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 & Electronics (prepared pump organs, shruti boxes, and tape processors) between 2009–2014, and Physical Modeling & Modular Syntheses between 2014–2018; focusing on the interactions between direct and reproduced sound, and the perceptual links between original and emulated sources, respectively.

Its third study in Phonography & Fiction (in progress since 2018) scrutinizes the dynamics between its previous two studies, and their relationship to architecture and time: the acoustic preservation and obsolescence of the Yerkes Observatory’s refractor and reflector telescopes in Williams Bay being the locus of investigation.

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 experimental music in-formation. Operating in cycles of instrument construction and modification, recordings, and live presentations, its productions incorporate sound design, sculpture, installation, software, images, and video.

Vinculum (Courses) [Version Baschet]

Recorded live as part of Crystal Baschet Concerts with François and Bernard Baschet’s Aluminum Piano (1962), in conjunction with the exhibition Motor Cocktail: Sound and Movement in Art of the 1960s at the Museum of Contemporary Art in Chicago on August 26, 2011. Curated by MCA Marjorie Susman Curatorial Fellow Timothy Grundy.

Format: Format: Limited edition of 35 CD-Rs attached to hand-numbered cardstock packaged in a plastic sleeve
Label: Self-released
Artwork: Coppice, Nathan Keay (photographer)
Including: S.D. & H.W. Smith Pump Organ, Shruti Box (Pink), Sister, Speaker Boxes
Date: October 2011