Just to recap: this semester I’m teaching a Contextual Studies module on the MA Creative Sound Production degree at Swansea Met. Each week the students are invited to produce a composition study based around something we’ve been looking at in class: I said I would work alongside them and produce something of my own each week. Great fun it’s been too…
By now we were up to the 1950s and had been looking in some detail at the short-lived but very real rivalry between the studios in Paris and Cologne, between Musique Concrète and Elektronische Musik in other words. Schaeffer’s work we had already looked at in the context of “noise” so we ran through a few of the other usual suspects:
Having arrived at these last two pieces by Stockhausen and Berio, we decided this week’s study was to be what is usually known as a “text-sound composition”: that is, one where the entire musical material is derived from a vocal recording of some kind. The “product specification” looked like this:
- Choose a text.
- Record it.
- Spoken voice or sung; male or female.
- Produce a piece using only the recorded text as your sonic material.
- No samples.
- The text must be intelligible.
- The nature of the piece must reflect the meaning in the text.