Transparent Waves. Selected Compositions IV (1995-2021)

by Thomas DeLio

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1.	and of “of” (2021) 10:35		buy track
2.	e,nm (2004) I 00:37	info	buy track
3.	e,nm (2004) II 00:30	info	buy track
4.	e,nm (2004) III 00:26	info	buy track
5.	e,nm (2004) IV 00:36	info	buy track
6.	e,nm (2004) V 00:30	info	buy track
7.	Tangier (2020) I 02:10		buy track
8.	Tangier (2020) II 02:09		buy track
9.	Tangier (2020) III 02:10		buy track
10.	Tangier (2020) IV 02:14		buy track
11.	Transparent Wave I 02:15	info	buy track
12.	India (2019) I Chennai 05:00		buy track
13.	India (2019) II Jaipur 05:00		buy track
14.	India (2019) III Kashi 05:04		buy track
15.	Transparent Wave IV 02:52	info	buy track
16.	işharet (July, 2021) 02:20		buy track
17.	işharet (August, 2021) 02:44		buy track
18.	Transparent Wave VII 01:54	info	buy track
19.	nishaan May 2020 03:20		buy track
20.	nishaan July 2020 00:50		buy track
21.	nishaan October 2020 01:35		buy track
22.	Transparent Wave VI 02:45	info	buy track
23.	alama (January, 2021, a) 00:47		buy track
24.	alama (January, 2021, b) 00:47		buy track
25.	alama (January, 2021, c) 00:51		buy track
26.	Transparent Wave VIII (2007) 01:23	info	buy track
27.	dấu (March, 2021, a) 01:30		buy track
28.	dấu (March, 2021, b) 01:34		buy track
29.	as though, again (1995) 03:02	info	buy track

about

When does our experience of sound become "music"? In the tradition of John Cage and Morton Feldman, in which sounds – and silences – can just be themselves, Thomas DeLio plays with the spaces between your ears as much as the sounds he puts there.

In short, be advised this album is replete with clicks, silences, and brief sound events. Stripped bare, it plays with time and space and the minimum conditions for music. It gives the term ‘experimental music’ meaning.

DeLio’s approach to composition involves reducing the music’s surface to just a few sounds separated – pushed apart – by large quantities of silence; sound events pushed into isolation. Often people comment that his music is about silence. However, it is actually about sound. His use of silence to frame sound, so we may experience it in new ways, remains one of the hallmarks of his music. It is also about time. Time can be understood as a container into which sounds can be placed; and they can be placed at any moment within that container.

Thomas DeLio’s work emerges from a lifelong quest to transform how we experience sound as music. He is fond of repeating a William Carlos Williams comment about Gertrude Stein: “Stein has gone systematically to work smashing every connotation that words have ever had, in order to get them back clean.” DeLio, too, seems to have done just this: he has gradually moved away from notions of gesture and process in order to get sound back “clean.”

Transparent Waves, his fourth collection on Neuma, includes more than a dozen sparse-yet-compact electroacoustic and instrumental works. For over 20 years DeLio has been engaged with the poetry of P. Inman, one of the most significant experimental poets working today. But don’t expect a conventional setting of a lyric. The album opens with and of “of”, one of the most radical of their collaborations. The sounds of the composition are derived entirely from various readings of the text. However, rarely are the words from those readings recognizable. Rather, they are absorbed into the substance of the music: “The goal of each of my ‘settings’ of [Inman’s] poems is to create a parallel experience to reading each poem…”

Thomas DeLio (b. 1951) is a composer and theorist, internationally renowned in both fields, and is especially noted for his work in computer music. He has published numerous essays and books on music. A book about his work has been published by The Edwin Mellen Press as were two volumes of his collected essays. In 2011 the Special Collections Division of the University of Maryland Library established an archive, The Thomas DeLio Papers.

credits

released December 11, 2021

Mastering engineer: Antonino d’Urzo,
Opusrite Audio Productions, Hyatttsville MD.
e,nm was recorded by Alan Wonneberger at the
University of Maryland Baltimore County.
as though, again was recorded by Antonino d’Urzo,
Opusrite Audio Productions.
Design: Philip Blackburn

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about

Thomas DeLio Washington, D.C.

Thomas DeLio is a composer and theorist, internationally renowned in both fields. He has composed music for soloists, chamber ensembles and orchestra, and is especially noted for his work in computer music.

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