Interim Statement

Whether working in an acoustic or electroacoustic medium, each composition begins with vocalization. This process, these quirky mouth sounds, have apparently evolved into the single most indespensible part of my creative behavior -- an act which I perform with an amazing unconsciousness. [1] This step -- perhaps the unifying factor amongst my works -- again sits at the core of my present activities, an electroacoustic composition. But why the voice? A few observations:

First, the voice is the so-called 'natural' instrument, the first instrument we master: with some exceptions, we all have one and know how to use it. [2] For myself, vocalization helps me to get a handle on my initial intentions. I can sort of make that sound that I am attempting to create. It is a verbal shorthand for what could happen, an aural brainstorming. This is why I always ask my students, "Do you sing to yourself?" If not, I encourage they begin immediately.

Secondly, vocalization is an empathic act: both physically and emotionally. Communally, there is an understanding of what it feels like to utter "shoo-bop-a-re-bop", whether one reads it on the page or actually hears the phrase. We can visualize how the tongue moves, the constrictions of the vocal chords, the movement of the lips differentiating between the "P" and the "B". In a similar fashion, certain vocalizations make us feel in other ways. Utterances are capable of touching off reactions which are hard wired into our consciousness. A baby crying or a similar sound might cause a myriad of emotions to arise. [3]

Thirdly, the voice, by its nature and use, implies a communication, thus a dialogue. [4] I would posit that the listener, the observer, becomes more involved and more attentive when listening to such an evocative stream of vocalizations. All one needs to do is find a foreign language talk station on the radio or internet to confirm that, even though the utternaces are incomprehesible, there is a steam of intent coming from the speaker that can, in a sense, be understood. [5] So, there is a liguistic element in play here . . .

So, I will leave this here for now and add more later. Though, this line of thought is eventually going to move into gesture, a subject close to my thoughts as of late.


[1] Many times I am brought back to reality when during an impassioned act of vocalise I catch myself in the gaze of others on the city bus, walking down the street, in the elevator, at the urinal, etc. [2] Some more than others. [3] Trevor Wishart and others have gone into this in much greater detail. See Wishart, T. On sonic art. [4] Though a monologue or decalogue (any N-alogue) is equally valid. [5] This is how I passed most nights during the first year of my doctoral studies.