5.0 Research-Creation in Feedback Saxophone
In this final chapter, I describe my research in feedback saxophone. Likely pioneered by British free jazz saxophonist John Butcher, a feedback saxophone system is at minimum composed of a saxophone, microphone, and amplified loudspeaker. Through the web of interactions between this collection of musical tools and the space they are in, what I refer to as an instrumentarium, acoustic feedback is induced and controlled by the performer using the saxophone. Feedback saxophone is a modern iteration of the microphonic process, a musical approach that began with the early microphone singers of the 1920s (see Chapter 2), whereby microphonic instrumentaria are used to innovate musical practice.
The works I discuss are three concert etudes for my feedback saxophone system, Stride, Doina, and Yen, the creation of which is described using Sandeep Bhagwati’s cyclical AGNI method. In Chapter 1, I illustrate my “problem-practice-exegesis” research-creation methodology, of which AGNI is a part of. AGNI stands for Analysis, Grammar, Notation, Implementation. It is a cyclical process that spins into iterations of itself and as such, may begin at any step in the cycle. While AGNI plays out differently in these three pieces, the steps of the process generally proceed as follows. I begin with analyzing (A) an electroacoustic saxophone work or works, whether feedback or otherwise, to identify shortcomings, interesting approaches, equipment, or musical gestures. Upon choosing a musical foundation from (A), the following step is grammar (G), where I develop and/or expand the musical vocabulary of my system through improvisation. Next, the new vocabulary is organized and notated (N) in rough sections, then performed as a structured improvisation, which eventually develops into a more static composition. The implementation (I) is complete when the score is finished, and the performance has been recorded in audio-visual formats. A single score and performance, however, do not provide comprehensive results – the empirical research process must begin anew for deeper answers. Accordingly, I critically analyze (A) the completed work and ask, “how can this be expanded or improved?” The results of this inquiry are applied to develop grammar (G) for another piece, and so on (N, I, A, etc.).
After describing this research, I critically reflect on the process and products of it. In this discussion, I position my work in feedback saxophone within the tradition of the microphonic process, then relate it to the work of John Butcher, as well as Colin Stetson (see Chapter 4) – another present-day microphonic saxophonist. Through these descriptions and analyses, I document the rare practice of feedback saxophone and demonstrate the importance of post-digitalism and the style paradigm in 21st century electroacoustic music.