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towards sound # 1 : OPEN CALL
Twenty-five composers and sound artists grant a peek behind the scenes of their creative process. Their contributions respond to the question : How do you transform the intangible aspects of sonic imagination to something more palpable preceding musical notation or actual sound? HilbertRaum Berlin 31.07.2020 - 09.08.2020 |
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Sketches of 'A Weightlessness Process (or how to become ethereal)’
The expression 'As if it were nothing at all' belongs to a book that has deeply inspired me during my research on timbre: Dust: a history of the small and the invisible by Joseph A. Amato. The piece is part of my current PhD research in composition at the University of Leeds in which I am studying timbre specifically from its multidimensional condition. Therefore, it responds to an exploration of mass as a timbral dimension, and I was focused on developing instrumental techniques that allowed me to approach the perception of weight reduction.
The expression 'As if it were nothing at all' belongs to a book that has deeply inspired me during my research on timbre: Dust: a history of the small and the invisible by Joseph A. Amato. The piece is part of my current PhD research in composition at the University of Leeds in which I am studying timbre specifically from its multidimensional condition. Therefore, it responds to an exploration of mass as a timbral dimension, and I was focused on developing instrumental techniques that allowed me to approach the perception of weight reduction.
THOMAS VAN WALLE
sketch Le plaisir à l`état brut
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sketch ' Zig Tak, Tik Zag '
sketchbook page
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sketch Ook wij zijn van hier (I)
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sketch Ook wij zijn van hier (IV)
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Important element of the sketches is SCALE. When I think of a composition, I like a holistic approach. Once I have this image, I feel more comfortable, it's easier to define also the small parts of the music. I like to think of sound as an organization of noise. I studied architecture. While I was studying architecture, I had already a specific interest in the architect Xenakis. I think you can see the influence of being an architect in my drawings / sketches.
Sketch for Rec-U-aime
This drawing is a preparatory sketch for the piece that I wanted to write following the recording of my grandmother's voice (https://www.fredericmathevet.com/rec-u-aime). I had in my possession the recording of her last anamnesis. Telling me, during a meal, these memories, I decided to engrave on 2 vinyls her failing memory (suffering from Alzheimer's, she no longer tells anything today). These two vinyls like two tabernacles or two reliquaries would be the basis of a sound piece dedicated to her. Rec-U-aime would be its title, replaying the sound of the “requiem” and marking with a play on words the sorcerer's recording process to which I set delivered.
Sketch for Cut to the bone
This drawing, like the whole Cut to the bone project still in progress, is an attempt to seek plastic methods of writing sound and musical. Strongly inspired by symmetrical anthropology (LATOUR, INGOLD), I am looking for my point of underdevelopment, that is to say, beyond musical language, beyond musical grammar. Drawing is often the way to imagine writing or performance situations that will allow me to reach this beyond.
This drawing is a preparatory sketch for the piece that I wanted to write following the recording of my grandmother's voice (https://www.fredericmathevet.com/rec-u-aime). I had in my possession the recording of her last anamnesis. Telling me, during a meal, these memories, I decided to engrave on 2 vinyls her failing memory (suffering from Alzheimer's, she no longer tells anything today). These two vinyls like two tabernacles or two reliquaries would be the basis of a sound piece dedicated to her. Rec-U-aime would be its title, replaying the sound of the “requiem” and marking with a play on words the sorcerer's recording process to which I set delivered.
Sketch for Cut to the bone
This drawing, like the whole Cut to the bone project still in progress, is an attempt to seek plastic methods of writing sound and musical. Strongly inspired by symmetrical anthropology (LATOUR, INGOLD), I am looking for my point of underdevelopment, that is to say, beyond musical language, beyond musical grammar. Drawing is often the way to imagine writing or performance situations that will allow me to reach this beyond.
Sketch for Migratory Echoes
Migratory Echoes (2016-2017) is a performance/installation work based on the following question: “Which sound come to mind when thinking about your home or motherland?” The response offered by the people of diverse origins, all temporary or permanent residents, serves as raw material to create a new textual sound composition which becomes both a collective and personal archive of voices, silences, breaths and discourses on the past: memories and dreams of dislocated migrants.
