This “reverse theme and variations” was realized in Studio B of the Experimental Music Studiols at University of Illinois, Urbana, USA. Distorted beyond recognition, and then increased in speed to the point of white noise, the “theme” or sound source is revealed in the final moments. And, as should be the case, John Barrymore has the last word.
This suite of short pieces aims to juxtapose several different compositional styles relevant to the medium of electroacoustic music. Most of the source material is drawn from Allan Thomas’ Karanga Voices audio library, MTM’s open source samples, recordings of Kylie Nesbit’s bassoon and viola sounds, and recordings of local Wellington rock band Keller Kinder of which I am a member.
‘Another Day’ Miniatures was premiered at the Adam Art Gallery in Wellington at ‘Karanga Voices’ – a concert celebrating both the Karanga Voices audio library project of Allan Thomas (which documents New Zealand heritage in sound, after which the concert is named) and five generations of electroacoustic composers in Wellington.
The term “a priori” in philosophy refers to that which is already known or presupposed before any kind of inquiry has taken place.
This piece organises vocal sounds into a specific trajectory and juxtaposes these sounds with electronically manipulated material and recordings of nature and machinery. I recorded speakers of various languages – Polish (Andrzej Nowicki), Japanese (Andy Tate), Russian (Liz Platova), French (Clare Tattersall), Luo (Beryl Matete), English (myself), Dutch and German (Duncan Nairn). These languages were ‘altered’ during the recording process to accommodate the trajectory (from vowel sounds to whole words to consonant sounds to percussive voice sounds to breath sounds) and thus, while the grammar structures of each language still inform the ‘words’ of its speaker, the original meaning of word-combinations is tainted and often lost.
Much of the electronic sounds were created from these voice recordings. Moreover, a lot of only subtle electronic embellishment was employed at times – an aesthetic decision that ‘holds back’ on many opportunities to modify sounds and thus foregrounds the inverted linguistic function of the spoken languages into a purely aural sensation by presenting the recordings as they are, often without electronic manipulation.
‘Aeolian Harp Sounds’:
In 1999, I designed an Aeolian Harp within a sculpture that would assist the wind flow across the strings, and provide a suitable resonant space in which people could enjoy the sounds. In 2000, I constructed a small working model for display in the Christchurch Botanical Gardens as part of ‘Scape: New Zealand Community Trust Art + Industry’ Urban Arts Biennial 2002.
Aeolian Harps are magical instruments played by the wind. Traditionally, all the strings are tuned to the same pitch, but on this recording the strings have been tuned randomly. The variety of sounds that an Aeolian Harp can produce is astonishing: always ethereal and beautiful. I have been elated with the success of the project and the response from the public. Both the sounds of the harp and the instrument itself seem to have a cognisant persona that has lead me on a spellbinding journey for the last twenty-five years.
Over this time, I have developed the design to include several unique innovations such as bridges that allow the strings to lie perpendicular to the soundboard as opposed to parallel to it. In some ways, I feel that as a composer, this is the first project where I have had some real communication with the community. in other ways, however, I often feel that it is not I doing the communicating: rather it is Gaia or some undefined sentient energy that embodies the earth. All I have done is simply construct a device that ‘unlocks’ these sounds. To me, this is why the sounds have such a magical, even spiritual quality. These sounds are best played softly.