Marc Sabat
| Marc Sabat | |
|---|---|
| Born |
22 September 1965 Kitchener, Ontario, Canada |
| Years active | 1970s – present |
| Website | Plainsound Music Edition |
Marc Sabat (born 22 September 1965 in Kitchener, Canada) is a Canadian composer based in Berlin since 1999.
He has made concert music pieces, works with video, and installations with acoustic instruments and, in some recent pieces, computer-generated electronics, drawing inspiration from investigations of the sounding and perception of small number relations (Just Intonation), American folk and experimental musics, Minimal Art. His work is presented internationally in radio broadcasts and at festivals of new music including the Bludenzer Tage zeitgemäßer Musik, Donaueschinger Musiktage,MaerzMusik, Darmstadt and Carnegie Hall. His works do not fall into a single personal style, but they generally share a crystalline clarity of texture and a seek to focus listeners' perception of sounding structures into a process of musical 'thinking'. Sabat is a frequent collaborator, having worked often with visual artists and other composers, including brother painter and filmmaker Peter Sabat. Other collaborators include John Oswald (composer), Martin Arnold, Nicolas Fernandez, Matteo Fargion, Wolfgang von Schweinitz, and Stefan Bartling. Most recently, since 2006 he has been working on a series of works placing compositions in scenery with works of Düsseldorf-based artist Lorenzo Pompa. Sabat's music may be heard on the Plainsound Music Edition YouTube Channel.
Since the early 1990s, Sabat has been reinvestigating harmony by studying the theory and musical applications of Just Intonation. Together with Wolfgang von Schweinitz he conceived and developed a method of staff notation for JI ratios called The Extended Helmholtz-Ellis JI Pitch Notation. He has also studied JI intervals empirically on string and brass instruments, developing a list of so-called "tuneable intervals": ratios within a three-octave span which can readily be tuned by ear using electronic or acoustic sounds. These intervals have been used in a number of recent compositions and also are the basis of a self-tuning computer algorithm ("Micromaelodeon") which is currently under development. The most recent version was implemented in April 2009 on a Haken Audio Continuum Fingerboard and programmed in MaxMSP.
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