Voix Du Sable -Voices of the Sand (2003) 18'00
Originally
inspired by Annie Salager's poem Vegetal in
which the Lyon poet incites the reader to, "Ecoutez plutot l'imperceptible
voix du sable!", Voix du Sable explores
the hidden sonic landscape made audible by a solitary, meditative listening
state. Research for inspiration led me in two quite different directions.
1) acoustic research into booming and singing sands (the most researched
site in Europe being the Isle of Eigg, Scotland) 2) ancient techniques
of meditative listening and tuning into the micro sonic characteristics
of what can be considered as "imperceptible" natural sounds.
Sound
producing sand grains, "booming" sands and "singing" or "squeaking" sands,
constitute one of natures most puzzling and least understood physical
phenomena. Both produce unexpectedly pure acoustic emissions and have
been the subject of desert folklore and legend for centuries. References
can be found dating back as far as The Arabian Nights and
as recently as the science fiction classic Dune. Marco
Polo (1295) wrote of "evil desert spirits which at times fill
the air with the sounds of all kinds of musical instruments and also
of drums and the clash of arms."
According
to ancient Indian tradition the universe reveals itself in two fundamental
properties as motion, and as that in which motion takes place, namely
space. Space (Akasa) corresponds to the three-dimension space of our
sense-perception and comprises all possibilities of movement, not only
the physical, but also the spiritual. On the plane of spiritual activity
akasa is called the "space of consciousness".
Combining vocal sounds, sand and swelling tibetan brass booms, Voix du Sable charts a journey of solitude, loneliness and at times perhaps even madness, tracing the sonic landscape in a way akin to an aboriginal navigating vast distances by means of songlines.
Voix du Sable was composed at the studios of ZKM in the summer of 2003 where I was artist in residence. Thanks to Celine, LB, PP.
Further thoughts.....
There
are many qualitative differences between booming and squeaking sands.
Squeaking emissions almost
always produce a short, single, high fundamental frequency (500-2500Hz),
with four or five harmonic overtones. The acoustic output of booming
sands, resultant
upon avalanching, is loud, long low frequencies (typically 50-300Hz) which
have been compared to moans, hums, roars, foghorns and thunder.
Material
for Voix du Sable is shared
and developed through adjacent sections, many of which are characterised
by a pulse. After its establishment this pulse retreats, and the listener
is invited
to focus on gradual temporal, spatial and timbral transformations. The
first section of the piece introduces elements of sand and elusive
vocal material
in a very organic progression. Specific placement of these sounds in the
mix and the way in which they occupy the space help engage the listener.
Moments
of recognisable or highly associative material, (in particular the laughter
and the Tibetan chanting ), provide ‘key points’ of focus so the
ear does not become overwhelmed by the ‘sonic image’ and continues
to be invited to listen to the microcosmic nuances.
From 7’24” the function of the pulse is strengthened by a timbrally
shifting, pulsed drone, present till the end of the piece at various dynamic
levels in the mix. The decision to have a drone for 11 minutes of an 18-minute
piece, (even though the drone itself shifts focus throughout), was crucial
to the concept and execution of the piece. According to ancient Indian tradition
the universe reveals itself in two fundamental properties: as motion, and as
that in which motion takes place, namely space. Space (Akasa) corresponds to
the three-dimension space of our sense-perception and comprises all possibilities
of movement, not only the physical, but also the spiritual. On the plane of
spiritual activity akasa is called the ‘space of consciousness’.
The drone functions as a guide to space-consciousness, like a mantra, from
which the ear can concentrate on the intrinsic details of the drone, as well
as tuning into the ‘imperceptible’ sounds surrounding it.
