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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
a ritual involving perfumed resins remembered from a night dream
Riverbed Song 2009
tune with lyrics remembered from a night dream
Dream Sound Anthology


I Lay My Heart Open to the Benign Indifference of the Universe 2010 ongoing
bowed harp

first performance on Sunday, December 2nd, 2012, NEW PITCHES :: curated by Michael Hafftka at Vaudeville Park in Brooklyn, New York.

Quietus 2010
harp alone - three movements
I Acorns Are Banging Gongs
II Afternoon in the Back Yard
III Day of the Equinox


AIMA AMA 2006-2010 ongoing
harp alone

Karmasulama 2010-ongoing
harp alone

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
Sections: A, B & C
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
#2 Paracelsus - harp
#3 Celebration Origami (in red) - harp, bow and origami paper
#4 The New Potatoes - folk harp
#5-9 The Resurrection of Jack Parsons - open instrumentation


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

first performance: FireTribe Hawaii, Spring Equinox Fire Circle, Oahu, Hawaii.


Invocation to Nonesuch of Nothingness 2006
harp and spoken word

first performance(spoken word): Fall Equinox Ritual presentation by Kyklos Ton Asterion, NYC.


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.
Galadriel
Augustine/The Violet Bride
Morai
Thera
Laurel
Whip of the Willow
Vivian
Nimm

Invocation to ISIS
AMUN-AMAUNET-AMUN-KEMATET-AMUN-RE
She Sits In Darkness - Baost Invocation


first performance: The Harp Consortium, with fellow harpist/composer/performers: Shelley Burgon and Mia Theadoratus.
Presented by Neke Carson in association with Michael Wiener Live in the Living Room at the Gershwin Hotel, New York City


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.


first performance: The Shadow:to conceal and reveal, Port of Call Gallery, Warwick, NY.
"singed" garment created by Rhonda Parker Pegg


Pedal Forms 2002
Brillo
accordion and harp

first performance: FLUX 6, Pittsburgh, PA, with Elise Onlife aka Mary Grandelis, accordion.


Breath 2001
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?


Breath online presentation: The Virtual Mine Project at Gegenort Mine, Germany, 2001.

View concepts of participants::PARTICIPANT ID::mbsomna::NAME::somna m. bulist::PROJECT::Breath::ZONE1::COUNTRY::USA::REIGISTRATION DATE::2001-05-12 00:11::EMAIL::somna@somna.net
Breath is documented on a 4 disc CD set


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.
duration:40 minutes
The (Qabalistic) Cross
Indovine
Invocation to RAPHAEL
Invocation to GABRIEL
Invocation to MICHAEL
Invocation to AURIEL
Middle Pillar

first performance: preveiw at 2001 WOMEN'S WORK, Pittsburgh, PA. Full production at 2001 Philadelphia Fringe Festival.
CD release Valentine Stigmata~suite featuring Lillian deNile aka Haley Alexandra Saba, soprano


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 Wail, 1903, musically notated by Mr. James Butler, Lough Gur as heard during the burial of Thomas O'Connellan, the Irish bard. The wail is attributed to Aine.
Ragini Bageshwari, ascending scale for the midnight hour.
The Archetype, 1843, notated by Mr. and Mrs. James Hall who porclaimed the tune, 'the archetype of the Keen'.
Lament for SARALELYE (1998 SMB)
The Cry, 1867, heard in Central America by an anthropologist on the death of his father.
Song of the Banshee by a Kerry Pishogue, 1888.
Bhoopal Todi, descending scale for the early morning.

first performance: 1999 New York International Fringe Festival.


The Faerye Invocations 1998
harp alone.
duration: 30+ minutes
Invocations to:
The Wander, protects the traveler
The Protector, giver of comfort
The Romantic, true love's guide
The Familiar, bestower of friendship
The Healer, bringer of light
The Erotic, bringer of the sensuous
The Unseen, bestows invisibility
The Golden, finder of treasures
The Mysterious, the revealer of the unknown

Lament for SARAELYE
AINE


first performance: Representations: Asian and Asian-American Women Artists at Brew House SPACE 101, Pittsburgh, PA and 1998 Philadelphia Fringe Festival and The Faerie Tale Ball, Endless Night Productions, Mother, NYC.
CD release_Invocations Faerye, EP featuring, the Unseen, the Golden and the Mysterious


Suite of Modes 1995
harp alone.
duration: 20 minutes
Mixolydian in G (sorrow)
Dorian in D
Locrian in E (the meadow)
Aeolian in F (the chase)
Lydian in Db (paraphrase on Zamba)
Phrygian in Cb - Ode to the Hawaiians


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