The Sketch shows Eramo’s reflection about her own “home” and its possible soundscape of fire, as well as the interview and reflections with Greek-Austrian musician Elena Kakaliagou about the Greek words “Estia” and “Patrida”, both terms describing the concept of home in different perspectives, from mythology through nationalism.
Migratory Echoes (2016-2017) is a performance/installation work based on the following question: “Which sound come to mind when thinking about your home or motherland?” The response offered by the people of diverse origins, all temporary or permanent residents, serves as raw material to create a new textual sound composition which becomes both a collective and personal archive of voices, silences, breaths and discourses on the past: memories and dreams of dislocated migrants.
The Sketch shows Eramo’s reflection about her own “home” and its possible soundscape of fire, as well as the interview and reflections with Greek-Austrian musician Elena Kakaliagou about the Greek words “Estia” and “Patrida”, both terms describing the concept of home in different perspectives, from mythology through nationalism.
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sketches for Bombastic / fragile
Recamán’s sequence is an exercise in recursion, with numbers looping forward and backward upon themselves. It’s been theorized that the sequence contains every number in existence—though that has not been definitively proven. I was inspired by this concept of recursion, of looking inward, and wanted to dive into the numbers at the start of the sequence to more intimately understand them. I found that by working with the numbers visually, some patterns emerged.
For one, the sequence begins very inconsistently, with the opening failing to form a consistent pattern until it reaches 13. But at that point, the sequence takes off with loops of increasing and decreasing lengths spiraling within themselves: this is visible in the diagram as the progressively larger concentric circles. This led me to a conception of alteration between reflective and extroverted sections with alternating lengths, one slowly growing shorter and the other expanding over the piece: this conception is graphed at the bottom of one of the pages as steep steps with the sequence numbers included for reference.
Recamán’s sequence is an exercise in recursion, with numbers looping forward and backward upon themselves. It’s been theorized that the sequence contains every number in existence—though that has not been definitively proven. I was inspired by this concept of recursion, of looking inward, and wanted to dive into the numbers at the start of the sequence to more intimately understand them. I found that by working with the numbers visually, some patterns emerged.
For one, the sequence begins very inconsistently, with the opening failing to form a consistent pattern until it reaches 13. But at that point, the sequence takes off with loops of increasing and decreasing lengths spiraling within themselves: this is visible in the diagram as the progressively larger concentric circles. This led me to a conception of alteration between reflective and extroverted sections with alternating lengths, one slowly growing shorter and the other expanding over the piece: this conception is graphed at the bottom of one of the pages as steep steps with the sequence numbers included for reference.
I draw a lot in my sketchbooks as well and sometimes it's envisioning something on the horizon - something that hasn't become very specific yet but is being tested - explored in a way. I do animated notation mostly, screen scores on a computer screen but they are usually more conventional looking than this. The sketch above however is a sandbox, from a "thinkpad" so to speak. It's also exploring looks . . . of a score. The other two sketches are studies in orchestration.
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sketch fpr Hologram (detail)
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Sketches for Hologram (excerpt)
Hologram is a journey throughout an imaginary sound-world. The piece is inspired by the holographic theory in astrophysics, which proposes that the 4-dimensional world we experience (3 spatial dimensions plus time) might actually be the boundary of a higher multidimensional space-time, much like a 3D holographic image works (with 3D information stored onto a 2D surface).
What are the dimensions of sound and music? Can we play with them to suggest higher or hidden sonic dimensions? These images are different attempts to map out the science and subsequently the sonic ideas inspired by the science in order to find the structure of the piece that would best communicate and organize these ideas.
Hologram is a journey throughout an imaginary sound-world. The piece is inspired by the holographic theory in astrophysics, which proposes that the 4-dimensional world we experience (3 spatial dimensions plus time) might actually be the boundary of a higher multidimensional space-time, much like a 3D holographic image works (with 3D information stored onto a 2D surface).
What are the dimensions of sound and music? Can we play with them to suggest higher or hidden sonic dimensions? These images are different attempts to map out the science and subsequently the sonic ideas inspired by the science in order to find the structure of the piece that would best communicate and organize these ideas.
