Piatek
Undergraduate dissertation, 2020
Voice losing its shape. How did the use of recorded speech influence the contemporary sound art practice?
‘Speech is the voice unbound, timbrely rich and thick with meaning’ (Collins, 1990). This study investigates numerous ways in which spoken word influences the contemporary sonic art practice. The subject of investigation are sonic compositions deriving melodic, harmonic and rhythmic content from speech material, in addition to making use of the semantic in support of the pieces.
One of the main objectives of this research is to indicate the significance of the impact recorded speech has on sonic compositions in modern sound art, and to do so in a way understandable to an average reader. I will aim to prove the timeless link between speech and music, and to demonstrate this thesis by delving into the historical and linguistic context, as well as analysing selected text-sound works from a musical and linguistic standpoint. This paper is largely a consequence of my own observational research and analysis.
My study will focus on investigating speech in a pre-recorded form. For the purposes of my research, speech will be talked about as an ‘intersection of sound and language’ (LaBelle, 2006, p. 105). Sound (sonic) art will be discussed in the context of speech-sound (text-sound, speech-based) composition, that is, a composition inspired in any sense by the spoken word.
The first chapter will provide the reader with the fundamental information on historical and linguistic background of the research. Spoken word will be talked about in the context of its origin in relation to music, and the prominence of this link will be explored. I will discuss the role of speech in speech-sound music pieces and introduce and provide a definition of Leoš Janácek’s concept of speech melody, as well as its association with folk music..
In the second chapter I will provide an in-depth analysis of the most prominent speech-sound works of the leading sound art practitioners, with a focus on the period from the 1960s to 1970s. Starting with Steve Reich and Alvin Lucier, sound poets and minimal audiovisual artists will also be talked about in this chapter.
Chapter three focuses on the influence of the speech-sound artists in the previous decades on contemporary sound art practice - from the 1980s until present day. It also serves as a reflection on the use of spoken word in most recent sonic art.
The last part of the paper will provide a critical overview of previously analysed pieces and theories and an overall reflection on the use of spoken word in contemporary sound art. I will identify the similarities and differences between various artists’ approaches and try to establish the links between their works.
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Research-based sonic art project, 2020
An investigation of architectural space as a compositional tool in sonic art.
The described study brings into focus the concept of the creative use of the principles of enclosed space acoustics in sound art installation. The aim of the described project was to develop a sound installation exploring the psychoacoustic properties of sound in a closed space, which was to be exhibited in small rectangular rooms with a single-speaker setup. The following questions were set at the initial stages: How can one demonstrate the behaviour of sound in enclosed spaces? What is the relationship between the space and the artwork? How can one use sound to explore the resonant frequencies of the chosen space?
This paper discusses the notion of using an architectural space as a compositional tool in contemporary sonic art. It will aim to prove a link between sound and the architectural space by delving into the tradition of sonic art, the principles of acoustics and psychoacoustics and the spatialisation of sound. is largely a consequence of my ongoing research regarding sonic art and the art movements of the late 20th century.
The subject of investigation is how the room’s characteristics can affect the perception of sound. One of the main objectives of this project is to explore the unique sonic characteristics of a space, creating a simple and accessible artwork which demonstrates the complex acoustic phenomena. The study will focus on the significance of the architectural space the sound work is presented in and using its limitations in a creative way.
The product of this research is a sound installation created in Max/MSP exploring the psychoacoustic properties of sound in enclosed spaces through the means of sonic art - namely, a sonification of room modal distribution in small rectangular rooms. The piece was created to be exhibited in empty rectangular rooms with the approximate dimensions of 3.5 x 5 x 2.5 metres (17.5m²) with the use of a single, freestanding speaker, played with enough volume to allow the sound to fill the room. The listeners are encouraged to move around the room and listen from different points in order to experience the shifting sonic environment. One can also play the piece in their room using a single speaker or built-in laptop speaker, which will give the approximation of its spatial properties.
The structure of the study is comprised of four chapters. The following part of chapter one will describe the project in more detail and provide the reader with its keypoints and workflow outline. In the second chapter, the artistic considerations and the acoustical context will be introduced. Sound and architecture will be talked about in the context of sonic art and sound installation. Selected related works will be presented. Chapter three will focus in detail on the methodology of the creative process of the piece. The last chapter will provide a critical analysis of the work, conlusions and ideas for future developments.