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Reviews:
"… [his] music appears to best 'rhyme' with the current date on the calendar…"
"… youthful, sprite, and energetic…" (in reference to three Gluons: Boson, Graviton, and Electron)
~Jim Phelps on CDCM vol. 38 "Music from Bowling Green State University" in the Computer Music Journal vol. 35 no. 3
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"Nois[y]… intense…" Dan Tramte's Eight Gluons
~Michael Boyd on [the highlights of] SEAMUS 2010 in the Computer Music Journal vol. 34 no. 4
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"[ICMC 2011 concert 8] ended with Dan A. Tramte’s Nomos Delta, which started with a duet for spring sounds and scrapers, with a growing undercurrent of ringing gongs. I was enjoying this and the interactions when abruptly we were in glitches and fragments of noise and lots of silence. The piece evolved through other scenarios before providing arguably the best ending of the concert. I wanted to hear the piece again."
~John ffitch
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On Impulsive Moments:
"Once the initial quasi-instinctive movement of recoil has terminated, one begins to attend to how the different sounds are heaped up one over the other in aural layers that are not so easy to listen through, as it were, and which for this very reason start to create aurally something like a fully spatial environment with its three dimensions, its various distances and densities, the nearby and the farther away, foregrounds and backgrounds, heights and depths, corners and obtrusions one can hear around if one’s lucky, etc. And then, when one notices how the sounds are arriving from all directions, one also becomes aware of something very curious: it’s as though one’s time-consciousness has been suspended and one is no longer attentive to the movement of time, whether it’s by means of some mode of counting, by watching something successive flow by, or in fact by any other perceptible method of keeping track of it. One might go so far as to feel that in this space that’s both unsettled and unsettling, there’s simply no place for time, or, to put the point just a bit differently, that in this viscous zone in effect time has already been snuffed out; and then one might conclude that the intention of Tramte’s composition is to unveil a confused region where neither the signs of time nor the inner time-sense would be of any use in helping one to discern a way through or, more likely, away from it – if they even remain available to consult at all."
~Musicuratum
"… youthful, sprite, and energetic…" (in reference to three Gluons: Boson, Graviton, and Electron)
~Jim Phelps on CDCM vol. 38 "Music from Bowling Green State University" in the Computer Music Journal vol. 35 no. 3
———————————————————————————————————————————--
"Nois[y]… intense…" Dan Tramte's Eight Gluons
~Michael Boyd on [the highlights of] SEAMUS 2010 in the Computer Music Journal vol. 34 no. 4
———————————————————————————————————————————--
"[ICMC 2011 concert 8] ended with Dan A. Tramte’s Nomos Delta, which started with a duet for spring sounds and scrapers, with a growing undercurrent of ringing gongs. I was enjoying this and the interactions when abruptly we were in glitches and fragments of noise and lots of silence. The piece evolved through other scenarios before providing arguably the best ending of the concert. I wanted to hear the piece again."
~John ffitch
———————————————————————————————————————————--
On Impulsive Moments:
"Once the initial quasi-instinctive movement of recoil has terminated, one begins to attend to how the different sounds are heaped up one over the other in aural layers that are not so easy to listen through, as it were, and which for this very reason start to create aurally something like a fully spatial environment with its three dimensions, its various distances and densities, the nearby and the farther away, foregrounds and backgrounds, heights and depths, corners and obtrusions one can hear around if one’s lucky, etc. And then, when one notices how the sounds are arriving from all directions, one also becomes aware of something very curious: it’s as though one’s time-consciousness has been suspended and one is no longer attentive to the movement of time, whether it’s by means of some mode of counting, by watching something successive flow by, or in fact by any other perceptible method of keeping track of it. One might go so far as to feel that in this space that’s both unsettled and unsettling, there’s simply no place for time, or, to put the point just a bit differently, that in this viscous zone in effect time has already been snuffed out; and then one might conclude that the intention of Tramte’s composition is to unveil a confused region where neither the signs of time nor the inner time-sense would be of any use in helping one to discern a way through or, more likely, away from it – if they even remain available to consult at all."
~Musicuratum
