some notes on quem está falando?

_______

voice as sound object is unfortunately inseparable from its heuristic function in music. sound requires expectation, something lacking in some objectivities, which hangs upon timbre as a signal. timbre begins as a signal, which although can be observed in a vacuum a priori, cannot be perceived as such. relation is inseparable from our perception, since the act of listening, experiencing, etc. remains as creative and integral of a role as the sound object itself.

voice, even speechless, relegated to syllables is not stripped enough.

one method to remove voice from its hierarchical inherences is to make the singer speak.

but once one puts a speaking voice in a group of silent musicians, their voice is seen as placed above the rest.

my solution, to give all of the musicians a voice.

_______

a form of speaking supplants harmony, allowing the strain of concrete information (in complete contrast to the subjectivity of pitches yearning for words) to take a harmonic shape itself. this time- creating harmony with the dramaturgy awarded by an intensity.

this intensity comes from content. this content forces the musician to draw upon themselves, something not usually arbitrated in the realm of performance.

voices and piano is nothing new. even ‘deconstructed’ pieces, such as Ablinger’s voices & piano series, recognize cognizant and incognizant presences of rhythm in voice. it was out of this that we have the ability to create anything.

even the mundane should not questioned on its existence as art or non-art (an anti-image).

silences/rests are equivalent to spaces, spaces that look empty but contain something much more introspective.

_____________

who is speaking?

a series of pieces that disseminate the hierarchical relationships between speech and sound.

E.B