Sketches fpr Radiolarien
These experimental embroidered sketches are studies of unicellular organisms in the waters - diatoms and radiolaria. These portraits are constantly emerging in my research on the work of the self-taught researcher Margaret Gatty (* 1809, † 1873) who described seaweeds of the British coast in the two-volume work "British Sea Weeds" and also gave detailed enthusiastic instructions on the collection and preservation of algae. In order to help me to better understand Gatty's study objects and their structure, I am creating these miniature pictures of the smallest building blocks of algae. I see them as a structure for sound miniatures, which I plan to present in the future in a walk-in "audio herbarium".
These experimental embroidered sketches are studies of unicellular organisms in the waters - diatoms and radiolaria. These portraits are constantly emerging in my research on the work of the self-taught researcher Margaret Gatty (* 1809, † 1873) who described seaweeds of the British coast in the two-volume work "British Sea Weeds" and also gave detailed enthusiastic instructions on the collection and preservation of algae. In order to help me to better understand Gatty's study objects and their structure, I am creating these miniature pictures of the smallest building blocks of algae. I see them as a structure for sound miniatures, which I plan to present in the future in a walk-in "audio herbarium".
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sketches for Nomad
With every new piece, I begin with a structure: I work with mathematical processes, in particular Iam interested in the idea of exploring all combinations within a given set of parameters, and of superimposing a process on itself in multiple layers. Visually, my thinking takes the form of lines and numerical patterns. I sketch sequences, permutations and geometrical forms, constantly on the look out for something That might be interesting as the basis of harmonic or rhythmic material. I want the process behind a piece to be clearly perceptible, so I am drawn to simple forms and shapes.
Once I have a structure, my thoughts turn to how it might be rendered as music. Sometimes it will be obvious, other times it requires experimentation. The question at the forefront of my mind is always: How does the musical material impact on the perceptibility of the process? My aim is for it to be as transparent as possible.
With every new piece, I begin with a structure: I work with mathematical processes, in particular Iam interested in the idea of exploring all combinations within a given set of parameters, and of superimposing a process on itself in multiple layers. Visually, my thinking takes the form of lines and numerical patterns. I sketch sequences, permutations and geometrical forms, constantly on the look out for something That might be interesting as the basis of harmonic or rhythmic material. I want the process behind a piece to be clearly perceptible, so I am drawn to simple forms and shapes.
Once I have a structure, my thoughts turn to how it might be rendered as music. Sometimes it will be obvious, other times it requires experimentation. The question at the forefront of my mind is always: How does the musical material impact on the perceptibility of the process? My aim is for it to be as transparent as possible.
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LE REGISTRE - Dédale
Dédale - Audio file (May 28th 2018 - December 31st 2019) - 466’ Every day, I wake up. At this very moment, I think : as the years go by, I begin to understand more clearly how my way of being in the world is structured, but also how my way of seeing everything (or almost everything) exists through the prism of creation. In the process of invention, what matters most to me is the fabric of this invention. So, I write in the register what has emerged from the previous day. I archive, I forge links, I build, I create. The register, month after month, becomes a meta-work, or rather an imaginary mediatheque in the form of an ever-forming maze. Le Registre (copyright Maison ONA - Paris / courtesy of La Non-Maison) |
LE LIVRE DES NOMBRES
Livre 1 Nombres 25
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Livre 1 Nombres 26
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Livre 1 Nombres 27
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LE LIVRE DES NOMBRES: Speaking of the blank page’ anxiety is an understatement: it’s simultaneously the vision of both the empty and the filled. To consider it as well, this page should not be seen only as a piece of paper. Once the consciousness misleads, or enlightens – it’s one’s choice – the page becomes an infinite white scroll, which unrolls time: the time taken to write or compose, but also every second passing by one by one with none tones given. The book of Numbers is the poetic layout of this abyss, and its “mise en abyme”. It’s simultaneously the writing’s proper narration, and the statement of its difficulty. Le Livre des Nombres (copyright Maison ONA - Paris / courtesy of La Non-Maison) |
Sketch for Echoes/27/Idyll
I created this in relation to my work Echoes/27/Idyll. I drew this during the writing process of the work as a way to channel and examine the energy that I was seeking in the piece—a certain kind of freneticism and fever-dream like quality—fervent but still grounded into its fundamental elements (Echoes, 27, and Idyll). This ultimately also served the function of being my score cover for the work.
