site-specific composition

site-specific composition

Interview with Carolyn Chen

backgroundPosted by Apr 10, 2018 12:33
Carolyn Chen is a composer living in the USA. Since 2004 she has composed and performed her 'music for people' works on locations outside the concert hall. In February 2018 she was in Belgium for a presentation at the Sound & Participation symposium, organized by Q-O2, Ictus ensemble and the School of Arts Ghent. This is the interview that we had in Ghent.

HR: In your work Human Windchimes performers wear clothes of recycled materials. These clothes are instruments, accentuating the movement of the performers. What place do you need to perform this work?

CC: I hadn't thought what place I would need. The performance opportunity came up and I adapted to whatever space I had. There were performances in a school building and also a loft. In the end I was very glad for the experience of doing Human Windchimes on a sidewalk. This version was so much better because of the liveness of the environment. There was so much to respond to. Even the fact that the performers were being ignored for the most part was valuable to me, because somehow they were more authentic as a part of nature: they were just a part of the world. There was so much more to look at – suddenly the sidewalk was so much more alive to me than it would have been. I was really grateful for that experience. I think most other performances happened at a museum, library or some kind of art space but I like the street because it’s an unplanned meeting. People can just arrive without even knowing beforehand that something is going to happen.

HR: Is it the liveness of the world that attracts you in making music for places outside the concert hall?

CC: Yes, somehow it reminds me of the miraculousness of the world at large, how full of opportunity it is. This is hard to notice on a constant basis because you would never get anywhere, never get anything done. It is like a surprise party (laughs): you see a space with the idea that something might happen, you can surprise people with something they weren't looking for; and the event will be spacious enough so that they can also move through it and get on with their lives.

HR: How different is composing, preparing and rehearsing a piece outside the concert hall, compared to one for a concert hall performance?

CC: For example, if a group says that they are interested in performing Human Windchimes, I feel like there is a lot of trust that I can bestow on them without having met them. A text score for an unconventional space is a different kind of communication, usually there is a lot more openness. Maybe that is not necessarily true, you could have a text score that is very specific. It is just not asking for a traditional musical interpretation of time and stuff. A text score is designed to spark the imagination, this is what you hope as a composer. Maybe you can leave a little bit more unsaid with greater optimism that somebody will take it as a freedom rather than an abnegation of responsibility. A text score asks more of the person interpreting it, it requires more.

HR: Is this an openness or a specific way of listening to the world?

CC: Maybe it is a willingness to seize agency and creative opportunity as you see it. This kind of imagination is not asked for in classical music and it is not necessarily a traditional part of the training. It was not part of my training, and I feel like I had a very classical music education. If you ask this willingness and imagination from people that are not used to this, it can make them feel uncomfortable; but if people like doing this, then it can be more fulfilling then having everything written out. If you play Beethoven your whole life for years and years, of course you find freedom in it and ways to interpret it. Over the amount of time that you take with this music, you are looking through different layers and making the piece for yourself. For most contemporary instrumental music that kind of time and attention is not part of the infrastructure. You don't have that many performances, sometimes not even a second performance. There is a lot of attention and funding for premières and commissions and after that it is over. People learn scores quickly and are able to put them together in a convincing way on very little rehearsing time. I have respect for this kind of training but it is a different kind of training.

HR: Imagine an ensemble would be interested in performing your Human Windchimes or Supermarket Music. Which performance qualities would you expected from them?

CC: A lot of these pieces have been performed by people who were not musically trained. I think the main requirement is a willingness to invest your mind, the fullness of your personality and your attention. In performances of Human Windchimes two out of five performers were not from music. One of them was the most confrontational one. She was the most active and brought so much personality to the part. She was really in full character. It is mainly willingness, I think anyone can do these things, there is a category of things that don't need traditional music training.

HR: Is it possible to share such a living and ephemeral performance outside the concert hall with people that were not present at the performance, without making an artificial, consumable reproduction?

CC: The room, the space, the mindset of the people that you can feel in a room, the different listening and attention modes of the audience, this whole situation is so vital to the contingency of what is going on. You lose the sense of contingency if the performance is on a recording because you can't play it again. It is a problem, improvisers talk about this problem too. Such a live performance is hard to share but you have to do something.

