]
    • Electroacoustic Miniatures Series Downloads
    • Member Directory
      • Edit Profile
    • Membership FAQs
  • Programs and Projects
    • Mentor – Mentee Program
    • Electroacoustic Database Repertoire (project in progress)
  • About
    • History
    • Officers and Staff
      • Past Presidents
    • Why Join?
    • Inclusion and Diversity
    • Bylaws
    • Board Meeting Minutes, Archive
    • Sponsors

Distant Thunder

2015-11-22

Distant Thunder

Composer: Maggi Payne

Year of Composition: 2003
Instrumentation: electroacoustic
Type of Electronics: Fixed

Number of Channels: 2
Duration: 10:48
Video Component: None

Recording

For me Distant Thunder conjures up images of being in the desert while watching distant thunderstorms roll across the sky, accompanied by the unforgettable sweet smell of desert rain. These storms are particularly beautiful as the rain clouds build, break apart, and re-form, sending tendrils of rain down, most evaporating long before they touch the desert floor.

I intended to use the sounds of a resonant floor furnace and various adhesive tapes slowly unrolling as the primary sound sources, but after recording the furnace, I boiled water for tea, and could not resist recording the sonic patterns that emerged. I did use the sound of the furnace, but the tape unrolling was used only to impart spatialization through convolution to other, more stationary sources.

Login to SEAMUS

Join Us!

Membership in SEAMUS is open to all interested parties and brings lots of exciting benefits. Click the button below to join. Click here to renew your membership.
Join Now!

Connect with SEAMUS

  • Email
  • Facebook

© 2023 SEAMUS, All Rights Reserved · Site Design by Punkt Digital · Policy Statements

  • Contact Us
  • Board Officers & Staff
  • Policy Statements