I created this in relation to my work Echoes/27/Idyll. I drew this during the writing process of the work as a way to channel and examine the energy that I was seeking in the piece—a certain kind of freneticism and fever-dream like quality—fervent but still grounded into its fundamental elements (Echoes, 27, and Idyll). This ultimately also served the function of being my score cover for the work.
Working in Sound, 2017
The block of 12 photographs shows my physical and conceptual work in the studio (standing in the midst of tapes) - and was created in the context of my “Audio Tape Sculptures“, a series of site-specific and sculptural works with sound (see www.timo-kahlen.de), which I have been working on since 1996.
The graphic linearity of the audio tapes flowing across the floor is at the centre of this series of images. Photographic recordings often serve me as a sketchbook: of initial or temporary versions, of intermediate stages, or setups and experiments, which form the basis of further (in this case installative) new sound works and exhibitions.
The block of 12 photographs shows my physical and conceptual work in the studio (standing in the midst of tapes) - and was created in the context of my “Audio Tape Sculptures“, a series of site-specific and sculptural works with sound (see www.timo-kahlen.de), which I have been working on since 1996.
The graphic linearity of the audio tapes flowing across the floor is at the centre of this series of images. Photographic recordings often serve me as a sketchbook: of initial or temporary versions, of intermediate stages, or setups and experiments, which form the basis of further (in this case installative) new sound works and exhibitions.
I composed these works last year at the same time I was working on an album of sound pieces, titled Conquering King Kong, by my sound project, RNL.
My way of thinking in sound composition mirrors the way I think in visual composition. Pieces are assembled, blended together, ripped apart, interrupted, fragmented, and ultimately made whole together, through a process of exploration. This type of direct collage is different from the montage techniques in my sound works—it is more direct, since the moves are permanent. Once a piece is glued down, it can’t usually be removed. In many senses, therefore, making these works served as a kind of rehearsal, warming up my creativity in a more casual setting, where rough edges were allowed, and I couldn't fuss too much over decisions.
My way of thinking in sound composition mirrors the way I think in visual composition. Pieces are assembled, blended together, ripped apart, interrupted, fragmented, and ultimately made whole together, through a process of exploration. This type of direct collage is different from the montage techniques in my sound works—it is more direct, since the moves are permanent. Once a piece is glued down, it can’t usually be removed. In many senses, therefore, making these works served as a kind of rehearsal, warming up my creativity in a more casual setting, where rough edges were allowed, and I couldn't fuss too much over decisions.
JAMES ETHERINGTON
The squiggly arrow pointing at Hilary was really meant for me – to tell myself that someone wanted something from me. I was trying to remind myself of my impressions of Hilary, so as to write for him. But the shaking violence of the line has nothing to do with my sense of Hilary or with what I thought to write for him. It’s more me telling myself to get on with it.
The scrap with adhesive tape on it was an attempt to try and get at a long form I had set my heart on, an hour-long solo that would hold the listeners’ ears. I was aiming for something continually developing while essentially remaining the same, and this pyramid – widening out from top to bottom in what I thought of as a spiral – was my way into the compositional process. Once I had the first few notes, I put the sketch aside.
The tape is a trace of the impulse to archive, to document, to preserve. Why does it seem important to remember the search, the doubt?
The tape is a trace of the impulse to archive, to document, to preserve. Why does it seem important to remember the search, the doubt?
The notepad with compass directions was another attempt to concretise the vague sense of a form, this time three lines closely overlapping in a kind of standing flow. I thought I could get at it by mapping the t’ai chi sequence I practise, and I played around with this on holiday. But it was no help. In the end I found a simpler way of doing things.
Sketchbook drawing verbalizing sound for a book/ performance project entitled bird | songs which places sounds in both empty and occupied spaces
Sketch for Klangfarbe auf schwingendem Körper
The piece „Klangfarbe auf schwingendem Körper“ (2019) for Violin and Live-Electronic drew inspi-ration from the works of the painter Heinz Handschick. His paintings are achieved through a particular technique and often resemble an accumulation of dots and other abstract elements making a bigger picture. Imitating this impression I had, I used a loop machine and accumulated sounds in the loop according to a sketch that I drew to visualise the final result.
