This research, Cosmic Journey; exploring the possibilities of Harp and Live-Electronics used the research question: How do I adapt the Stellar Sonata by Caroline Lizotte composed for the electroacoustic harp to a traditional acoustic pedal harp?
This question was addressed in multiple parts, starting with the microphones used to amplify an acoustic harp. For this I concluded that I liked the sound of the AKG Contact Microphones best. Furthermore, I determined the placement for these microphones through an experiment, judging what sound was the clearest and reflected the most the natural sound of the harp. Through this research, I found my own way to amplify an acoustic harp that I apply in my own artistic practice.
For the recreation of the effects, I effectively found solutions for the challenges posed in the absence of certain equipment through experimentation, taking into consideration the wishes of the composer. I managed to do it with minimal equipment, using only a soundcard, Ableton Live 11 intro, microphones and an amplifier. I found plug-ins to get around the absence of the Line 6 Bass POD in my set-up, some of which cost money but not nearly as much as buying some of the equipment that Caroline Lizotte uses, thus staying in line with the goal of the research to find an affordable solution.
Within the adaptation I found out that recreating the effects is not one on one translatable from the effects overview that Caroline Lizotte provides in the introduction of the Stellar Sonata. Even Copy-pasting the effects from Lizotte's Ableton Live file that she shared with me didn't work for most of the effects, even when they did not originate from the Line 6 Bass POD. The most important factor within the recreation has been comparison of sounds. By listening to the original recording by Lizotte herself and combined with my experiences of having had the opportunity to play on her set-up, I searched for sounds within my recreation that came closest to that. Of course, my own artistic choices have had an influence on this process as well as the experience of working with Lizotte during which she shared her thoughts and wishes for her composition. Out of respect that I have for this composer, whenever she shared her ideas for her work, I naturally wanted to take these thoughts into consideration in my recreation. There are effects that I feel will stay in the progress of improvement and further shaping for a while. As I evolve in my knowledge, so will the sound of the effects.
For the last part of my research, I looked at the application of the attained knowledge of working on the Stellar Sonata. It was important for me to show the world the relevance of a set-up like this, in the hopes that it inspires new creations for it. I showed that both for existing repertoire there are possibilities for this new world of electronics, as well as for new compositions and using it in improvisations.
I see value in the research that I have done for the harp community. Harpist colleagues of mine have shown interest in my work, asking me to show my set-up and my work. I have worked on creating a certain expertise for myself, which I can now convey to others who wish to embark on a similar path. I showed that the enhanced of harp sounds can be played on any harp with the right equipment. With my research the Stellar Sonata has become more accessible for others to play, which is of value for other harpists as well as the composer herself. Caroline Lizotte has already asked me to share my work with some other harpists who have been interested in playing her music but got stuck on some technicalities and equipment issues, as I also did when I first started. With this adaptation, more people will be able to play her beautiful music. My adaptation and documentation of this is also valuable because I worked so closely with the composer. So much can get lost in the interpretation of a piece, especially with contemporary pieces like these that work with electronic equipment. One-on-one work with the composer and a detailed documentation of that is very valuable for the future of the harp community.
The world of electronics is a growing world these days that is now more within reach for harpists. With my work I show that the harp has a place in this growing world, and how harpists can take a part in it.
It seems for me that this research is only the beginning of a new artistic practice that I've embarked on. When I started working on the Stellar Sonata a year and a half ago, I didn't know anything about microphones and amplification or Ableton Live and electronics. Now, I have a whole set-up with which I can perform concerts and have a much greater understanding of the world of electronics. I hope to keep developing my set-up and enlarging my knowledge, implementing the electronics into various projects and concerts, as well as sharing this knowledge with others.
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