WHAT WE HEAR NOT IN THE NATURE TRANSPOSED TO THE INSTRUMENT
The first part of the project consists of making audible, by means of an acousmographe, all of the sound spectra, including those outside the field of human auditory perception. These materials may be then used as other phonographies, such as polyphonic amphibian songs (recorded during my last trip to Australia and Tasmania).
In the second phase, all these materials are rearranged in order to transpose them into notes (via the MIDI code ) and thus produce the scores. These will then be interpreted by the musicians and recorded. Also, the musicians will be immersed in immersive listening by headphones, in order to paraphrase (biomimicry) other sounds of cetaceans such as pilot whales or of bats.
The circulation of original sound materials to the instrumental ensemble creates contamination between the performers, producing this metaphorical effect known as "Fata Morgana." During this transposition process, the entropy or the dregs (resulting from happenstance), will create, at this stage, a sound matrix already transformed over two generations.
The third stage takes place in the studio and consists in composing and arranging all the native audio materials of the previous phases (the proto-frameworks).
The successive re-questioning of the various segments (islands) selected is transmitted a second time and arranged at the instrumental level. These islands become archipelagos, which will then compose the overall form.
At the end of this sieving process, a precise annotation score is given to the musicians. Electronics play a role of macroscopic reprocessing of the outer layer of sound and space, to the point that it brings about the mutation of the instrumental timbres. Additional elements, such as a series of poetic words from an animist mind (redefined in the manner of the anthropologist Philippe Descola of an object corresponding to no universal religious reality) will be added.
The piece is also made up of sound sources from the real world and in real time through streams available on the Internet. These streams can be used via an open global network of microphones, accessible via the Locus Sonus sound map. These microphones are often placed in natural locations across four continents. The actual score will ultimately be a new trail where the staves and the ideograms will converge with each person's imagination.
Ultimately, Fata Morgana' is arranged around a multitude of tangled trails. Listening to raw and unedited phonographic objects will help determine which trail to follow. The analysis of these acoustic imprints will produce idioms, which in turn are interpreted and performed by the instrumentalists the coexistence of a simultaneous perception of that which lives around us and in us, to the point of "forestation." Erikm
released February 17, 2023
ErikM composition and electronics / field recording
Didier Aschour guitar
Amélie Berson flute
Thierry Madiot trombone
Christian Pruvost trumpet
Silvia Tarozzi violin
Deborah Walker cello