There was another problem I had do deal with from the ‘chaotic section’. that being that it was only a single track, not a series of sounds, that can then be manipulated in an interactive context. So, for this section, I picked out a few points of interest. This involved separating many points, including:
-micropolyphonic textures (7) a kind of texture where a bunch of complex lines within a small register create a single atmospheric wash (Drott, 2011).
-The high whistles (2) which may have been created via overtone singing. This is a style of singing, common in Tuva (Bergevin et al, 2020) and Mongolia (Wu, 2019) , involves the enhancing the volumes of the overtones when signing, creating more than one pitch from a single voice (Sundberg et al. 2023).
-distorted noise (4)
-a continuous echoing of avant-garde vocal bends (5)
This is just to name a few. Here are all sounds, ordered from 1-8.
These sounds where aesthetically very similar to many sound effects that formed. This is continued to spark a philosophical idea mentioned in previously in the blog on the construction of new spectral chords, and will be expanded on in the next blog entry.
Reference list
Bergevin, C. Narayan, C. Williams, J. Mhatre, N. Steeves, J. Bernstein, J. and Story, B. (2020) Overtone focusing in biphonic Tuvan throat singing. eLife. 9.
Drott, E (2011). Lines, Masses, Micropolyphony: Ligeti’s Kyrie and the ‘Crisis of the Figure’. Perspectives of New Music, 49(1), pp.4–46.
Sundberg, J. Lindblom, B. and Hefele, AH. (2023) Voice source, formant frequencies and vocal tract shape in overtone singing. A case study. Logopedics, phoniatrics, vocology. [Online] 48 (2), 75–87.
Wu, S. (2019). To share or not to share: contested heritage in Inner Mongolia, China —A case of overtone singing (khoomei). International Journal of Heritage Studies, 26(3), pp.267–280.
