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Street Level (Soundtrack for Walking)

by Tom Hamilton

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1.
Street Level 28:15

about

Tom Hamilton - electronics

In June of 1994 the St. Louis New Music Circle held a one-day event called St. Louis Alive. It consisted of a sequence of performances in several art galleries located in the city’s Central West End. Since the audience was to move between these galleries on foot, I thought to make a soundtrack that would connect the other fixed events, at times accompanying naturally occurring sounds and at other times replacing that ambience. I furnished cassettes of the piece and invited attendees bring their own portable players and headphones.

The music was entirely produced with the controllers and instruments that I owned in those days: Oberheim Cyclone, Electro-Harmonix Clockworks, Emu Proteus I, Oberheim Matrix 12, MOTU Performer, and Apple Mac IIci.

There was nothing in this changing musical underscore that specifically highlighted the landmarks along the original walking path. The relationships between the two were created by the imagination of the listener. In this sense, my concept was to modify the traditional scope of the soundwalk and its attention to natural sound, and explore the territory between discovery and description by making a continuous musical soundtrack.

I also felt that this music had potential to provide stimulus for many other mobile or even passive activities. Attendees at the original event took their cassettes home with them as an echo of the event and then had the means of extending the experience to other situations and locations. In this spirit (and at this late date) I am distributing Street Level once again, this time released in our current portable audio formats. Happy walking, running, driving, cooking, or just sitting still.

© & ℗ 1994, Tom Hamilton
Published by Data Day Music (ASCAP)

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released October 2, 2020

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Tom Hamilton New York, New York

Tom Hamilton has composed and performed electronic music for over 40 years. His ongoing series of concerts, installations and recordings contrast structure with improvisation and textural electronics with acoustic instruments. He often explores the interaction of many simultaneous layers of activity, prompting the use of “present-time listening” on the part of both performer and listener. ... more

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