Karen Power (1977, Ireland) completed an MA in Composition at UCC (University College Cork) in 2000. She is currently finishing a PhD in Composition at the Sonic Arts Research Centre in Belfast, with Michael Alcorn, and works as a Music Technician in Mary Immaculate College, University of Limerick.
Up until 2004, Power’s compositional output was predominantly instrumental, but she is currently exploring electro-acoustic composition, sound-art and live electronics. She continues to have her music performed throughout Europe and the US with her most recent String Quartet and tape piece receiving its premier in Serbia. She won an Experimentation Award with the Belltable Theatre in Limerick, which enabled a sound/video installation exhibition throughout November 2008. Her latest electroacoustic piece fried rice, curried chip and a diet coke was chosen to represent Ireland at the 11th International Rostrum for Electro Acoustic Music. This same piece was also a finalist in the SEAMUS/ASCAP Student Awards 2009.
Karen Power is an active member of the AIC (Association of Irish Composers) the SPNM (Society for the Promotion of New Music), the IAWM (International Alliance for Women in Music), SEAMUS (Society for Electro Acoustic Music in the US) and a former member of the ICC (Irish Composer’s Collective).
cows, coffee, birds, bees and a new room (2007)
cows, coffee, birds, bees and a new room lives inside the space in-between pitches. This piece explores the idea of ever-changing pitch. The whole piece tries to pin-down and draw the ear to specific pitches in both the instrument and tape parts, but it never really achieves this goal. Even when a particular pitch appears to be stable there is always something else going on in the background that appears to alter this salient pitch.
The performer should be aware of this idea when he/she approaches this piece. The approach to the live instrument part is vital to this concept. The player should play each note as if he/she was just hanging on to the pitch. All the glissandi should be played approximately. The quarter tones and the pitches in between should be emphasized throughout.