HR: Would it help to revalue the score and consider it as a call to (musical) action?

CC: I have come to understand the value of both documentation and scoring more since I started doing these live performances outside the concert hall. There is a part of me that believes that the live moment of the performance is the most important thing, that is what you do it for. I don't think that having good documentation is a prime motivator, but I have come to realize how valuable documentation is to these things ever happening again or to anybody understanding that something has happened. Such a performance does disappear so easily. If I don't have good documentation, it is like it never happened, which is OK for me personally, but I guess, in terms of surviving and trying to get support to do the next thing, it is really helpful to have the best documentation possible. I didn't always pay attention to this, I didn't want to believe that the quality of the footage is that important. But actually, it matters so much to the immediate credibility that people give to something, because we are so used to judging things visually. In the beginning I had a lot of pieces that were in the dark with a lot of silence, and those were my first videos on YouTube. My mom saw them all, she was being so supportive and she said, I've watched all of your videos from beginning to end. But how come in your music you can't hear anything and you can't see anything? (laughs) Why is it just all dark and silent for the whole time? (laughs) This is not totally true: there are flashes of light and moments where something happens make the waiting matter. But it is hard to communicate the quality of the silence on a flat screen when there is nobody else around.

HR: If I look at your texts, videos and scores, I find a sense of animism in your works, the idea that everything lives. You talk a lot about classic music ideas like polyphony and you place these ideas in very different contexts. Do you recognize yourself in this idea that everything is living and that you can bring everything to life.

CC Yes, it is true, I do think about it in that way. I don't think I ever crystallized it so clearly. It is looking for the secret life in things and looking for a way to illuminate what is there already, what its own nature is, that I can't necessarily see from the outside or at first glance. Polyphony or counterpoint is something that I think about a lot. It is the training and it is impossible to step away from it. You can think about things in time, how they align together and often it ends up being spatial relationships. I have a piece for corpse position permutation: there is a person watching a body, there are flashes of light and they change position. The diagrams for this piece are like species counterpoint studies: there is a first (voice), you have a second, they move this way, and you think about who is watching whom, how much tension is there in that dynamic, how do you release the tension. It is really a traditional phrase structure, just in a different language, it is translated in a different medium.

HR: In this way you can compose with almost any material: everything is taking place and developing in time.

CC: Yes, you are trying to feel the harmony and the nature of the relationship between things.

HR: You also play the guqin in outdoor places, for example in a duo with Amble Skuse. Private music – music for the performer – exists in experimental music, for example in Tom Johnson's music. But you also refer to the Chinese tradition of outdoor performances.

CC: Playing the guqin, getting into the aesthetics of it and the idea of merging with nature, have been very valuable for me. The idea of a private music isn't that incompatible with my personality, I am an introverted person anyway. But to know there is a historical tradition of this legitimizes it. It is not entirely private, if I am playing on a sidewalk, it is opening the window. We want to do it in a non-confrontational way, the music is not that loud. People stopped sometimes, took a pause to listen for a few minutes and then kept walking. Or they just kept sitting next to us, because it is possible to co-exist without interfering with each other. I also like the idea that you can listen without full intention. This can be a valid way of listening, you can listen with distracted attention and there might still be a value in that, without the analytical ear, where you are kind of mentally scoring everything as it happens, so that you can organise its proportions and time from beginning to end. There is a lot of music from these traditions that is valuable to me: I could listen…. catch a piece of it … and have it matter.

Notating site-specific music

backgroundPosted by Dec 15, 2017 13:57
Recently Min Oh published the book Score by Score on notation in music, dance and visual arts. One chapter contains an interview with me on the role of notation in my artistic practice. The following blog is a reflection on how I try to notate and fix my site-specific music compositions.

Since I have been working outside the concert hall, the main scores of my compositions have gradually developed into texts scores (words describing sounds or actions). Using a text score gives the performers the necessary freedom and flexibility to deal with a living environment, full of unexpected events. Words are further away from the conventional music notation and I hope that this distance helps the performer to find a personal, musical way to interact with the concert environment. It is not easy to find a balance in a text score between giving enough freedom to performers, on the one hand, and presenting musical material, on the other, that is concrete and tangible enough to start performing a music composition.

