NOMINATION: Work of the Year - Electroacoustic / Sound Art
The Electroacoustic / Sound Art category is for works which utilise and manipulate digital and/or analogue sound as the primary medium. The work may be interdisciplinary (incorporating more than one media). It may include, but is not limited to; sonic art, electronics, interactive work, generative music, environmental sound, installations, soundscapes, electroacoustic music, and intermedia works.
A work is defined as a single complete musical composition, or expression. This includes music with movements or sub-works (i.e. song cycles), installations, and real-time compositions (improvised music).
If you believe your work to be nominated in the wrong category or the details of your nomination to be incorrect, please contact the AMC via email at awards@australianmusiccentre.com.au before proceeding with the nomination.
Art Music Award guidelines →
Nominee
Christine Pan
Title of the work
Pilot Q
Performer
Robert McIntyre
Performance Date
29/6/2024
Venue
Tempo Rubato
Nominator Statement
I proudly nominate Christine Pan's composition Pilot Q for Electroacoustic / Sound Art category for this years Art Music Awards. This work is not only a technical marvel but also a deeply personal and poignant reflection on the queer experience, making it a unique and profound contribution to the electroacoustic genre, particularly regarding its commentary on the on the nuances of queer platonic friendships and the often invisible harm we experience when these face adversity or break down.
In Pilot Q, Christine masterfully combines the rich, resonant tones of the flute with layered electronic textures, creating an immersive soundscape that blurs the boundaries between the acoustic and the electronic. The work is a musical tribute to every queer individual who has ever felt the need to prove they deserve love just as they are, speaking to the struggle of navigating between compulsive heteronormativity and the internal battles of self-doubt and self-gaslighting, where one constantly seeks validation of their queerness as something authentic, not merely a phase or trial with the works structure mirroring this emotional journey.
Pilot Q moves through a cacophony of repetitive gestures, building towards a cathartic climax, before finally settling into a bubbly, calm resolution of performance and self. This progression is not about proving anything but rather about embracing one's identity in all its complexity a debut of self. The interplay between live performance and tape is not merely a just an artistic feat, but a profound expression of Pan's emotional landscape, allowing the listener to experience the vulnerability, chaos, and ultimately, the peace that comes with accepting one's authentic self in the process.
Pilot Q is notable work that I am incredibly proud to have commissioned, premiered and recorded as a flautist, which continues to also afford me (and others) the powerful ability to unapologetically reflect on the queer experience while pushing the boundaries of sound art. Christines unflinching exploration of both the emotional and technical aspects of this piece is compelling, making it a strongly deserving candidate for the Electroacoustic / Sound Art category.
Nominee
Christine Pan
Title of the work
Pilot Q
Performer
Robert McIntyre
Performance Date
29/6/2024
Venue
Tempo Rubato
In Pilot Q, Christine masterfully combines the rich, resonant tones of the flute with layered electronic textures, creating an immersive soundscape that blurs the boundaries between the acoustic and the electronic. The work is a musical tribute to every queer individual who has ever felt the need to prove they deserve love just as they are, speaking to the struggle of navigating between compulsive heteronormativity and the internal battles of self-doubt and self-gaslighting, where one constantly seeks validation of their queerness as something authentic, not merely a phase or trial with the works structure mirroring this emotional journey.
Pilot Q moves through a cacophony of repetitive gestures, building towards a cathartic climax, before finally settling into a bubbly, calm resolution of performance and self. This progression is not about proving anything but rather about embracing one's identity in all its complexity a debut of self. The interplay between live performance and tape is not merely a just an artistic feat, but a profound expression of Pan's emotional landscape, allowing the listener to experience the vulnerability, chaos, and ultimately, the peace that comes with accepting one's authentic self in the process.
Pilot Q is notable work that I am incredibly proud to have commissioned, premiered and recorded as a flautist, which continues to also afford me (and others) the powerful ability to unapologetically reflect on the queer experience while pushing the boundaries of sound art. Christines unflinching exploration of both the emotional and technical aspects of this piece is compelling, making it a strongly deserving candidate for the Electroacoustic / Sound Art category.