Nye Parry

contemporary sound and music

Pocket Pianos

I have a new piece in the first concert of what will hopefully become a regular series:
Transmission is a new occasional contemporary music series taking place in the beautiful surroundings of St. Catherine’s Church on Telegraph Hill in South East London. Our aim is to present explorative and thought-provoking concerts which feature exceptional performers and composers in a welcoming and inclusive environment.
For our first concert we present a multi-keyboard extravaganza featuring pianos, toy pianos, reed organs, pocket pianos, harmoniums, homemade electronics and more. The programme features John Cage’s rarely heard classic Music for Amplified Toy Pianos alongside explorative works by some of the most inventive composers working in London and beyond today.

Come and join us on our new adventure! A bar will be available at the venue.

St. Catherine’s is easily accessible via the London Overground or Rail services to Brockley, New Cross Gate and Nunhead. Tickets only £6 (£4 concession).

Patricia Alessandrini: Étude d’après Scarlatti
Ed Bennett: Crazy Legs / Gothic
John Cage: Music for Amplified Toy Pianos
Michael Finnissy: Sonata for Toy Piano
Lauren Sarah Hayes: Patience
Daria Kwiatkowska: Spin
John Lely: Four Reed Organs / Pocket Pianos
Nye Parry: Sinew (premiere)
Domenico Scarlatti: Sonata in D minor, K.10
Arlene Sierra: Painted Bunting

Mira Benjamin (toy piano, reed organ, objects)
Ed Bennett (toy piano, reed organ, pocket piano, melodica, objects)
John Lely (toy piano, reed organ, objects)
Nye Parry (Indian harmonium, sound projection, electronics)
Xenia Pestova (piano, toy piano, reed organ, objects)

St Catherine’s Hatcham, Telegraph Hill
Pepys Rd, London SE14 5SG


Overground and Rail: Brockley / Nunhead / New Cross Gate
Bus: 343 / 484

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Illusion opens in Kuala Lumpur

The Illusion touring exhibition has moved on to Kuala Lumpur after successful runs in San Diego and Charlotte, North Carolina. The show, which features my installation Significant Birds as well as the beautiful The Point of Perception by Madi Boyd with my music, will be at Petrosains from 4th Sept 2015 to 10 Jan 2016. All pieces in the exhibition focus on forms of illusion, playing with and interrogating our perception. There is more about Significant Birds here and I have put together a little promo movie for Significant Birds which you can see on the left.

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‘Jack’ at Make||Sound

I have created a new installation piece for the Make||Sound sound art festival that runs in Leicester from Saturday 6th June to Thursday 11th June in a pop up venue in the Highcross shopping Mall. The venue, a former Virgin Media store, will be transformed into an exhibition space for new sound works. My installation, entitled ‘Jack’ explores an idea I wrote about some 15 years ago, the Anxious Sound Object. Drawing on Harold Rosenberg’s notion of the anxious object, and artwork so realistic it causes anxiety in the viewer. The anxious sound object uses a concealed sound source to similarly evoke a possible reality. ‘Jack’ looks like a load of old rubbish!

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Keynote at Make||Sound

In conjunction with the Make||Sound exhibition (see above) I will be giving a keynote talk at the Make||Sound symposium at The Curve in Leicester on Friday 12th June. Using examples from my own practice, my talk, entitled Public Engagement, Private Divorce, Contexts and Motivations in a Sonic Arts Practice eals (in part) with the relationship between the Artist’s motivations and narratives and the requirements of audiences, commissioners and funders.

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York Music at 50

I have just completed a short (50 seconds!) piece for a concert at my Alma Mater, York University Music Department. The concert features 50 such work from composers who have graduated from the department in its 50 years of existance. It is part of a reuniun/celebration event to mark this Aniversary. I had a lot of fun writing for Cello and Bass Clarinet and am looking forward to the premier on Saturday 13th June.
The concert will be at 4pm in the Jack Lyons concert hall of which I have many happy memories!

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Interactive Audio Workshop Porto Digital

I recently returned from a visit to Porto Digital, a hub for new media companies in Recife, Brazil. I was invited to talk and give a one day workshop on sound for interactive installation as part of a week-long series of training opportunitiesfor local sound designers and artists. The event was sponsored by the Department of Trade and Investment, through the British Consulate in Sau Paulo, and focussed on sound and music for film, games and interactive installation. The workshop included practical work with camera sensing techniques (colour tracking and frame differenceing) and gestural control using wii controllers. The day ended in style with a roughy hewn but entertaining performance of Frevo, a local dance, with a colour tracked umbrella!

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BEAM in Kochi

Cathy Lane’s installation BEAM opens in Kochi in Kerala India on Sunday 8th February. The installation, created together with students from the Srishti media school in Bangalore, explores the lighthouses and maritime life of Kochi, through interviews with lighthouse keepers, field recordings and other found sounds. Sounds are mixed in the space according to real time AIS shipping data using custom software I developed for the piece, which allows the artists to assign sounds to different categories of shipping. the software tracks local shipping in real time and updates the mix according to the distances of ships from the local lighthouses as well as other data. The exhibition runs till 18th February at the Artry Gallery, Kochi and is satellite event of the Kochi Bienale.