One solution that I found to ensure that a score is both (musically) challenging enough for the performers and has enough information about the dependence of the music on the concert environment, is the addition of 'documentations' to my text scores. I spontaneously starting using this practice in Plain (second half 2016) and next, it got mixed up with my artistic research practice. The documentations are not necessary to perform my compositions; the main (text) score provides enough ('abstract') information for the musicians to realize a performance. The documentations contain detailed information on specific performances, the concert site and the interactions with this site. I also describe the rehearsal, exploration and creative process, add links to audio and video recordings, and present an evaluation of the performance. You can find examples of score documentations of Plain, Music Street and Hearizon on my website. Together the main score and documentation form a unity. Together they give the performer just enough information – I hope – to create a personal view on the musical performance and the context (environment). Next, the performer can start imagining a new performance on another location.

Score documentation of my composition Plain

Working outside the concert hall has also sharpened my attention for the rehearsal process. In each composition and each environment the listening and performing requirements may be different. Moreover, other material conditions may limit the possible interactions, for example, the performers may walk around and not see or even hear the other performers. Working outside the concert hall forces me to spend more time and attention on learning how to interact with the environment (and how to play together in environments, very different from the enclosed concert hall). The addition of a documentation to the text score has given me a format to communicate about this rehearsal process. The documentations of Plain, Music Street and Hearizon contain descriptions of rehearsals, its preparation and used (temporary) scores. For example, for the first rehearsal of Plain I made a simple graphical score, because this created a basic working structure to start performing and discovering sounds at the site; in this case, a library reading room. In the end — at the concert performance— this graphical score wasn't necessary any more and several performers did not use it. The text score and additional documentation give me the opportunity to distinguish between more and less important scores: some scores in the documentation are tools to make a specific rehearsal as productive as possible, while the (main) text score tries to express the core ideas of a composition.

In the past months a new development related to scores, occurred in my composition practice. My recent compositions were not performed yet in public but were tried out together with performers such as percussionist Ruben Orio. Reflecting on these try-outs I realise that I create scores that mix the text score and documentation format by adding exercises (for the performers) to the main text score. Exercises (on listening and making sound) have been part of experimental scores, such as Pauline Oliveros's Sonic Meditations (1974) or Charlie Sdraulig's Category (2013-14). Especially when interaction with the environment is involved, exercises offer a powerful combination of being both open and practice-oriented. It invites musicians to explore musical ideas, leading them into a certain direction without being too directive.

Let me explain the qualities of exercises by using a recent composition. In Faraway (working title) I explore a setup with 'distant' instruments: mostly electronic instruments played at the spot where the performer is standing but sounding at a large distance from the performer. The sound production unit – for example a wireless speaker – is placed at an intriguing location for the performer, for example in the branches of a tree in the garden. In Faraway a setup with multiple 'distant' instruments and (usual, acoustic) 'nearby' instruments is created to interact with the environment across rooms, walls and doors. I want Faraway to be a polyphonic work, in which layers of performed and non-performed (environmental) sounds are continuously present. Initially, I had described this polyphony too detailed and directive. In the try-outs this turned out to seriously limit the interaction possibilities of the performer. Moreover, my detailed description of the polyphony only worked in a sound environment with specific characteristics. In the end, I only mentioned polyphony in an open way in the text score and added a page with 'possible exercises in preparation of a performance' of the text score. For example, the last exercise reads:

“Split your mind. Connect one distant location (and the distant instrument) with an (imagined) feeling, atmosphere, action, situation or living being. The other distant or nearby locations may follow a different – perhaps musical – logic. Next, stick to these connections during your whole performance. Some examples of connections: [1] Imagine a child is playing in a room in one of your distant locations, she alternates between playing piano and making a drawing on the floor. (...) ”

By using exercises as a notation form (about a composition) I can invite the performer to focus the performance without giving a narrow, unique solution that the performer is obliged to follow. Moreover, the exercises guide the performer to actively explore the composition and its dependency on the (changing) environment.

This is link to the provisional score of Faraway.

Website with info on site-specific music performances

backgroundPosted by Nov 28, 2017 12:14
Recently I have been making a website which presents a collection of music (composers, compositions) and ensembles working outside the concert hall. I will also add a list of useful background texts and books. This is the link to this page.

