In week three, musician and composer, Greg Sinclair, returned to explore music making with individuals with hearing loss.
Three tasks to compose a sound poem
Inspired by the collages produced in the visual art session with Kate Temple, Greg set us three tasks to create a collage-style sound poem.
Firstly, we took turns to listen to the sound of an oven shelf – two lengths of string were tied to the oven shelf which we wound round our fingers, then placed our fingers in our ears as Greg played the shelf.
We each wrote a sentence on a piece of card to describe what we could hear. Remarkably, the experience was different for each of us, and for some individuals varied with and without the hearing aid.
Next, Greg invited us to each have a turn at feeling the vibrations of the cello as he played it, and again we each wrote words to describe what we could feel.
Finally, we each randomly selected a sentence from the Oxford Music Dictionary, and copied the sentence onto a card.
All of the cards were placed in a box and then individually removed from the box to create this sound poem:
The sound is reverberating in a subterranean cave, ebbing and flowing.
The sound is like bells, the hours it came loud and distinctive (better without hearing aids (?)
‘Is Silent’; a direction that a player remain silent; tacet al fine, ‘remaining silent until the end.’
The sound is IMMENSE, very deep and very pleasant.
The teacher decides what is worthwhile, taking into account the wishes of parents, the nature of the institution in which he or she works, and the constraints of other bodies, such as examination boards.
With hearing aids the sound was chaos, total overload; lots of different pitches at same time and background sounds and voices – really horrible.
The sound is deep and rich it reverberates
When the elder Strauss died the two orchestras were amalgamated under the younger Johann, who likewise gained a universal reputation helped by many tours abroad.
Vibrations, good feelings on the hands. Sensations. Relaxing.
He was especially lauded at Covent Garden in the 1930s.
Ternary form, as this is known, has been in use since the 17th Century, when the da capo aria became prevalent
The sounds are water falling down, symbols, a child with a stick going through a railing
Music setting. The sound was much better than with hearing aids on normal setting. Almost pleasant.
The sound is low, mellow, sleepy
The second half of the workshop focused on playing and interpreting text scores – written instructions for a performance.
We had fun interpreting the different sets of instructions with a range of instruments, from chime bars and drums, to bubble wrap, paper cups and a plunger! We also had fun deviating from the instructions and breaking the rules!
Listen to our creative results below!
Right Durations – Karlheinz Stockhausen
Play a sound, play it for so long until you feel that you should stop
Again, play a sound, play it for so long until you feel that you should stop
And so on
Stop when you feel that you should stop
But, whether you play or stop, keep listening to the others
At best play when people are listening
Eric Andersen – Opus 25
Select some objects which address themselves to your acoustic imagination.
Play with them according to a predetermined system.
Pauline Oliveros – All Fours
Repeat each new sound four times only. use a different instrument or different sound from the same instrument for each group of four: each group of four is unique – performed with a new tempo, new dynamic, new timbre or instrument, new method etc., in a continual variation.
Workshops will continue on the following Wednesdays, 10am – 12.45pm at Deaf Action, Albany Street:
18th March – visual art with Kate Temple
8th April – music with Greg Sinclair
22nd April – visual art with Kate Temple
As the project progresses, Greg and Kate will begin to share ideas and the creative results from each session, opening up dialogue and cross-overs between music, performance and visual art.
For more information and to book, please contact Kirsty at Artlink:
0131 229 3555 option1