Time Travel - The function of Sound Blocks

 
 
 

In Time Travel, the presence of sound-blocks functions in two ways: If they are examined externally, they have a static form due to their solid presence and use of high-volume sounds. If the sound blocks are examined internally, they are characterized by fluidity which is attributed to the rapid motion of the microelements that formulate them (e.g. 1:56 – 2:01). In addition, in Time Travel, the sound blocks are always superimposed over already existing soundworlds, but the presence of the already existing soundworlds becomes less obvious when the sound blocks are present, and at the same time this formulates a vertical concept of contrast between the presence of the sound block with its entirely different textural and gestural attributes, and the already existing soundworlds. This exists simultaneously with the concept of contrast which is perceived horizontally and sequentially through time. The vertical contrast concerns the differences in the textural and gestural properties of the sound blocks and the already existing soundworlds. The horizontal contrast concerns the way the appearance of the sound blocks is perceived by the listener through time.

 
 

Time Travel - Relating Past, Present and Future

 
 
 

In Chorus: To the Victims of September 11th, 2001, the present and the past are interrelated in three different ways: 1) The use of the traditional instrument shofar (past time) informs Normandeau’s compositional approach: a wide range of heavy transformations (present time);  2) For the creation of his work (present time) Normandeau was inspired by Lessing’s Nathan the Wise12 (past time) and Sophocles’ Antigone13 (past time) and was motivated (present time) by the concept of potential acceptance of all religions (Lessing) and destructive rationalization of violence (Sophocles); 3) the composer’s rage in response to the terrorist attack of September 11th, 2001 (past time) and his hope for a unified world freed from religious conflicts and encouraged by mutual respect between different religions (present time) played a significant role for the creation of his work. In my work Time Travel, the present and past are interrelated through the use of the priest’s voice in various transformations (present time) but the Byzantine cultural elements through the priest’s psalms can still be noticed (past time). In addition, my intention to use the Byzantine hymns (past time) in order to create a work with broader religious context (present time) is another interrelation between present and past. This also answers the key research question: In which ways can the concept of “cultural identity” be expanded within an acousmatic work?

 

 



12Van Hage, K. R. A. (2014). A tool of remembrance: the shofar in modern music, literature and art. [online]. Available from: https://pure.uva.nl/ws/files/2215077/149910_11.pdf [Accessed: 23 Jul. 2017].

13Sophocles (2012). Antigone. Indianapolis – United States: Hackett Publishing.

 

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