Composing with the neighbourhood

actionPosted by Mar 23, 2017 10:17
In January 2017 there was a performance of my Music Street composition together with the neighbourhood committee De Biekorf. Music Street is a live soundscape that wants to create a full experience of the diversity in a neighbourhood. This is a very short summary of the work:
  • the listeners walk in a parade while the musicians play self-chosen music fragments from houses with open windows or doors; all the musicians in the houses live in the neighbourhood, thus they are mainly amateurs, from beginners to experienced performers;
  • two musicians walk in the parade (percussion and trombone), both play their own musical pattern but they also give space to the music from the houses.

You can find more information, the score, documentation and recordings of Music Street here. In this post I will focus on the artistic and compositional challenges of such a site-specific and participatory project.

The illustration shows the street map, a few weeks before the first performance of Music Street, when I was acquainted with the majority of the participating houses and musicians. This map was the starting point to design the musical structure for the composition. The letters indicate the spatial sections of the trajectory. In the pink houses the inhabitants were also musicians, therefore the instrumentation and spatialisation was fixed at these places in the trajectory. The orange houses were guest houses, the inhabitants were not musicians and other local musicians could play from these houses. [The yellow houses stand for people that were probably going to participate.] By linking the local musicians to a specific guest house I could enhance the diversity in instrumentation, loudness, spatialisation and music styles and thus build a musical structure. This structure was created by fixing the walking trajectory, which was A→B→C→D→E→B→C. The beginning A was quiet, with less musicians in this section. In C there were more performers and a first climax was built up. Next, there was a second, quieter part in E (with less and softer instruments), leading to a final climax in C. Here I arranged that the largest ensemble (five accordions) played from two houses across the street and over the heads of the audience. (The second illustration shows the trajectory a few weeks later, on 21 January; all the instruments in the houses are indicated.)

As in other polyphonic music, I composed and worked with timing, orchestration, spatialisation and timbre of the sound layers, but the method, possibilities and restrictions in my creative process were different compared to a composer (Henry Brant for example) making a concert hall piece. The variety in instrumentation and timbre was larger than in an orchestra, but I had to find and convince the musicians of instruments such as didgeridoo or synthesizer in the neighbourhood. The possibilities to place the performers at different locations and exploit the spatialisation were also very large. The first performance had musicians in entry halls of houses, windows at the first floor and parking lots, but again, I had to convince enough house owners. Moreover, in some cases a musician's location couldn't be changed because the instrument was too heavy (e.g. piano) or the musician lived along the trajectory of the parade. I also couldn't control the timing of the separate 'voices' in detail (compared to e.g. a polyphonic baroque composition) because of the large distances between the performers. But I had some control on the timing of the sound fragments that the performers had chosen to play. I gave them simple instructions to play before, during of after the parade had passed by. While doing this, I also had to take the different levels and the performance pleasure of the amateur musicians into account: playing a half-minute piece is appropriate for a beginning musician but probably too short for an experienced musician.

Just as a composer creates a digital soundscape in a studio, I balanced, mixed, controlled the timbre and loudness of separate voices and spread the sound in space ('panning'). But I didn't work behind a computer screen but together with a neighbourhood. This implied more organisational, social and artistic work outside on the street. Compared to a soundscape playing through speakers, I didn't have an equally detailed control of some musical parameters but in the end the listener was really walking around in this soundscape and had a multi-sensorial, holistic experience of the neighbourhood in which listening, seeing, feeling and knowing were mixed.

Composers have always operated within a socio-cultural field that gives them opportunities and restrictions. This also happens in contemporary-classical and experimental music, where commissioners of new works play an important role (see the articles of researcher Annelies Fryberger). Often tradition and habits make this field 'invisible' but composers do accept that commissioners restrict the instrumentation and duration or agree that the character of the new work should correspond to the profile of the concert organizer. It may seem as if I barely had artistic possibilities in the collaboration with the neighbourhood in Music Street: the performers chose their music fragments and I (almost) didn't write 'a note of music'. But in fact, the field of possibilities and restrictions only moved and changed, when I was making this site-specific, participatory work. And, as you may have noted from this text, my previous experience in polyphonic composition proved to be an aid and enrichment in the elaboration and organisation of Music Street together with the neighbourhood committee...


actionPosted by Nov 30, 2016 09:40
A site-specific composition and performance does not inevitably mean that you only work with materials and sounds that are part of the concert site. Since the last quarter of the 20th century, artistic concepts and societal opinions have become more ecological; mutual relations and dependencies are valued, as opposed to isolated elements which are only connected by causal relations. To suppose that a landscape or concert location exists independently from yourself, and that, as an artist or member of the audience, you are an outsider that quietly sits down and listens, is an opinion that is becoming rare among artists (myself included). See e.g. the Landscape Quartet.

