The function of text in the VOX Cycle

Abstract

The VOX cycle is discussed from the point of view of its use of text. The voice is a unique instrument. Knowledge about timbral perception and a concern with recognisable sound-events, leads to a focus on sonic events in their totality. Internal form is concerned with sound-gestalts themselves and external form with how these are arranged.

Perception is stratified. Questions of perception precede the making of a musical score. In organizing a sonic structure we must decide on our perceptual orientation and hence what is to be internal form and what external. In working with voices we may work at the level of the crowd, the voice as person, as instrument or as totally malleable sound-source.

An important corollary is the concept of appropriate form. Deconstruction is to be avoided unless intended. Internal form-building is dictated by psycho-acoustic considerations and is often invisible. Form-building procedures determine a notational strategy.

The principal concern is musical meaning.

VOX-4 uses human utterance in a dramatic/psychological fashion and applies transformation notation to a formalized theatrical scenario. Group cohesion is explored and performers assigned roles. The score uses dramatic/characterization vocabulary. The “text” was constructed using a sound-classificatory scheme for syllables. Some phrases occur in three forms: polite, normal, expletive. Word-like constructions indicate reference to specific ideas in an unknown language. Computer techniques were used to generate large volumes of text.

VOX-3 contains a set of polyrhythmic variations where the voices are used as “instruments”. The constructed texts vary from language-like to percussion-instrument-like and these approaches are integrated, sometimes using transformations between the two. The score chiefly uses traditional staff notation.

VOX-2 moves further towards the dissolution of voice-sound as text. The form unites a slow moving surface with a very active subsurface. Japanese bunraku vocalization, the sounds of the Japanese language and various animals' utterances contribute to the sonic substance of the piece. The score uses a hybrid of sonic-notation and staff-notation.

VOX-1 uses the voice as an ultra-flexible sonic source. Streams of complex sounds are counter-pointed sonically and spatially. Through segmentation and other devices these lead to the emergence of individual personages and, eventually, heightened speech, using real and imaginary phonemes. The genesis of text. The piece uses sonic notation throughout.

VOX-5 presents a metamorphic supervoice made using computer analysis and transformation of vocal syllables and other recognizable sounds. There is no score, and text-analytic procedures cease to be appropriate.

KEY WORDS:

• Multimedia
• sonic/sonic field
• timbre: internal and external form
• appropriate form
• (analytic) deconstruction
• transformation notation: utterance
• sound-multiplex
• ingressive complex
• articulation
• gesture: polyrhythm
• funk: computer techniques
• computer
• analysis window: hierarchy of perception
• psycho-acoustics
• musical streams
• sound-gestalt
• perceptual stream