Updated: July 9, 2018
Written in 2018, [re]Glossolalia was composed as a companion work to another composition of mine from early 2017 for alto saxophone and live electronics. Both pieces heavily critique the sometimes insidious and subversive nature of late-night rural US radio broadcasts, utilizing excerpts recorded from a circuit-bent radio. The broadcasts used in this piece vary in content, covering topics such as: predicting the United States’ role in bringing about the biblical apocalypse, why monetary donations earn entry into the afterlife, to the “comforts” of mutually assured destruction, and so on. Compositionally, the piece presents an unpredictable, dense, and continuously fracturing interpretation and dialogue of that radio content – exploring the balance between real and imaginary sound worlds in a type of liminal space. The sonic materials for [re]Glossolalia were created and transformed using custom-written granular synthesis programs, duffing oscillator synthesis, FM synthesis, and through hardware hacking.
Please note: I don’t intend for this piece to present a prescriptive worldview, or condemnation of socio-political affiliation and / or religious beliefs. However, I do intend to utilize this as a platform in which I can bring blind hatred, anti-intellectualism, and dangerous zealotry under scrutiny.
Douglas McCausland is a composer and performer of electroacoustic music currently based out of the Bay Area in California, USA. Fascinated with new sonic territories and processes for creating music, his work engages with the extremes of sound and the digital medium; ultimately, he strives to create visceral music which balances creative exploration with technical nuance. Compositionally, he has focused in recent years almost exclusively on the creation of electronic music for interactive systems and performers, fixed-media, and for hardware-hacked ‘instruments’ and real-time processing. His works have been performed internationally at festivals and symposiums such as: SEAMUS, Splice, MISE-EN, Klingt Gut!, Sounds Like THIS!, NYCEMF, and many more. Notable recent performances also include the Talbot Rice Gallery and the Fruitmarket Gallery in Edinburgh, UK. Additionally, his love of collaboration has led him to create works that cross-pollinate into other artistic disciplines, such as sound art, graphic design, physics, and poetry.
Doug is currently a doctoral fellow at Stanford University, working towards his DMA in Composition. In the year preceding his doctoral studies he completed a second master’s, an MSc in Digital Composition and Performance, at the University of Edinburgh under Martin Parker and Tom Mudd. Prior to that, he completed an MM in Music Composition at Michigan State University, studying with Mark Sullivan, Lyn Goeringer, and Ricardo Lorenz. Doug additionally holds a BM in Theory and Composition, Saxophone Performance, and Music Education from Southern Illinois University Edwardsville, where he studied composition with Kimberly Archer. Doug is an active guitarist, saxophonist, and electronics performer, advocate for new music, music educator, and a microbrewery enthusiast.
Performer Biographical Sketch
N/A, Performing Myself