Therefore, in a site-specific performance the question arises: how and to what extent shall I intervene in the environment and stage it together with the performance? Which choices do I make to design a performance in a specific location? I will explore these questions and possible answers by taking a closer look at my recent compositions.

A site-specific performance requires a choice of a location and a moment at which the audience is invited to come to that place. A location (such as a park) and its character are not static; season, day and time of the day can create large differences. The fundamental choice of a location and moment is related to the general concept of a musical work and also has to be reconciled with organizational restrictions and demands. In my composition Beving several performers play percussion on objects, materials and the architecture of the concert location. Not only present and audible sounds play a role, but also the potential, hidden ones. Thus, the diversity of materials at a location largely defines the choice of a fitting location. If this diversity is too small (for example a park with only grass and a cycling road), the performance will become impossible. Moreover, the acoustics of a location, the size of the expected audience and the number of performers, also play a role in the choice of location, because the performance has to be audible for the whole audience.

Apart from the place and time, other choices and interventions have to be made. A thorough exploration, performed at different moments before the rehearsals and concert, produces a detailed and rich image of the sounds and objects at the site. A choice between all these possibilities has to be made, and sometimes later on in the creative process these explorations and choices need to be further adapted if they are not sufficiently effective. For example, after the exploration and first rehearsal of Plain in the reading room of the library of the Singel, it turned out that there was a lack of diversity and loudness of sounds. A first solution was found in the ‘doubling’ of certain sounds: multiple performers played on (almost) identical objects (such as a book with a hard cover) at the same moment.
(photo: Zena Van den Block)
Second, I started searching for other materials (brushes, foam, etc.) to rub objects at the site and produce louder and more diverse sustained noise sounds. Third, by changing the placement of objects such as books or stands, they could resonate more freely and sound louder. Fourth and last, by indicating or memorizing interesting sound places in detail (for example sweet spots on a wooden floor), we could ensure the diversity and loudness as well.

The friction between the concert location with its character and affordances on the one hand, and the musical and compositional demands on the other, is a recurring phenomenon in the genesis of site-specific performances. This tension enforces you as a composer to search for creative and local solutions to ensure that in the end the performers, audience, plants, animals, materials and architecture can 'work together' in a site-specific performance of a composition.

Finally, it is important to think about the role of the audience and to communicate about it. On the one hand, the standard ritual to sit silently and listen, only applies to the concert hall and it is not valid outside such a hall. But on the other hand, a group of walking and talking people can disrupt the (changing) character of a location. Choices have to be made about this role, and ideally, the concert ritual and space are designed in such a way that the audience is seduced to behave in the chosen way.

Open-air performance of two new compositions

actionPosted by Sep 16, 2016 09:30
On the 27th of August two new compositions were performed in Rozebroeken park in Ghent.

My first composition Open Fields is meant to be performed in a big, open space. Three musicians are located at a large distance from the audience, three others sit near to the audience while one musician is at an intermediate distance. This work continues the 20th century tradition to exploit the location of performers in a music performance.

The second composition is Beving Rozebroeken (Bebung) and the main (instrument) part – called BEAT in the score – requires multiple performers to beat on plants and objects (trees, stones, water, park benches, garbage, bicycles, etc.) situated at the concert site or characteristic for this place. This part was performed by nine musicians, six amateur performers from the neighborhood included. Three additional performers sporadically played melodic and harmonic material in the high register, pointing at the presence of birds in the park. The use of garden tools (as percussion objects) made a reference to the history of the park as community (vegetable) gardens ('volkstuinen' in Dutch).

