When I listen to the recording of our interpretation of GD358 from the workshop I recall and note:
“It starts with an atmospheric sound created by August stroking a metal tube over the metal fence in the centre of the space. The polyphony is distributed between the different participants. Some voices are more constantly present than others. Mattias uses a rubber ball on one of the walls sporadically. The sounds and their interaction are repetitive.”
This is what is spatially happening thus far:
The singers are distributed in the space, moving slowly in a circle around its centre. The percussionists are ‘attached’ to the area of the architecture that they are playing. The sounds of the star have some foreground-background movement happening, which is expressed through the limiting of the vocal expression from very close to the body, to an expression reaching far into the space. The space reacts strongly to the vibrations that are caused by the percussionists. As for vocal sounds, it supports very clear tones (no vibrato and open) and those sounds that have a strong friction in them.
It is important to note that each individual sound has a complex character. This occurs in the fluctuations in tonality, volume and in the rhythm. I separated these different sonic expressions into ‘voices’. The most challenging and fun thing to try out are the very individual natures and behaviours of some of these ‘voices’.
I find it interesting to compare how the sonic qualities in the original sound recording of the star find spatial expression and physicality in the recordings from the workshop. The new aspects that derive from the transformation through collaborative human-spatial expression will lead to the further development of the spatial music for GD358. In preparation for creating the performance I plan next to focus on the following:
There are relationships between the voices which I want to explore further, also in order to compose relationally, so an outside ear (conductor) won't be necessary to connect the different voices - but the singers know their role in relation to the other voices at all points. For example, as you can see in the image below, the pitch note C4 and F#3 start at the same time but finish at different points in time.