Masks of Medusa

  • Recording at Satsop Nuclear Plant | Leanna Keith, flute | Josiah Boothby, horn
    Recording at Satsop Nuclear Plant | Leanna Keith, flute | Josiah Boothby, horn
  • Recording at Satsop Nuclear Plant | Inside a cooling tower
    Recording at Satsop Nuclear Plant | Inside a cooling tower
  • Recording at Satsop Nuclear Plant | Inside a cooling tower
    Recording at Satsop Nuclear Plant | Inside a cooling tower
  • Satsop Abandoned Nuclear Plant, cooling tower
    Satsop Abandoned Nuclear Plant, cooling tower
  • Recording at Satsop Nuclear Plant | Reactor
    Recording at Satsop Nuclear Plant | Reactor
  • Satsop Abandoned Nuclear Plant | Ewa Trębacz, Leanna Keith, Josiah Boothby
    Satsop Abandoned Nuclear Plant | Ewa Trębacz, Leanna Keith, Josiah Boothby

Many Masks Of Medusa [ Preview ] by Ewa Trębacz

Masks of Medusa, by Ewa Trębacz, in collaboration with Josiah Boothby (French horn) and Leanna Keith (flutes)

The piece is a collaboration between myself, flutist Leanna Keith, and hornist Josiah Boothby. It has two components: the fixed-media soundscape and a live performance which is meant to create a unique, real-time response to that soundscape.

The electronic layer of the piece is composed of sound reflections, many of them captured directly in unique acoustic spaces in Washington State. The basic sound material was recorded in physical spaces characterized by unique reverberation patterns and echoes, through the series of recording sessions with Leanna Keith and Josiah Boothby. Under the direction of the composer, the musicians improvised short interactions, which were recorded in surround with the use of Ambisonic microphones. The main focus during the improvisation was on the interaction between the musicians and their interaction with the spaces.
Some of those interactions were in a direct response to the precomposed sound material, which was played back in the physical spaces with a portable 360 degree speaker.

The composition process became a sonic journey through abandoned historic spaces in Washington State, such as Satsop Nuclear Plant and WWI era bunkers in Fort Worden State Park. Following in the footsteps of Stuart Dempster and Paul Kikuchi, we are hoping to continue and extend the work of previous generations of WA artists by capturing some of the most unique acoustic spaces in Washington State and presenting them to larger audiences. During the concert performance, the listener will be transported to those spaces and given a glimpse of their past - but also a connection to the “here and now”.

People Involved: 
Research Type: 
Status of Research or Work: 
Ongoing