Between 2009–2018 Coppice has tended emergent music for specific pairings that interact in attraction and opposition. A genreless listening invitation. Specimen Music is unclassifiable music that only exists when listened to.
Coppice was founded by Noé Cuéllar and Joseph Kramer in Chicago in 2009, as an inquiry into the capture and generation of music and its relationship to its physical sources. Its compound studies include bellows and electronics (prepared pump organs, shruti boxes, and tape processors) between 2009–2014, and physical modeling and modular syntheses since 2014 – focusing on the interactions between direct and reproduced sound, and the perceptual links between original and emulated sources, respectively.
With sustained interest in sound’s capacity to cross domains, Coppice crafts pathways between music and technology in a cross-disciplinary language, resulting in work that is an overarching documentation of music in-formation. Operating in cycles of instrument construction and modification, recordings, and live presentations, its productions incorporate sound design, sculpture, installation, software, photography, and video.
Between 2009–2014 Coppice studied Bellows and Electronics and formed a sonic archive of “air and edges,” a resource for a series of performances and installations responsive to spaces and audience flow. Such presentations informed studio recordings that reframed spatial ideas for stereo listening, the reciprocity between audio production, spatialization, and composition being central to the development of live repertoire and discography.
Instrumentation included shruti boxes, accordions and 19th-20th century pump organs, altered in the spirit of Pierre Schaffer’s “commutating instrument” concept for regulating musical sound and noise, Harry Partch’s adapted reed organs, and John Cage’s prepared piano techniques; and portable double-deck tape machines modified into a performable sound effects processors, reminiscent of the accretionary tape diffusion and delay techniques of Terry Riley and Pierre-André Arcand.
Bellows and tape processes formed a unit of concurrent live and reproduced signals – a self-reproducing music that only works together.
Browse Glossary «Refraction: Bellows & Electronics 2009–2014»
Informed by work in Bellows and Electronics Coppice created a partition in practice in 2014, shifting its focus towards the pairing of Physical Modeling and Modular Syntheses, and classic keyboard instruments such as a 1970’s Fender Rhodes bass piano, Wurlitzer 200A Electric Piano, and Korg drawbar organ, each paired with their digital emulators.
The music was presented live in decentralized arrangements of multiple speakers reminiscent of François Bayle’s Acousmonium concepts for concert halls. A series of performances used speakers of different sizes and types, from portable speakers to guitar amps paired with their emulators on adjacent speakers, causing sonic illusions from original and represented sources coinciding.
The characteristics of Coppice’s collection of physical modeling instruments (or “impossible objects”) were inspired by spark-ignition, combustion, and the interactions between air-fire and heating-cooling. Other models include an emulation of a prepared pump organ, invoking the sonic qualities of previous work with actual pump organ preparations.
Browse Glossary «Reflection: Physical Modeling & Modular Syntheses 2014–2018»
Coppice’s self-enclosed system exhibits music production’s core techniques: audio recording and generation. Each ‘set-up’ or study–Bellows and Electronics, and Physical Modeling and Modular Syntheses–honing in on music’s process of reproduction and representation, respectively.
By joining instrumental restraints, sound processing, and high and low audio fidelities of multiple generations, Coppice’s music points out musical effects that balance between intentional and incidental causes.
The fragility of old-age bellowed instruments paired with modified cassette tape processors yields a kind of abstraction in which objects and their maintenance are forthright. By nature of its electronic origin, the synthesis music is bound to its relationship to the loudspeaker (and the loudspeakers’ relation to spaces and listener.) This concretion forms to render visually-dominant tensions between virtuality, simulation, remediation, and flattening – the traces of screens on memory and the senses.
The transposition of instruments and devices representative of each study period reflect interests in mechanical keyboard instruments and signal processing (pump organs becoming electric pianos, and tape processes becoming material signal processors of custom design.)
Emergent from acoustic and electronic signals, Coppice presents multi-sided trajectories towards the reduced listening of coupled sonic abstractions.
