C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Power, Karen 




Everyday environments and how we hear everyday sounds lies at the core of Karen Power’s practice with a continued interest in blurring the distinction between what most of us call ‘music’ and all other sound. She has found inspiration in the natural world and how we respond to spaces we occupy. She continually utilises our inherent familiarity with such sounds and spaces as a means of engaging with audiences. Resulting works challenge the listeners memory of hearing while simultaneously shifting focus and presenting new contexts for such sounds.
Some exciting recent projects include; Gorging Limpet, which is a collaborative project between sound and experimental film, a commission from UK pianist Andrew Zolinsky - focusing on the subtle individual tuning of pianos, The Arctic Circle Residency, hearS pace(2014) - an exploration into the world of Radio with a new interactive radio art composition, a large-scale commission for Bozzini Quartet, a DAAD Artist-in-Berlin Award, Instruments of Ice (2015) for QME + Arctic Ice, once below a double installation + soloists based on Berlin’s underground bunkers and veiled babble (2016) for Ensemble Mosaik + underwater Spree River sounds + a commission for Sonar Quartett merging string quartet with Laotian ricefields + Berlin. Current explorations include a fluxus-style work: those are the dangers of round vegetables in a major train station where players and environmental sounds became 1, a site specific radio art piece in Cork City Gaol commissioned by RTÉ Lyric fm, sounds like... for brass quartet + a largescale commission from Cork MidSummer Festival.



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Works in ISCM catalogue



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