The piece „Klangfarbe auf schwingendem Körper“ (2019) for Violin and Live-Electronic drew inspi-ration from the works of the painter Heinz Handschick. His paintings are achieved through a particular technique and often resemble an accumulation of dots and other abstract elements making a bigger picture. Imitating this impression I had, I used a loop machine and accumulated sounds in the loop according to a sketch that I drew to visualise the final result.
Two sketchbooks
I think my need to write and sketch during the creative process started as soon as I was working on my first piece. I can read now through the years, what thoughts are staying and which ones went away, and so also with my worries. And actually, I don't know anymore if I am writing my composition journals for the Helena of the present, or the Helena of the future.
I think my need to write and sketch during the creative process started as soon as I was working on my first piece. I can read now through the years, what thoughts are staying and which ones went away, and so also with my worries. And actually, I don't know anymore if I am writing my composition journals for the Helena of the present, or the Helena of the future.
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... how I think sound
For me, when improvising with groups in various sizes, the focus has shifted to interpersonal, communicative aspects of musical interaction. Associated with this is the growing organizational approach to music, the area between composition and improvisation. Working with visualizations has proven to be a particularly exciting field in order to communicate my ideas of sound, sound development, form, but also of general approaches or behavior during improvisation. In addition to creating direct levels of association, the visualization of the musicians' movements plays un important role.
For me, when improvising with groups in various sizes, the focus has shifted to interpersonal, communicative aspects of musical interaction. Associated with this is the growing organizational approach to music, the area between composition and improvisation. Working with visualizations has proven to be a particularly exciting field in order to communicate my ideas of sound, sound development, form, but also of general approaches or behavior during improvisation. In addition to creating direct levels of association, the visualization of the musicians' movements plays un important role.
THE POST ITS
One day I took a walk in the forest and while walking I heard something inside me that, although still distant and quite vague, felt very inspiring. I wasn’t able to capture it more clearly and “save” it in (musical) writing but strangely I wasn’t afraid of losing it again – what I feared more was forgetting that I had had this “vision” or impression at all. I also felt that it would need time to develop and that it would be dangerous to try to transform it into something more concrete and musical too early. Thus, I ended up setting up these post-its, step by step, to keep in mind what I wanted and to specify it slowly, waiting for the music’s time to come – something I actually had never done this way before.
One day I took a walk in the forest and while walking I heard something inside me that, although still distant and quite vague, felt very inspiring. I wasn’t able to capture it more clearly and “save” it in (musical) writing but strangely I wasn’t afraid of losing it again – what I feared more was forgetting that I had had this “vision” or impression at all. I also felt that it would need time to develop and that it would be dangerous to try to transform it into something more concrete and musical too early. Thus, I ended up setting up these post-its, step by step, to keep in mind what I wanted and to specify it slowly, waiting for the music’s time to come – something I actually had never done this way before.
THE NOTEBOOK
This notebook is very dear to me and has accompanied me from the end of August 2018 until April 2020, anytime and anywhere. As to all its predecessors I happily would confide my compositional and musical ideas and thoughts to it, mostly in the shape of notated music, sometimes as written text, but even in other forms like scribbled, painted lines.
Wherever I go, having this book with me, would give me joy and also a strange kind of security or homelike place. Its size made it possible to take it to along on really any kind of trip.
Unfortunately, Moleskine has stopped to produce notebooks with staves in this handy A6 format. Since I’ve not discovered notebooks of other brands in A6 yet either I have started adjusting to taking notes in a larger book. It is interesting (and maybe even scary) to notice how attached and accustomed I have become to taking notes in a certain format after having used the same kind of book in more than 10 years.
This notebook is very dear to me and has accompanied me from the end of August 2018 until April 2020, anytime and anywhere. As to all its predecessors I happily would confide my compositional and musical ideas and thoughts to it, mostly in the shape of notated music, sometimes as written text, but even in other forms like scribbled, painted lines.
Wherever I go, having this book with me, would give me joy and also a strange kind of security or homelike place. Its size made it possible to take it to along on really any kind of trip.
