somna m bulist l sound documents 2005 l solo l Deep Listening Study Group 2014 l collaboration l contact l xarpe artist editions
chronological list of Somna M Bulist's composed works and thematic performances
Beneath the surface gravity loosens and weightlessness prevails 2014
for Ghost Ensemble
first performance April 4, 2014, East Bank Music Series, Church of the Ascension, Greenpoint, Brooklyn, New York.
Wave Dynamics For A Crowd Source 2014
Prompt card artwork by Mary Spicher Fisher
First presented as a poster presentation on July 12-14, 2013 ("Wave Dynamics For The Harp" was the original proposal) at the Deep Listening Art/Science International Conference, EMPAC, Troy, New York
"Remembering to Remember" 2009 ongoing
Transcriptions of events from the dream time.
Title quote from Deep Listening, A Composer's Sound Practice. by Pauline Oliveros, 2005.
Perfume Offering 2011
I Lay My Heart Open to the Benign Indifference of the Universe 2010 ongoing
first performance on Sunday, December 2nd, 2012, NEW PITCHES :: curated by Michael Hafftka at Vaudeville Park in Brooklyn, New York.
harp alone - three movements
I Acorns Are Banging Gongs
AIMA AMA 2006-2010 ongoing
Sonic Salutations 2009
for harp alone or several harps not necessarily in unison
The score for Sonic Salutations is available at www.XarpeArtistEditions.com
1 5 9 FIRE 2009
meditation in open instrumentation
The Cut-Ups 2008
- form related to intent on reality bending initiated by Brion Gysin and William Burroughs
#1 Campbell's Soup - harp & voice
I Thank the Sea for the Gifts She Gives Me 2008
open instrumentation - a mantra of gratitude transcribed to musical notation
first performance: June 12, 2010 - Presented by Neke Carson in association with Michael Wiener Live in the Living Room at the Gershwin Hotel, New York City
One is my foremost island of Oahu.. 2007
harp and spoken word - text from an ancient Hawaiian prayer of gratitude
Invocation to Nonesuch of Nothingness 2006
harp and spoken word
Esoteric Chord 2005
harp alone or several harps in unison and live electronics
sound documents . 2005
recording sessions in nine events on various harps usually documented within the hour.
FolkArt Songs and Spirituals 2005
for harp and voice rooted in American literary folklore, ancient Egyptian mythology and personal pathos.
Fragrance of the Blue Lotus 2004
harp and electronic processing creating a sonic shadow, preceded by vocal invocations to aspects of hiddenness, infinity, darkness and the primordial waters of NUN.
duration: 20-40 mins.
Pedal Forms 2002
accordion and harp
electronic installation of vocal recordings generated by the scrub wheel on a digital recording unit where the original vocal duration of 2 minutes is expanded to 84 minutes (approximately) _ setting up a perceptual relocation of awareness. What do our voices sound like to the infinitesimal?
Valentine Stigmata 2001
inspired by the tonal chants compiled by Thom Parrott in The Musical Qabalah
Operatic vocals, bowed harp and guitar effect pedals, organ, electronic accompaniment in a musical ritual of ceremonial chant.
The (Qabalistic) Cross
44 minutes on the flatline_A Cry for the Millenium 1999
harp and electronic processing
duration: 44 minutes
based on documented accounts of the banshee's cry - compiled by Patricia Lysaght in her book, The Irish Death Messenger.
Akasha (1998 SMB)
The Faerye Invocations 1998
duration: 30+ minutes
Suite of Modes 1995
duration: 20 minutes
Mixolydian in G (sorrow)
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