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Bird:Cage at ICA

My installation Bird Cage was featured as part of the Parallax05 event at the ICA on 7th Feb. The event aimed to unite “irreconcilable” musical approaches in a single concert and featured installations, improvisations and composed works in and around the theatre space in the ICA, featuring music from composers such as Ed Jesson, Paul Newland, Gwyn Pritchard and Sam Hayden. It was organised by the composition and research departments of Trinity Laban Conservatoire.
Bird:Cage, originally created for the John Cage festival Out of the Cage in 2012, features a single partial of the voice of John Cage, presented as a chirping speaker cone in a bird cage and is a kind of forerunner to my installation Significant Birds. At the ICA it was presented in the entrance to the concert and merged into the performance through a new sound clip revealing the source of the sound through the gradual transformation of an increasing number of electronic virtual birds into the recognisable sound of Cage reading his famous Lecture on Nothing.

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Exploded Sound and Significant Birds paper

I have written a paper describing in detail the technical and aesthetic processes adopted in the Exploded Sound and Significant Birds installations. The paper appears in the current issue of the online sound arts journal Divergence Press and can be found here.
In it I discuss technical aspects of my approach to spatialising individual partials of complex sounds, alongside the aesthetic aims, describing the research process and some conclusions that have been drawn from experiencing the works in situ. The discussion locates the work within my wider research on navigable sonic structures.
The issue, edited by Eric Lyon, is devoted to approaches to novel approaches to sound spatialisation and also features a paper on the ZKM Klangdom, for which I am currently composing a new piece, growing out of a month long residency in Karlsruhe last summer.

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Sculpting Motion

Madi Boyd’s new solo show opens tomorrow, 17th January, with a private view from 2 – 4pm and thereafter each Saturday from 12 – 4pm. The show features two large installation works, The Point of Perception and Projective Distortions, in which moving image is combined with sculptural objects in intriguing ways, playing with our perception of movement and form. I have designed the sound for both pieces which interact sonically to create an immersive environment to complement the play of light in the space. The show is at the Gerald Moore Gallery in the grounds of Eltham College on Mottingham Lane, London, SE9 4RW until the 28th February. The exhibition is co-curated by Art x Neuroscience (AXNS) and you can find more about the exhibition on their website.

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ILLUSION moves to Charlotte

The Dublin Science Gallery’s touring exhibition ILLUSION will open in Charlotte, North Carolina on 3rd February. The exhibition features my installation Significant Birds, in which spoken word (a reading from Helmholtz) is disassembled into individual partials presented on little speakers in bird cages. The exhibition also includes a version of Madi Boyd’s The Point of Perception, for which I designed the sound (and which can currently also be seen in the Gerald Moore Gallery in Eltham).
The exhibition at the Discovery Place will be on until May 10th and follows a long run at the Reuben Fleet Science centre in San Diego. All pieces in the exhibition focus on forms of illusion, playing with and interrogating our perception. There is more about Significant Birds here.

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Kinetica Art Fair 2014

I have recently created a soundtrack for Madi Boyd‘s new installation Projective Distortions which can be seen at a the Kinetica Art Fair all this weekend. This is the first stage in her research project the Fickle Screen and consists of semi-abstract video projected onto rotating sculptural screens.
The show is on Saturday 18 October: 11am – 8pm and Sunday 19 October: 11am – 6pm at the Old Truman Brewery, Ely’s Yard entrance, 15 Hanbury St London, E1 6QR. Details of Kinetica can be found here and a promotional video can be seen here.

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Ludus at Colourscape

On Saturday September 13th the 25th Colourscape music festival will kick off with my piece Ludus which was their Rawsthorne Commission for 2009. Billed as Round 3 (Rounds 1 and 2 were performed in Clapham 2009 and Turku 2011) this vast musical game pits the Apollo Saxophone Quartet (veterans of 2009) against newcomers the Kaleidoscope Quartet! Ludus was created especially for Colourscape and treats the amazing structure as a giant board game. Players’ movements through the space are controlled by the throw of dice (usually by unwitting audience members) and the music is shaped by the colours the players land in according to rules of performance and computer processing which is controlled by wireless colour sensors. The central “performance space” is transformed into a games room and is particularly popular with families. Its a great day out and performances run from 1 – 5pm. For a taster you can watch the video of the 2009 performance here and you can download a full brochure for the colourscape festival from their website here.
Some of my suite The Seasons, an old Colourscape favorite will also be performed at the grand 25th birthday bash on the following Saturday 20th September.

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ZKM Residency

I’ve just returned from a month-long residency at ZKM the extraordinary centre for media arts and technology in Karlsruhe. I was there to continue my research around exploded sounds, the spatialisation of individual partials, which forms the basis of my installations The Exploded Sound and Significant Birds. I wanted to find ways of using these techniques in a more concert-oriented context. The installations rely on the ability of the listener to move around hearing sounds from different perspectives. My stay at ZKM offered me the opportunity of adapting the techniques to work with their Zirkonium software and 43-speaker sound dome.
I will post a full report shortly.

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Oxford Handbook of Interactive Audio

The Oxford Handbook of Interactive Audio has recently been published, containing my chapter Navigating Sound,
Locative and Translocational Approaches to Interactive Audio
. The chapter grew out of work I did with locative media (GPS enabled smartphones) at the Lansdown Centre for Electronic Arts at Middlesex University some years ago, in particular the locative drama Scratch which we made with the BBC and writer Penelope Skinner. The chapter explores the notion of a form of embodied interaction in which the listener navigates a virtual aural landscape built up around their starting location by the application. I discuss the precedents for this form of interaction, in which a temporal experience is created through spatial exploration, in developments in the 1950s musical avant-garde and the increasing dominance of a view of music (in particular) in which the listener is an explorer of a landscape rather than a passive observer. This draws on Johnson and Larson’s identification of two conceptual metaphors for music, one in which music flows past a stationary listener and the other in which the listener moves through a musical landscape.

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