Free Sound Within Culturally Specific Practice
Robert J. Gluck
Department of Music, University at Albany
gluckr@albany.edu
Abstract
Since the 1980s, composers from cultures outside of Europe
and North America have begun to integrate traditional
elements within electroacoustic music. This has included the
use of non-Western musical instruments, sometimes
expanded by the use of electronics, sounds from local
cultural environments, speech sounds in a native tongue,
and non-Western aesthetic concepts and musical forms. A
number of these approaches are discussed, accompanied by
musical examples and analysis of what motivates composers
to follow these directions. Implications for musical practice
are also addressed, with a focus on first hand composer
narratives and observations.
1
Introduction
The growth of mass media and new technologies
have had an internationalizing effect, of which one
manifestation is the development of electronic arts and
music in societies beyond Europe and North America. As
composers become exposed to electroacoustic music and the
means to create it, they often embrace its aesthetics and
techniques at home or abroad. The first local studios were
thus founded in the 1950s in Argentina and Chile, in the
1960s in Israel, in the 1980s in China, in the 1990s in
Turkey and Korea.
As early as the 1950s and 1960s, composers from
Turkey, Indonesia, Australia, Egypt, Brazil and elsewhere,
traveled to the West, to the studios in New York, Paris or
Cologne, seeking education about and access to new
musical technologies. Although many of the composers at
the Columbia-Princeton Center for Electronic Music in New
York City originated outside of Europe or North America
(for example, Mario Davidovsky, alcides lanza, Francisco
Kröpfl, Bulent Arel, Ilhan Mimaroglu, Makoto Shinohara,
Tzvi Avni), it would be difficult to distinguish, on a cultural
basis, their works from those of Vladimir Ussachevsky and
Otto Luening.
There is an irony in this fact, since many 20th century
Western composers, such as John Cage and Lou Harrison,
were profoundly influenced by Eastern musical concepts
and aesthetics. Among these are the presence of noise
elements in Japanese shakuhachi and biwa performance,
microtonality within Arabic music, and the primacy of
percussion in Balinese and African music. Composer Rajmil
Fischman (2005) observes that timbre, an emphasis in much
electroacoustic music, provides “much of the common
ground between electronics and non-Western traditions (e.g.
emphasis on timbre as a multidimensional entity including
pitch, morphology, gesture, motion…)."
Recently, globalization and the late arrival of
Modernity in non-Western societies have at times reawakened interest in indigenous ethnic culture, especially
within the generation of people attuned to new technologies.
The proliferation of tape recording also made it possible for
people to learn more about the traditional music of their
own cultures. For these reasons, among others, traditional
indigenous instruments have been integrated with tape or
live electronics, processed sounds from traditional
instruments have been used as source material for
electroacoustic composition, and traditional aesthetic and
musical materials have joined in dialog with the evolving
aesthetic and practices of electroacoustic music.
2
Evolving culturally-grounded
creative practice
There have been exceptions to the generally nonculturally specific electroacoustic music of the 1950s and
early 1960s. Among them are two notable ColumbiaPrinceton composers, Halim el-Dabh and Darius DolatShahi (discussed below), who created works drawing upon
sounds from their native traditions. El-Dabh’s ‘Leiyla and
the Poet’ (1959), a setting of a Middle Eastern story,
utilizes, among its sound sources, a traditional Egyptian
stringed instrument and percussion, all subject to tape
manipulation. Other exceptions include the Japanese
“Return to the Source” movement (Loubet 1997) and early
Indonesian works like Slamet Sjukur’s 'Latigrak' (1963), for
gamelan and tape. Also, the first new electronic instruments
in Indonesia, Adhi Susanto’s Gamelan Symphony (1976)
and Gameltron (1978), were designed for the performance
of gamelan music (Raharjo 2004, Living Composers Project
2004).
In the 1970s and 1980s, composers from beyond the
Northern Hemispheres began to look to their own local
traditions for inspiration, materials and aesthetics in
electroacoustic composition. In 1970s South America,
works such as Alberto Villalpando’s ‘Bolivianos..!’
(Bolivia, 1973), Ricardo Teruel’s ‘Nuestra Cultura Vegeta’
(Venezuela, 1976) and Joaquin Orellana’s ‘Humanofonia’
(Guatemala, 1971) incorporated sounds from the human and
natural environments of their cultures. In the late 1970s and
1980s, Persian composer Darius Dolat-Shahi composed
works for traditional Persian stringed instruments, the tar
and sehtar (two forms of lutes), integrated within electronic
sounds. In Dolat-Shahi’s ‘Sama’, for tar and electronics
(Dolat-Shahi 1985), a rhythmic structure develops around a
simple electronically-generated pulse and rhythmic tar
figures, upon which solo t a r improvisations evolve,
periodically giving way to recorded sounds of birds and
electronically processed sounds. The music always returns
to the pulse, around which a filigreed tar solo emerges,
devolving to electronic sounds and again returning.
In the 1980s and 1990s, culturally specific elements
appeared in works electroacoustic compositions for tape,
instruments and tape, or instruments and live electronics.
