森一惠 电子音乐作曲家和表演者

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森一惠
电子音乐作曲家和表演者|2022级
改革打击乐在即兴创作中的使用，并扩大基于机器的音乐的界限。


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标题
电子音乐作曲家和表演者
所属机构
无隶属关系
地点
纽约，纽约
年龄
获奖时为68岁
重点领域
音乐表演和作曲
网站
ikuemori.com
发表于2022年10月12日
关于IKUE的工作
Ikue Mori是一位电子音乐家，她扩大了实验和即兴音乐的声音和技术可能性的范围。她使用数字处理技术、一台笔记本电脑和电子鼓设备的再利用元素，创造出有节奏的和环境的音景。在她五十年的职业生涯中，莫里改变了打击乐在即兴音乐中的使用，并启发了几代电子音乐家。

Mori最初是开创性的no wave乐队DNA的鼓手，她的早期作品以受日本太鼓影响的驱动节奏为特色。她很快从原声打击乐转向数字表演。她首先采用了击鼓机（产生打击性节奏的可编程电子设备），这使她有能力即兴创作，并将现场和预先录制的序列混合起来。随着笔记本电脑处理能力的提高，莫里开始几乎完全使用它们。笔记本电脑使她能够进行更广泛的模式采样，并使她能够将视觉元素，包括动画，融入她的作品。莫里的作品的特点是循环模式和数字声音片段的层次。通过随机调整循环模式的开始和结束的音高或强度，她为即兴表演注入了变化性。由此产生的电子声音和点击（或电子故障）的集合，构成了她蜿蜒的循环，给她的音乐带来了纹理和色彩，从空灵到刺耳的超现实。莫里是一个多产的、受欢迎的合作者，她已经与一系列音乐流派的艺术家和即兴表演者录制和表演。刺梨仙人掌》（2020）是在大流行期间与钢琴家藤井聪子和小号手田村夏树共同开发的曲目集。在纽约和日本孤立地工作，每个演奏者都分别录制他们的部分，并将它们发送给对方完成。在所创作的作品中，原声和电子声音有时不和谐，有时又相互补充。一座山不知道它有多高（2021年），与弗雷德-弗里斯合作，灵感来自一个相关的禅宗项目。它结合了由玩具和自制的声学乐器产生的日常声音。每位音乐家都保持着独特的声音身份，即使他们在组合中创造了一种新的声音。

莫里最近的唱片《追踪魔力》（2022年）由七首作品组成，灵感来自于那些在八九十年代仍在继续创作新作品的女性艺术家。这是她对声音和即兴对话的探索的延续。这些作品经常在沙哑的电子砰砰声、啪啪声和刷刷声中开始。乐器的分层（其中包括预制钢琴、人声、打击乐、簧片和风笛）逐渐建立起来，不断上升，以达到引人入胜的喧闹声。带着不断的好奇心，莫里继续发展，开拓一条未知的道路，探索创造实验性、基于机器的音乐的新方法。

个人简历
Mori Ikue出生于日本东京，于1970年代末移居纽约。她的其他唱片包括《Painted Desert》（1997）、《One Hundred Aspects of the Moon》（2000）、《In Light of Shadows》（2015）、《Highsmith》（2017）、《Archipelago X》（2021）。她为电影制作人创作了原声带，接受了许多委托，并在新学校、斯坦福大学、达特茅斯学院、米尔斯学院的新音乐学院、芝加哥艺术学院和哥德堡大学等机构主持研讨会。莫里在纽约市的Roulette、The Stone和Park Avenue Armory等场所以及国际音乐节上演出。




Ikue Mori
Electronic Music Composer and Performer | Class of 2022
Transforming the use of percussion in improvisation and expanding the boundaries of machine-based music.


Portrait of Ikue Mori
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Title
Electronic Music Composer and Performer
Affiliation
Unaffiliated
Location
New York, New York
Age
68 at time of award
Area of Focus
Music Performance and Composition
Website
ikuemori.com
Published October 12, 2022
ABOUT IKUE’S WORK
Ikue Mori is an electronic musician expanding the range of sonic and technical possibilities for experimental and improvisational music. She creates rhythmic and ambient soundscapes using digital processing techniques, a laptop computer, and repurposed elements of electronic drumming equipment. Over her five-decade career, Mori has transformed the use of percussion in improvised music and inspired generations of electronic musicians.

Originally a drummer with the seminal no wave band DNA, Mori’s early work featured driving rhythms influenced by Japanese taiko drumming. She soon moved from acoustic percussion to digital performance. She first adopted drumming machines (programmable electronic devices that generate percussive rhythms) that gave her the ability to improvise and to mix live and prerecorded sequences. As the processing capacity of laptop computers increased, Mori began using them almost exclusively. Laptops enabled more expansive pattern sampling, and they allowed her to incorporate visual elements, including animation, into her work. Mori's compositions are characterized by looping patterns and layers of digital sound fragments. By randomizing the pitch or intensity of the onset and endings of looping patterns, she injects variability into improvised performances. The resulting collection of electronic sounds and clicks (or electronic glitches) that make up her meandering loops lends texture and color to her music, ranging from the ethereal to the jarring and surreal. Mori is a prolific and sought-after collaborator, and she has recorded and performed with artists and improvisers from a range of musical genres. Prickly Pear Cactus (2020) is a collection of tracks developed with pianist Satoko Fujii and trumpet player Natsuki Tamura during the pandemic. Working in isolation in New York and Japan, each player recorded their parts separately and sent them to each other for completion. In the resulting pieces, acoustic and electronic sounds are sometimes discordant and at other times complementary. A Mountain Doesn’t Know It’s Tall (2021), a collaboration with Fred Frith, is inspired by a related Zen Buddhist project. It incorporates quotidian sounds produced by toys and homemade acoustic instruments. Each musician maintains a distinct sonic identity, even as they create a new sound in combination.

Mori’s most recent recording, Tracing the Magic (2022), consists of seven pieces inspired by women artists who continued creating new work well into their eighties and nineties. It is a continuation of her explorations of sound and improvisational dialogue. The pieces often begin in hushed electronic thumps, pops, and brushed tones. The layering of instruments (among them prepared piano, vocals, percussions, reeds, and bagpipe) builds gradually, ascending to achieve a riveting cacophony. With unceasing curiosity, Mori continues to evolve and to blaze an uncharted path exploring new ways to create experimental, machine-based music.

BIOGRAPHY
Ikue Mori was born in Tokyo, Japan, and moved to New York in the late 1970s. Her additional recordings include Painted Desert (1997), One Hundred Aspects of the Moon (2000), In Light of Shadows (2015), Highsmith (2017), and Archipelago X (2021). She has composed soundtracks for filmmakers, received numerous commissions, and led workshops at institutions such as the New School, Stanford University, Dartmouth College, the New Music Conservatory at Mills College, the School of the Art Institute of Chicago, and the University of Gothenburg. Mori performs in venues such as Roulette, The Stone, and Park Avenue Armory in New York City and at international festivals.