Author: tone

Artistic comments

These comments are meant to inform briefly about my techniques, the musical parameters I use, and roles in the musical interplay. These reflections are a part of my work as artistic researcher in the Norwegian Artistic Research Fellowship Programme, situated at Department of Music, NTNU. The full reflection on my research can be found here , and includes the same music and similar comments, but with a more detailed reflection. There are links to special issues in the full research text from my artistic comments. (Please use your web-browser to get back to this post.)

General info/explanation of terms:

In my artistic research, I have suggested some terms to describe what musical parameters and roles I work with, using live electronics:

Play with zones: playing with grades of naturalness and meaning in voice sound and processed voice sound. (Central zone and peripheral zone representing the two poles of extremes) See Chapter 3, especially 3.1.2

“Text”: Sounds like words, but with no semantic meaning (see 3.3)

I am categorising roughly four different types of processing (see 3.4.1):

– Broadening: adding something to the voice

– Narrowing: filtering the frequencies of the voice

– Placing: putting the voice in different rooms/spaces and distances

– Reconstructing: changing the voice sound more substantially

– Singer, speaker, soundsinger and soundmaker: a rough categorising of four different roles for the vocalist in the interplay. The two latter roles are- compared to the acoustic voice- made easier available within a much broader range, through the use of electronics:

– Soundmaker: Main focus on sound and/or its function, going away from the voice as a bearer of meaning through melody or speech, often in peripheral zone.

– Soundsinger: Between singer/speaker and soundmaker. This role includes the function of melody as commenting or accompanying the musical scenery, not being a traditional lead voice; lyrics as sound more than meaning – “language” without bearing semantics, processed sound creating a distance to the natural voice. It is somewhere in between the central and peripheral zone.

(See Chapter 4, especially 4. 2.)

Example: Numb,number: BOL/WESTERHUS/SNAH, from Numb,number, GIGAFON 2012

Here I am using sampled text-phrases to create one layer, and sampled text-phrases in the G/F patch to create another, while singing (with Snah!) (The comments in the Soundcloud-player refer to terms explained above.  Different instruments and techniques are described and discussed in Chapter 2 and 3.)

Links:

G/F patch: 2.2.5

Roland: 2.2.4

A library of sounds in 3.5

Artistic comments

These comments are meant to inform briefly about my techniques, the musical parameters I use, and roles in the musical interplay. These reflections are a part of my work as artistic researcher in the Norwegian Artistic Research Fellowship Programme, situated at Department of Music, NTNU. The full reflection on my research can be found here , and includes the same music and similar comments, but with a more detailed reflection. There are links to special issues in the full research text from my artistic comments. (Please use your web-browser to get back to this post.)

General info/explanation of terms:

In my artistic research, I have suggested some terms to describe what musical parameters and roles I work with, using live electronics:

Play with zones: playing with grades of naturalness and meaning in voice sound and processed voice sound. (Central zone and peripheral zone representing the two poles of extremes) See Chapter 3, especially 3.1.2

“Text”: Sounds like words, but with no semantic meaning (see 3.3)

I am categorising roughly four different types of processing (see 3.4.1):

– Broadening: adding something to the voice

– Narrowing: filtering the frequencies of the voice

– Placing: putting the voice in different rooms/spaces and distances

– Reconstructing: changing the voice sound more substantially

– Singer, speaker, soundsinger and soundmaker: a rough categorising of four different roles for the vocalist in the interplay. The two latter roles are- compared to the acoustic voice- made easier available within a much broader range, through the use of electronics:

– Soundmaker: Main focus on sound and/or its function, going away from the voice as a bearer of meaning through melody or speech, often in peripheral zone.

– Soundsinger: Between singer/speaker and soundmaker. This role includes the function of melody as commenting or accompanying the musical scenery, not being a traditional lead voice; lyrics as sound more than meaning – “language” without bearing semantics, processed sound creating a distance to the natural voice. It is somewhere in between the central and peripheral zone.

(See Chapter 4, especially 4. 2.)

Example:

The Western Wind (From Numb,number, GIGAFON 2012)

I start with accompanying looped samples on Roland, varied with filtering, (soundmaker.) I am singer for most of this tune, but in the improvised section I use a pitch shifter (Lexicon) with “text”, blending with the band, (soundsinger] peaking gradually out at he end. (The comments in the Soundcloud-player refer to terms explained above.  Different instruments and techniques are described and discussed in Chapter 2 and 3.)  Links:

Roland: 2.2.4

Bol/Westerhus/Snah 4.3.2

Artistic comments

These comments are meant to inform briefly about my techniques, the musical parameters I use, and roles in the musical interplay. These reflections are a part of my work as artistic researcher in the Norwegian Artistic Research Fellowship Programme, situated at Department of Music, NTNU. The full reflection on my research can be found here , and includes the same music and similar comments, but with a more detailed reflection. There are links to special issues in the full research text from my artistic comments. (Please use your web-browser to get back to this post.)

