Gerhard Lock (Tallinn University, Estonian Academy of Music and Theatre)
The following has a reference to
Gerhard Lock (2011). On concepts of listening as embodied, active and creative process within a changing sonic environment. In Proceedings of the 7th International Scientific Conference „Problems in Music Pedagogy“, September 22–24, 2011 Daugavpils University (Latvia).
http://lapas.du.lv/pmp/7_pmp_programme.html
According to Kleinberg-Levin (2011: 1) „the human body is a system of capacities: seeing, hearing, walking, standing, gesturing. And once these enactments of embodiement are understood as capacities, it imediately becomes a question of their potentialities, their posibilities for further development, further cultivation, taking them beyond the stage of growth that their mere biological endowment attains.“ Further he points out that our ways of seeing and hearing (etc.) can be subject to learning processes. As embodied creatures, human beings are depend on their phenomenological abilities with their existential-ontological meaning – in particular, gestures, walking, and standing.
Of course, sound should not be treated as detached from visual or bodily-performative sources and experience. Sound is always physically produced from some performing or moving source and spreads through both air and bodies in waves. Performance is the first and most important connection between sound and body movement not only in the realm of musical performance but also in the field of dance, where music evokes movement and movement produces sound and music.
Listening is connected to bodily experience while tapping along, snipping fingers, moving heads etc. And listening belongs to the most important requirements for the temporal arts (music and dance).
According to the Estonian writer Erkki Luuk (2006: 74) one can not clearly define the boarders between experimental music and soundart. The situation for performance art (in Estonian: action art) and modern dance seems to be similar. Each of these art forms have traditionally acknowledged central mainstreams, but there are also developments which crosses boarders, are located between several fields having multiple features or are even completely ambiguos. Luuk (2006: 75) points out that whatever music is sound and whatever dance is action, but not the other way around, because sound is the medium of music and action is the medium of dance. If we think about standstill, which is opposed to movement, but is as well part of action, Luuk considers action as a broader category than movement. Similarily isn‘t silence sound but part of acoustical phenomena. Acoustical phenomena and action itself are therefore the basic elements of temporal arts.
(Excerpt from Lock 2011: 184–185)
Final performance of choreomusical workshops at Hiiumaa Dance Festival 2011
„Fantasies of Tahkuna“
August 6th, 2011, Käina Cultural Centre.
Dancers: Mari-Liis (27), Anna Teele (15), Karen (12), Carol (9), piano: Gerhard Lock (33). Music: (1) fragments: "Interkozmosz" (notyet, fakir hobby 2006/Hungary), "bea-piaia" (Naterijeka, Muschraum/Sander Saarmets Ulmeplaadid 2005/Estonia), "Must orav" (Tsaca Tsap, Pastacas/Ramo Teder Kohvirecords 2002–2004/Estonia), "The Wilhelm Scream" (James Blake, YouTube jamesblakeproduction 2011/England); (2) piano improvisations Gerhard Lock; choreographical main idea: Kaspar Aus, G. Lock, choregraphy: dancers; (3) recordings of workshop activity in Tahkuna Lighthouse 06.08.2011.
Duration 25:00 min.
The intention of this performance was to enable inspirations in both directions: dance by music and vice versa. The formal framework is strictly structured in duration and alternating section of precomposed/original musical pieces chosen by the dancers themselves and improvisational dance sections. Each of the dancers have their „sound room“ and their „space room“, later there are also several playing rules concerning interaction. The performance starts with a recording of performative action during the workshop in the lighthouse (using several instruments like kanteles and drums, and the acoustics of the lighthouse while moving around there both with instruments and the microphone). Because the stage is black the listening situation is acousmatic but the sound is unmanipulated field recording of a musical improvisational performance in an architectural environment. During the first part each dancer introduces her „sound and space room“ (followed by a section where piano improvisations ideally are inspired by the dance. After a short intermezzo again using sound recording from the lighthouse workshop, the musical formal structure of the first part remains unchanged, but now the dancers can apply for their choreography several rules of communicating, interacting, imitating etc. while moving in space. The live-performative elements of both the musical improvisations on the piano and the bodily movement (dance) are not prestructured, they relie on the creative intuition, experience and creativity improvisational and listening skills of the performers. Part of the concept of this performance is according to CPME (Abrahams 2005) the involvement of prekowledge and own musical experience of the participants which garantuees successful learning as well as creative process.
(Excerpt from Lock 2011: 189)
Kuuvihmaplaneedil [At the moonrain planet] I & II (2011)
Experimental acousmatic sound performance for two voices, performative action, two mobil (I) or static (II) stero microphones. Performed and recorded by Kaspar Aus and Gerhard Lock in Tallinn Cultural Factory Polymer in June 2011. Composing and final mastering by Gerhard Lock
Durations: I - 24:03 min., II - 19:45 min.
[…] It was even not easy to find a proper subtitle [for these pieces]: „experimental“ referes to the improvisational character and the including of microphones as active participants, „acousmatic“ referes to the way how it should be listened to: with closed eyes or in a dark room without any visual distraction; „sound performance“ underlines, that it is neither pure soundscape nor simple (art, action) performance. They are pieces which are located between all kind of genres, using elements and tools of (experimental, electronic and concrete) music, improvisation, and sound art as well as dance, action performance (using found objects: stones, bottles, metal, fabric and other natural material like water and straw), soundscape and sound walk composition. Beside acousmatic listening condition they have intentionelly inherented strongly performative elements related to bodily experienced movement and evoke clear assciations to objects recorded, even while being manipulated: multiplicated and reversed (I), multiplicated and delayed (II). Both are highly embodied sound performances which engage also the listener very bodily (especially the culminative middle part of piece II). They include clearly musical elements (singing – which has also an important role in the overal formal structure of both pieces) but also strange and virtual sounds perceived as unreal (reversed sound) and altering both the acoustic and the imaginative sonic space. While performing and recording the aspect of listening to each other’s activity and communication was as important as in traditional music or dance performance. Even live-performative elements […] (live sound walk) can be detected because the authors used earphones monitoring their action in realtime. The pieces depend on relatively clear environmental conditions: industrial space with found objects, several material and a extensive reverb.
(Excerpt from Lock 2011: 188–189)
References
Frank Abrahams (2005). Critical Pedagogy for Music Education. A best practice to prepare future music educators [digital paper]. Princeton, New Jersey: Westminster Choir College of Rider University. http://www-usr.rider.edu/~vrme/v7n1/vision/Abrahams%20-%20CPME%20Best%20Practi.pdf [last accessed 04.04.2011].
David Kleinberg-Levin (2011). Listening as Critical Social Praxis and as a Practice of the Self. Lecture at Tuned City Conference, July 9, Tallinn [authorized manuscript].
Erkki Luuk (2006). Helikunst: analüüs ja poeetika [Sound art: analysis and poetry]. Kunst.ee eriteema: helikunst [sound art special]. 02/2006 74–75. English version: http://maaheli.ee/heli/files/Sound_Art_Special.pdf [09.09.2011].
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