Hinge joins together acoustic and electroacoustic properties derived from the hammered-dulcimer to create an overall texture that exemplifies both separately, yet is for a majority of the time, perceptually unified. The work can also be thought of as a timbral exploration of the instrument; since in terms of its traditional timbral capabilities, the hammered-dulcimer can be “limiting”. By bowing the instrument as well as processing its sound in real time, the instrument’s timbral possibilities can be expanded upon. The work is also heavily reliant on the performer’s ability to improvise when given semi-improvisatory guidelines, adding to the live perception of the work.
Elliott Lupp is a composer, visual artist, and improviser that seeks to engage listeners through poly-stylistic sound-worlds that juxtapose moments of order and chaos. His aesthetic approach to composition has led to a body of work that, at the root of its construction, utilizes both simple and complex gestures to create a variety of overarching forms. This style of writing has found a home with chamber ensembles, solo performer, as well as performer(s) with live electronics, and fixed media.
Elliott holds his Bachelors of Music in composition from Columbia College Chicago. His teachers at Columbia included Kenn Kumpf, Eliza Brown, and Francisco Castillo-Trigueros. He has written for ensembles such as the Dutch/American trio Sonic Hedgehog (flute, clarinet, and electric guitar), the Atar Piano Trio, various members of MOCREP, The Chicago Composer's Orchestra, Ensemble Dal Niente, Fonema Consort, and is currently pursuing his master's degree in composition at Western Michigan University, where he holds an assistantship in research. His primary teachers at WMU include Dr. Christopher Biggs and Dr. Lisa Renee Coons.
Performer Biographical Sketch
*Same as BIOGRAPHICAL INFO