The Home Planet consists almost exclusively of environmental sounds that were recorded within a short distance of my home. As with many of the classic concrète works of the 1950’s, the listener can often identify familiar sounds (for instance, of birds singing at dawn, the bells of a nearby church, telephone touch-tones, lambs and chickens on a friend’s farm, an auctioneer, a toy train whistle, a passing truck, children’s voices, a brook in a nearby woods, etc.). These familiar sounds are, in effect, “themes” and are subjected to an enormous range of transformation by such classical techniques as speed transposition, reversal, multiple-delay, and filtering, as well as more recent techniques, such as granulation, time stretching, and vocoding. Perhaps this digital musique concrète can provide a sense of the musicality that can be heard in the sounds of a summer day in upstate New York.
Samplman (Samuel Pellman) has been creating electro-acoustic and microtonal music for nearly four decades. Many of his works can be heard on recordings by the Musical Heritage Society, Move Records, innova recordings, and Ravello Records. Recently his music has been presented at festivals and conferences in Melbourne, Paris, Basel, Vienna, Montreal, New York City, Beijing, Capetown, Buenos Aires, Taiwan, Perth, and Prague. He is also the author of An Introduction to the Creation of Electroacoustic Music, a widely-used textbook. He teaches music theory and composition at Hamilton College, in Clinton, NY, and is co-director of its Studio for Transmedia Arts and Related Studies (STARS).