Sarah Davachi
カナダのカルガリー出身のSarah Davachiは哲学を学んだのち、カリフォルニア州のMills Collegeにおいて電子音楽とレコーディング・メディアの修士号を修了。現在はカリフォルニア大学ロサンゼルス校（UCLA）で音楽学の博士課程に在籍しており、ポピュラー・実験・音楽及び古楽における、楽器とその音色の美学的影響についての研究をしながらアーティスト活動を行っている。エレクトロニック及びエレクトロアコースティック（電子音響）の作（曲）家、パフォーマーとしての彼女のアプローチは親密な聴覚空間における繊細な心理音響学をベースとし、シンプルなハーモニー構造と複雑な倍音の微妙なパリエーションを引き延ばしていくという独特なもの。60〜70年代のミニマル音楽、バロック音楽、スタジオ環境における実験から影響を受け、アナログ・シンセサイザー、ピアノ、電子オルガン、パイプ／リード・オルガン、ヴォーカル、テープ・サンプラー、管弦楽といった多彩な音色を用いたその荘厳かつ神聖なる響きは、聴く者に強い印象を残す。
複数のカセット作品をリリース後、2015年にStudents of Decayよりアルバム「Barond Court』を発表。それ以降は年に２枚以上のペースで『Vergers』(Important Records, 2016)、『Dominions』(Jaz Records, 2016)、『All My Circles Run』(Students of Decay, 2017)、『Let Night Come On Bells End The Day』(Recital, 2018)、『Gave in Rest』(Ba Da Bing, 2018)などを立て続けに発表、Donald Buchla、Morton Subotnick、恩田晃、Grouper, Arnold Dreyblatt, Ariel Kalma、Alessandro Cortini、Oren Ambarchi,、Aaron Dilloway、Robert Aiki Aubrey Lowe、Ellen Arkbro、Loren Connorsといったアーティストたちと共演を果たしており、精力的に制作とパフォーマンスを続けている。
Sarah Davachi (b. 1987, Calgary, Canada) holds a bachelor’s degree in philosophy from the University of Calgary, and a master’s degree in electronic music and recording media from Mills College in Oakland, California where she studied with Maggi Payne, James Fei, and David Bernstein. As a composer and performer of electroacoustic music, Davachi’s projects are primarily concerned with disclosing the delicate psychoacoustics of intimate aural spaces, utilizing extended durations and simple harmonic structures that emphasize subtle variations in overtone complexity, temperament and intonation, and natural resonances. The instrumentation she employs is varied, including analog synthesizers, piano, electric organ, pipe and reed organ, voice, tape-replay samplers, orchestral strings, and woodwinds, with mutual idioms often layered in textural and timbral counterpoint. Similarly informed by minimalist tenets of the 1960s and 1970s, baroque leanings toward slow-moving chordal suspensions, and experimental production practices of the studio environment, in her sound is manifest an experience that lessens apprehension of consonance and dissonance in likeness of the familiar and the distant.
Her work as a researcher considers aspects of organology and hermeneutics and has been published and presented in North America and Europe. Between 2007 and 2017, Davachi also had the unique opportunity to work for the National Music Centre in Canada as an interpreter and content developer of their collection of acoustic and electronic keyboard instruments. She has held artist residencies at The Banff Centre for the Arts (Banff, Canada), STEIM (Amsterdam, Netherlands), WORM (Rotterdam, Netherlands), EMS (Stockholm, Sweden), OBORO (Montréal, Canada), and MESS (Melbourne, Australia) and is the recipient of grants from the Canada Council for the Arts, the Alberta Foundation for the Arts, and SOCAN. In addition to her recorded output, including 2018’s Gave in Rest on Ba Da Bing and Let Night Come On Bells End The Day on Recital and 2017’s All My Circles Run on Students of Decay, Davachi has toured extensively across the globe and has shared the stage with artists such as Donald Buchla, Morton Subotnick, Aki Onda, Grouper, Arnold Dreyblatt, Ariel Kalma, Alessandro Cortini, Oren Ambarchi, Aaron Dilloway, Robert Aiki Aubrey Lowe, Ellen Arkbro, Loren Connors, and filmmaker Paul Clipson. She is currently a doctoral student in musicology at UCLA – where she studies the aesthetic impact of musical instruments and timbre in popular, experimental, and early music – and is based in Los Angeles, California.
https://www.sarahdavachi.com/
PLAYING: 11/30 (FRI) 法然院 [Honen-In]