In both works I try to obtain an auditory transparency: the music should not only draw attention to itself but also to the surroundings. During a concert the audience should not only hear the music, but also experience and learn about the concert environment. The work Exposure, 2010 by Anthony Gormley is a powerful example of such transparency in the visual arts: if you look at this 60 ton sculpture in The Netherlands, you cannot avoid seeing both the art work and the location (landscape).
In the two performed compositions I tried to create this transparency by

- regularly sitting outside while imagining and designing the music during the creative process
- adding rests or providing enough sections with very soft dynamics to ensure that surrounding sounds come to the musical foreground; I imagine that I am not composing an autonomous piece, but only one voice of a polyphonic whole;
- exploiting general characteristics of environmental sounds (and not imitating specific environmental sounds).

These characteristics are spatialisation (sounds coming from different directions and altitudes), mobility (sounds and the performers are moving), diversity (sounds are not only produced by musical instruments but also by beating on objects, buildings and plants at the concert location) and imprecise and unstable intonations (site-specific objects with unstable or imprecise pitches are combined with the 'musical' instruments playing fixed pitches). The last two characteristics were only applied in Beving Rozebroeken (Bebung).

Transparent music and awareness for the surroundings is not a purely musical issue. I also gave a short explanation to the audience, stressing this transparency and the difference with the usual concert ritual in a concert hall. The absence of a stage helped the audience to focus on multiple sources and an overall experience.

I didn't make one overall score for Beving Rozebroeken (Bebung): there is a (more or less) traditionally notated score for 3 instruments and a video score for the BEAT part. The video score (an mp4 file) was played back on a mobile phone or tablet by all the performers moving around on the performance site and beating on the site-specific objects. This video score had a list of simple (text based) instructions changing in time. In the future I want to omit the traditionally notated instrument parts and only make a text score with general instructions on how to prepare a performance and make a video score. This would make the piece and the rehearsal process more adaptable to different locations.

This is a short video fragment of the performance of Beving Rozebroeken (Bebung): it was evening in the park and in this fragment a performer is beating on a tree while later on, the camera films another performer playing on a large, wooden climbing frame with a rubber hammer.

You can find scores and recordings of both compositions on my website.

The topicality of site-specific composition

backgroundPosted by May 31, 2016 09:12
Since the 20th century contemporary classical music and site-specific sound art are deeply related to each other and I am convinced that in the future the influence of site-specific arts on music will grow. Some themes common to both, are well-known: for example the attention for popular and non-western culture or the fascination for silence, noise and (environmental) sound. But in this post I want to focus on three other themes which also disclose parallels between site-specific and contemporary music: the many-sided character of sound perception, its multi-sensorial nature and the artists' call for sustainable, local solutions to global social and ecological problems.

The many-sided nature of environmental sound is much more than just the spatialization of sounds. For example, on a market place, there is not just one central sound (on a stage) but many sources. People listen from changing positions to different things and they do so by integrating their own ideas, habits, feelings and history. At the same time these people have the experience that they are sharing a space – the market – and they are part of a common soundscape. The raise of portable technologies has added a digital, virtual dimension to this many-sided character: in a market place people use their mobile phone or search on the internet with a smartphone or tablet. They partly move in a virtual world which is connected to the common market place.

In our daily world the experience of sound is also multi-sensorial. Together with visual and tactile experiences it forms a holistic experience at one specific location. For example, hearing the wind blow is usually coupled to feeling it in your face or seeing trees and objects move. The different simultaneous sensorial experiences create a complex and diverse array of unified experiences of which the auditory experience is only one part. Music and sound are not isolated, independent experiences.

In the past decades an increasing number of composers and performers became fascinated by this many-sided and multi-sensorial character of the sound experience. Within the (isolated) concert hall, technology has been used to recreate this experience. In contemporary classical music the number of productions and compositions which not only involve multimedia (video, sensors,…) but also produce sound and image from many perspectives (as in the work of Michael Beil) continues to raise. Site-specific arts have a major trump card in this respect: they do not need to reconstruct the many-sidedness and multi-sensoriality with a lot of technological devices, it is often an inextricable part of a specific outside location. Moreover, the artist can focus on the interaction of the new digital worlds and the real, local place, in contrast with the concert hall in which the isolated, technological, virtual world is often placed in the foreground.

