Danielle Savage makes electroacoustic and acoustic music & sound. She is interested in creating participatory experiences which transmute art-as-consumption: sound as speculation, practice, communication, research, ritual; sound as liberation or altered space. She studied composition with Georges Dimitrov, Sandeep Bhagwati, Rosemary Mountain, and José Luis Hurtado. She has had her work presented at: Festival la Mansión de la Cantante Muda, Mixtape #IWA, Festival Muchas Músicas, Foro De Música Nueva, University of New Mexico, Visiones Sonoras, and 60×60 festival, among others, and has performed at: Montreal/ New Musics, Festival Días Diseño, Radio WWOZ New Orleans, Santa Barbara Public Television, ArtsWells Festival, Lux Magna Festival, Kulaks Woodshed Hollywood, and more. She obtained a BFA Specialization in Composition followed by a BFA in Electroacoustics at Concordia University in Montréal, QC, where she currently resides.
My sonic work plays with the paradox of “natural” vs. “technological”, seeking to blur the distinction and reside in the ambiguous between, while remaining critical of all forms of what I’m calling sonic imperialism. Drawing inspiration from disparate sources, such as the Deep Listening (2005) practices of Oliveros, the intricate, micro-edited soundworlds created by Trevor Wishart, acousmatic forms to soundscapes, minimalism to maximalism, and New Music to traditional folk forms, I aim to share a participatory experience for all involved, be it a multichannel setup, a collaborative installation, or a traditional performer-audience concert. I feel there is a need for altered space (experiences of an altered state of mind due to participation in profound artistic/ ritualistic/ communal moments) in my own, as well as others’, lives, and I am interested in exploring how to evoke this in different settings. Schafer coined the term shizophonic as “the splitting of a sound from its source” (1969). I work with this split, editing a given sound until it has moved through various levels of abstraction, becoming a new, reified entity. In my work, I utilize both “natural” sounds (i.e. field recordings and/ or traditional forms of music), as well as these hyper-edited entities- paying homage to the exquisite soundscapes of our world just as they are, as well as push my own ears to develop techniques for creating- based on hearing new timbres, temporal structures, and musical forms. In a sense, all of my work is a personal journey of learning how to listen. I seek to encourage other’s participation in this journey, facilitating a sensitization to the sonic environment, and thus ourselves.