Coppice’s compositions begin from the characteristics of its sources: the conditions and mechanics of centenarian organs and deteriorating tape devices, and the modularity of electronic instruments and interfaces.
The compositional sequence of each study opens on simple pairings of instrumentation (Holes/Tract  and Preamble to Newly Cemented Dedication to Freedom ), which gradually become supplemented with effects and techniques developed in live performances and installations, culminating in complex conclusions as studio recordings (Matches  and Surreal Air Fortress ).
The series of works for Bellows and Electronics sprung from Vinculum, an archive of sonic artifacts that collects different perspectives of air and edges of a shruti box (a small bellowed organ), accordion, tubing, sphygmomanometer, and funnels. Sounds were recorded and reduced to highlight some aspects at the expense of others. The archive was resource for a series of performed installations that study the relationships between audio and audience in spaces: Copse (2010), Vinculum (Courses) (2011), and Vinculum (Coincidence) (2011). Selections from the archive are present in many other recorded compositions, most notably The Pleasance & The Purchase (2010), Bluing/Blueing (2012), Soft Crown (2014), and Bramble (2012).
Works for prepared shuti box and tape processes are collected in Holes/Tract (2012), and live works for shruti box and electronics in interaction with spatial acoustics are compiled in Spans: Three Perspectival Accounts (2015). The perspective of the Modified Boombox present in many of these compositions is foregrounded in Pied (2013), and isolated in Epoxy (2013).
Some works for prepared pump organs and tape processes were primarily developed as live repertoire, these include Compound Form (2011), Big Wad Excisions (2013), and Bypass (2014).
The navigable composition for software Soft Crown Transparencies (2014) makes available multiple listening perspectives of the interior of the prepared pump organ and of the multiple generations of tape processes. The consolidation of studio techniques and instrumentation developed between 2009–2014 is collected in Matches (2015), a story with many holes.
The works for Physical Modeling and Modular Syntheses evolved as an additive progression of techniques, beginning with short impromptus Preamble to Newly Cemented Dedication to Freedom (2017); with foregrounded convolution effects that falsify spaces and devices in Open On Occluded Conditions (2017); the inclusion of field recordings and more discernible musical features such as rhythms and melodies, carried by musical instruments and their emulators in Green Flame (2018); and the integration of vocals and lyrics in XYZ (2018), Surreal Air Fortress (2018), and Flywheel (2018).
Bellows & Electronics (2009–2014)
Physical Modeling & Modular Syntheses (2014–2018)
The video works Circumpass (2013) and Compass (2019) abbreviate each study through different ways of ‘sequential sampling.’
Circumpass compiles selected textures from various recorded compositions, while its images feature objects and materials from Coppice’s studio including free reeds, reed boxes, funnels, plastic tubing, drawing and remnants of sculptures.
Compass reactivates the software instruments designed for Newly Cemented Dedication to Freedom (2014–2018), sampling the collection while reframing the melodic theme from Green Flame (2018).
Parallel to its sonic development, visuals capture arrangements of Coppice’s instruments, materials, collection of objects and artifacts. Photographs both document and compose the music’s sources, drawing their viewing into the focus of the music.
Across many different configurations Coppice integrates dated and recent audio technologies, instrument construction and modification, software development, multi-channel speaker arrays for adaptable performances and installations (DIY venues, music clubs, stages, outdoor spaces, galleries, and museum halls.) Such presentations have taken into consideration the spaces between performers and audience, in variable arrangements of parallel, angular, radial, and decentralized orientations, still and in motion in part of both performers and audience.
Using modular sculptures of custom design, selected sounds are transduced into copper, brass, galvanized steel, concrete, cork, wood, glass, and acrylic – to re-identify electronic signals with the acoustic properties of each resonating material.
Coppice presents sounds in isolation, interaction, transition and interference in emergent musical forms, inviting the perception of sonic identity as fluid. The listener and their participation converge the multiple points of view of Coppice’s perspective on music.
There are advantages and disadvantages to electromagnetism.