A next theme is sustainability. In recent years more artists began to tackle questions such as: “How can my art help to realize a more sustainable and equitable world? How can I enforce the local power of people and not of international economic and political institutions?” This convergence of artistic and societal concerns is noticeable in festivals such as (im)Possible Futures in Vooruit (2015, Belgium), the international conference Culture(s) in sustainable futures (2015) or the recent term sustainable art. Art critics use this term to describe artistic practices operating in harmony with principles of ecology, social justice, non-violence and grassroots democracy. Already in the seventies site-specific composers such as David Dunn stressed the local elements in their outdoor performances, and the work of Chester Schultz shows that site-specific music can develop into sustainable art. In the intersection between site-specific and sustainable art it is necessary to mention community music, a concept that stresses and fosters the social and relational aspects of performing music for all people. Community music encompasses a wide array of practices, some with a long history. But in the past decades the attention for community music has grown, specifically in the English-speaking countries such as the UK or Australia. In some site-specific music projects (a.e. Kathy Kennedy or Het Geluid van Hasselt en Genk with compositions of Wim Henderickx) both listeners and amateur musicians participate, which blurs the borders between site-specific and community music.

The previous three themes and relations indicate that a movement 'outwards' is likely to appear in contemporary music because it is outside the concert hall that these relevant and topical themes can be fully exploited. I also think that in contemporary classical music there is a complex and fundamental contradiction between the music and the expressed ideas on the one hand, and the closed, isolated hall with its related social rituals (between audience and performers, audience and composer) in which it is caught. I hope that moving performances to other locations, in a dialogue with the surroundings, breathes new life to contemporary classical and experimental music...

Inside and outside soundscapes

actionPosted by Apr 25, 2016 21:27
Auditory field is a term that can be used by analogy with visual field. It refers to the area around a listener in which sound sources are audible. I guess that in an open area the auditory field has a range of a few tens of meters (of course, this also depends on how loud the sound sources are). But in a city acoustic obstacles such as walls and houses are omnipresent and limit the sound propagation. The insulation of these walls and windows has improved and a specific 'inside' and 'outside' sound experience has come into existence. For example, when you open a window at home, you suddenly hear another sound world, even though you are still standing in your room. What you experience as inside or outside not only depends on the kind of sounds and the familiarity with these sounds, but also on the distance and direction from which they reach you and the effects (reverb, filter, etc.) produced by the architecture of the indoor and outdoor spaces.

At this moment I am working on Kier (working title), opening and closing the doors of the concert hall is an integral part of this composition. The audience can hear the sounds from outside the hall through the doors. Three performers, including two percussionists, play in this work. One percussionist also performs outside the concert hall and becomes audible through these doors.

An additional setup with multichannel amplifications transports sounds in real time from outside the hall to inside. There are microphones outside the building that pick up environmental sounds (including the percussionist playing outside) and these are mixed (by the third performer) and played back on the speakers in the hall. This third performer can partly zoom in on the acoustic sounds that are heard through the doors.

In some parts I also give the performed music, on the stage, the characteristics of outside sounds. This is achieved by a polyphonic, simultaneous writing style (fragments performed in different locations of the hall) and a specific amplification of the inside percussion. A dynamic directional microphone is attached to a foot of the percussion player to ensure that the performed music sounds 'from a distance' and with background noises (foot steps). By the mobility of the performers, the live amplification system and the manipulation of the doors between the hall and the outside world, the auditory field in the hall can be enlarged and new overarching and intermediate (auditory) spaces – between inside and outside – can be created.

A hall with at least one opening (door or window) through which the outside can be heard, is required for the performance of this composition. In December 2015 I tried out a first version on a concert in the School of Arts Ghent with Ruben Martinez Orio, Michiel De Naegel and myself as performers. This was a very 'premature', short version: Kier was still conceived as a solo percussion work with two assistants and the percussionist only played inside the hall.

is a recording of a fragment of a rehearsal in December 2015, the environmental sounds consist of working and talking building laborers, machines, rehearsing music students and the carillon of the belfry. This is a quick recording, take into account that it is extremely difficult to present the difference between acoustic and amplified-recorded sound through a recording! The recorded fragment starts around number 14 in this sketch.

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