Composing with Ancient Sound Technology in the Twenty-First Century

Abstract

The ancient Chinese flat gong, the chao gong or tam-tam has been used by twentieth-century composers including Messiaen, Stockhausen, Tenney, and Luther Adams. What is it about this instrument that has attracted Western composers? I have always been drawn to the gongs and singing bowls that are still hand made in small factories and workshops in China, Nepal, and throughout South East Asia using centuries old formulas and techniques. I present here my research into the unique resonant and harmonic characteristics of these instruments and discuss their central role in many of my recent compositions, while exploring Ton de Leeuw’s notion that ‘genuine innovation in music can no longer be based primarily on aesthetic and/or technical principles, but must be of a spiritual nature in the broad sense of the word, as the only possible counterpart to our materialistically oriented society’ ([2005]. Music of the twentieth century: A study of its elements and structure. Amsterdam: Amsterdam University Press, p. 204).

Keywords:

• Sound
• Percussion
• Gongs
• Singing Bowls
• Digital Sound Recording

Notes on Contributor

Michael Askill (PhD - University of Queensland), is a percussionist, composer, musical director, musical ambassador and educator - known and admired for his enduring contribution to the Australian contemporary music landscape and his original blending of Asian and Western sounds. Askill’s passion for exploring the essence of sound has resulted in a deep involvement with some of Asia’s most ancient instruments - gongs and singing bowls. His extensive research and travelling has resulted in close connections with gong and singing bowl artisans in China, Nepal and India. He was presented with a Lifetime Achievement Award at the 2016 Australian Percussion Gathering.