Unfortunately, Moleskine has stopped to produce notebooks with staves in this handy A6 format. Since I’ve not discovered notebooks of other brands in A6 yet either I have started adjusting to taking notes in a larger book. It is interesting (and maybe even scary) to notice how attached and accustomed I have become to taking notes in a certain format after having used the same kind of book in more than 10 years.
Gedichte Rezepte Empfehlungen
I am working as a soundartist creating sitespecific installations and in-situ performances using found objects and homemade wind- and percussion instruments. One thing which accompanies, precedes or results from these performances and installations is my graphical work. It mostly adresses ways of imagining sound and listening by paraphrasing its preconditions and playing with words.
I am working as a soundartist creating sitespecific installations and in-situ performances using found objects and homemade wind- and percussion instruments. One thing which accompanies, precedes or results from these performances and installations is my graphical work. It mostly adresses ways of imagining sound and listening by paraphrasing its preconditions and playing with words.
Fountain – Version 2017, for 5 + x performers, 10 + y plastic cups, 1 bottle of water and audience
On these two pages of my notebook are some scetches on the extended version of my composition "Fountain". I was thinking about the arrangement of performers and audience for a spatial perception of sounds and interactions. And I tried to organize the circulation of water within the group of 5 performers by setting numbers for the left and right hand. Ragrding the details of these considerations there osn't much that I can say today, but it is typical for my work to make notes on performative sound actions in space. Based on these thoughts the piece finds its form and structure in a later stage of the process.
On these two pages of my notebook are some scetches on the extended version of my composition "Fountain". I was thinking about the arrangement of performers and audience for a spatial perception of sounds and interactions. And I tried to organize the circulation of water within the group of 5 performers by setting numbers for the left and right hand. Ragrding the details of these considerations there osn't much that I can say today, but it is typical for my work to make notes on performative sound actions in space. Based on these thoughts the piece finds its form and structure in a later stage of the process.
Sketch for The Hall Of Twelve Columns for string quartet
My music combines minimalist phase procedures and other types of logical processes with "non-doubling" harmony and rigorous, quasi-serial aesthetics. I don't use software so I generate a lot of sketches, calculations etc on paper.
The sketch on top shows the original innovation underpinning all of my recent composition, which develops from the broken symmetry of the 5/7 square grid in the top left. The second sketch shows the original tabulation I used to produce the rough score of my 2019 work "The Hall Of Twelve Columns". On the right of this table is a scheme of metric modulations in the ratio 5/7 which I abandoned in the final version.
My music combines minimalist phase procedures and other types of logical processes with "non-doubling" harmony and rigorous, quasi-serial aesthetics. I don't use software so I generate a lot of sketches, calculations etc on paper.
The sketch on top shows the original innovation underpinning all of my recent composition, which develops from the broken symmetry of the 5/7 square grid in the top left. The second sketch shows the original tabulation I used to produce the rough score of my 2019 work "The Hall Of Twelve Columns". On the right of this table is a scheme of metric modulations in the ratio 5/7 which I abandoned in the final version.
JAMES FULKERSON
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When I Plan A New Piece
Compositionally, I think of sound as a plastic medium, layers of clay to be spread or paint textures to be spread. I seldom think of melody (melodic material) or specific points in the pitch spectrum. “Air Sounds”, “Whistle Tones”, “Reed Sounds” … these are sound worlds which I will eventually ‘step into’ when I move to creating an exact piece or environment.
Compositionally, I think of sound as a plastic medium, layers of clay to be spread or paint textures to be spread. I seldom think of melody (melodic material) or specific points in the pitch spectrum. “Air Sounds”, “Whistle Tones”, “Reed Sounds” … these are sound worlds which I will eventually ‘step into’ when I move to creating an exact piece or environment.
Sketch for a miniature, composed for the musicians Alfian Emir Adytia (cello) and Kanako Abe (piano) (they live and work in Holland).
For the composition, the letters of the last names were used and converted into pitches accordingly. The title is a combination game of the syllables of their last names.
For the composition, the letters of the last names were used and converted into pitches accordingly. The title is a combination game of the syllables of their last names.