General info/explanation of terms:

In my artistic research, I have suggested some terms to describe what musical parameters and roles I work with, using live electronics:

Play with zones: playing with grades of naturalness and meaning in voice sound and processed voice sound. (Central zone and peripheral zone representing the two poles of extremes) See Chapter 3, especially 3.1.2

“Text”: Sounds like words, but with no semantic meaning (see 3.3)

I am categorising roughly four different types of processing (see 3.4.1):

– Broadening: adding something to the voice

– Narrowing: filtering the frequencies of the voice

– Placing: putting the voice in different rooms/spaces and distances

– Reconstructing: changing the voice sound more substantially

– Singer, speaker, soundsinger and soundmaker: a rough categorising of four different roles for the vocalist in the interplay. The two latter roles are- compared to the acoustic voice- made easier available within a much broader range, through the use of electronics:

– Soundmaker: Main focus on sound and/or its function, going away from the voice as a bearer of meaning through melody or speech, often in peripheral zone.

– Soundsinger: Between singer/speaker and soundmaker. This role includes the function of melody as commenting or accompanying the musical scenery, not being a traditional lead voice; lyrics as sound more than meaning – “language” without bearing semantics, processed sound creating a distance to the natural voice. It is somewhere in between the central and peripheral zone.

(See Chapter 4, especially 4. 2.)

Example:

Excerpt BOL: Nature is not beautiful,live at Teaterhuset Avant Garden 2011

This is an improvised sequence from a project with lyrics by Siri Gjære; here we are doing an “electro-transparency”- sequence. I am using Ring modulator effect and G/F patch, first as soundsinger with “text”, then mostly soundmaker through the rest of sequence (but with a trace of text through the reverb sometimes.) (The comments in the Soundcloud-player refer to terms explained above. Different instruments and techniques are described and discussed in Chapter 2 and 3.)

Links:
G/F patch: 2.2.6
Roland: 2.2.4
Nature is not beautiful in 7.6.2 
BOL: 4.3.1

Artistic comments

These comments are meant to inform briefly about my techniques, the musical parameters I use, and roles in the musical interplay. These reflections are a part of my work as artistic researcher in the Norwegian Artistic Research Fellowship Programme, situated at Department of Music, NTNU. The full reflection on my research can be found here , and includes the same music and similar comments, but with a more detailed reflection. There are links to special issues in the full research text from my artistic comments. (Please use your web-browser to get back to this post.)

General info/explanation of terms:

In my artistic research, I have suggested some terms to describe what musical parameters and roles I work with, using live electronics:

Play with zones: playing with grades of naturalness and meaning in voice sound and processed voice sound. (Central zone and peripheral zone representing the two poles of extremes) See Chapter 3, especially 3.1.2

“Text”: Sounds like words, but with no semantic meaning (see 3.3)

I am categorising roughly four different types of processing (see 3.4.1):

– Broadening: adding something to the voice

– Narrowing: filtering the frequencies of the voice

– Placing: putting the voice in different rooms/spaces and distances

– Reconstructing: changing the voice sound more substantially

– Singer, speaker, soundsinger and soundmaker: a rough categorising of four different roles for the vocalist in the interplay. The two latter roles are- compared to the acoustic voice- made easier available within a much broader range, through the use of electronics:

– Soundmaker: Main focus on sound and/or its function, going away from the voice as a bearer of meaning through melody or speech, often in peripheral zone.

– Soundsinger: Between singer/speaker and soundmaker. This role includes the function of melody as commenting or accompanying the musical scenery, not being a traditional lead voice; lyrics as sound more than meaning – “language” without bearing semantics, processed sound creating a distance to the natural voice. It is somewhere in between the central and peripheral zone.

(See Chapter 4, especially 4. 2.)

Example:

Excerpt from “Skylab Audiovision”, live at Verkstedhallen, 2009

This is from a performance where we worked with video and installation, improvised music where musical and visual structures and ideas was connected to a collection of chosen poems by Norwegian poet Rolf Jacobsen, translated by Roger Greenwald. (A demo video can be seen here)

Here I am using sampled loops from earlier speaker and singer – roles, as soundsinger/soundmaker– material, fading in and out and mixing levels. Especially towards the end of this sequence, I experience that the loops have an instrumental function even if the vocal sound is close to natural. (The comments in the Soundcloud-player refer to terms explained above.  Different instruments and techniques are described and discussed in Chapter 2 and 3.)

Links:

Roland: 2.2.4

Looping and sampling:  3.5 – discussing some challenges: 3.6