The principal aim of this research is to explore the confrontation between voice and electronics. This confrontation will fundamentally examine emergent relationships between voice and electronics, especially pertaining to constituting the voice’s identity in music, the use of extended vocal techniques, augmenting the voice with electronics, and relating concepts of embodiment and disembodiment within this context. Additionally, this approach to artistic research will aim at examining how confrontations between voice and electronics can create new perspectives for both of the voice and contemporary practices utilizing electronics.
Direct contact with Giacinto Scelsi has been the only acknowledged approach to the interpretation of his music, hence forming a circle of elite-performers, recipients of an understanding “beyond the written score”. However, in order to preserve the accuracy and faithfulness of performance, it is essential today to investigate the complex creative process of Scelsi, looking for interpretative suggestions residing within his artefacts. The subject of analysis will be Scelsi's opus for strings. I will focus on the materials of Scelsi's original improvisations (recorded tapes and specific musical instruments used), the role and artistic liberties of the transcribers over the written score and the process of instrumental assignment of a keyboard generated performance. The pars construens aims to find understanding behind Scelsi's improvised musical language, their formulations and functions, proposing effective technical adaptations on string instruments. My goal will be to present a coherent way to perform the works of Scelsi, eliminating the problematics of oral transmission while remaining faithful to his language and sounds.
My research concerns the composition of instrumental music implemented with a specific use of contact-piezo microphones. Piezo microphones are low cost and low fidelity microphones that can be easily used to disclose and amplify sounds coming from instruments. The development of a peculiar use of this technology will be oriented to emphasize concrete aspects of instrumental sound and to work on the coexistence of traditional and unconventional sounds. The low-fidelity quality of these microphones will allow to highlight interesting aspects of proximity of sounds. The consequent and peculiar attention to the details of sound will lead to a closer way of listening. The choice of the piezo microphones represents also an unconventional approach to the electronics: the composer can easily build his/her own piezo microphones, according to the specific needs of each piece.
Composers have recently integrated techniques proper to saxophone without mouthpiece attached to the neckpiece within their works. This doctoral project sheds light on the artistic possibilities, performance practice, and notational issues of these techniques.