Several examples are Yuanlin Chen and Dajuin Yao from
China, Persian-American Shahrokh Yadegari, JewishAmerican composers Richard Teitelbaum, Alvin Curran and
Robert Gluck, Koreans Don Oung Lee, Sung Ho Hwang
and Jin Hi Kim, Peruvian-Israeli composer Rajmil Fischman
(active in the United Kingdom) and Israeli composer Avi
Elbaz, whose work is influenced by his Moroccan origins.
Chen’s ‘Primary Voice’ (Chen 2003) is a series of
compositions that embed electronically generated sounds,
some abstract and some tonal or percussive, within a
traditional Chinese instrumental ensemble comprised of hu
qin (fiddle), di-zi (flute), yang-qin (zither), pipa (lute), voice
and percussion. Large segments of this work are lyrical and
melodic, merging Chinese melody, featuring the subtle
portamento of the pipa, and Western harmony, with the
addition of rich and resonant electronic sounds.
Also in the 1990s, composers began to draw sound
elements from the sonic and semantic qualities of their
native languages. Among them are Chinese composer
Dajuin Yao and Israeli composer Arik Shapira. These trends
draw upon yet existing approaches within electroacoustic
music, including text-based works, music for instruments
and tape or electronics, the use of new gestural controllers
and digitally processing found sounds. What is new is the
conscious and often explicit use of traditional cultural
elements or aesthetics within a field that historically shied
away from self-conscious use of recognizable materials or
representation, especially in the antecedents of Pierre
Schaeffer’s concepts of ecoute reduite (reduced/focused
listening) and object sonore (sound object) (Wishart 1985).
3
Motivation for cultural specificity
The starting point for some composers is a
traditional musical form or instrument, expanded
technologically and aesthetically through the use of
electronics. Jin Hi Kim plays the 4th century Korean
komungo, a stringed instrument with a rich, visceral, earthy
timbre, traditionally used by Confucian scholars for
meditation. Kim's goal, which she describes as “Living
Tones” is to treat each note with reverence, consonant with
traditional Korean music, as if each were a living, breathing
being. Kim uses electronics so that "the living tones can be
extended in color and shape, texture and duration of the
notes … beyond the human ability of [conventional]
performing techniques" (Kim 2005). On the CD ‘Komungo’
(Kim 2001), Kim’s performance is monophonic and at times
incantational in feeling, often dwelling at length on
individual rhythmically repeated notes, sometimes
elaborated into simple repeated ornamental patterns, such as
octaves and half-step intervals. Vibrato, string rubbing,
bends, and other subtle alterations of the notes offer timbral
variety. In ‘Saturn’s Moons’ electronic processing,
including a harmonizer algorithm, treats an electric
komungo, mixed with additional electronic sounds.
For some composers whose materials are culturally
specific, the underlying aesthetic is Western. Argentine
composer Ricardo Dal Farra describes his work ‘Tierra y
sol’ (1996) as composed “with the sonorities of many
traditional instruments typical from the Andes Mountains.
The blend of pitch and noise in their spectrums, the
articulations, the intonation, the way the musical phrases are
played by peoples (non-professional musicians) from the
country or the streets of some cities of South America,
attract[ed] me to compose this piece.” Traditional timbres,
especially when digitally processed, blend into dynamically
shifting masses of sound.
Three Jewish-American composers incorporate
sounds and instrumentation from older Jewish traditions
within the context of electroacoustic works. Alvin Curran’s
In ‘SHOFAR’ (1991, updated in 1994) blasts on the ancient
trumpet-like shofar (ram’s horn) brings forth “a wide
spectrum of brash contrasting colors, gestures and events
unified by an equally diverse quality of sampled and
recorded sounds from Jewish life and nature in general.”
(Curran 1994) The “ancient Uralt shofar sounds” are
coupled with “the most technologically sophisticated
electronic processing” (Curran 2005).
Two other Jewish-American composers compose
works that feature layering of traditional Hebrew chanted
texts. Richard Teitelbaum’s ‘Golem: An Interactive Opera’
(1989-1994, Teitelbaum 1994) overlays recordings of
cantorial prayer chant; Robert Gluck’s ‘Yiddish Songs’
(1996, Gluck 1998) interweaves layers of early 20th century
Eastern European folk songs, to create sonic “wallpaper”
that ties together fragments of a tradition nearly destroyed in
the Holocaust.
Chinese composer Dajuin Yao’s ‘red cinnabar
drizzle’ (1999, Yao 1999), for pipa, narrator and computer,
draws upon the melodic qualities of spoken Mandarin
Chinese. Yao extends the sustained texture of rapidly
plucked pipa strings by the use of electronic processing. In
‘endless frustration’ (1999, Yao 1999) a dense sound cloud
with shifting spectral qualities is crafted from time-stretched
sounds of a phrase from a traditional Chinese opera and
instrumental music. The overall effect in both works is a
timeless, subtly shifting yet static sonic presence.
Arik Shapira’s music often draws upon the sounds,
rhythmic structure and meaning of Hebrew language texts.
“I take the rhythm from the Hebrew language as I
understand it. Hebrew is my love, inspiration and
homeland” (Shapira 2005). Shapira’s focus upon text and
language, rather than timbre and abstraction, highlights the
the vehicle that he sees at the core of Israeli identity and its
highly contested politics. In the opening passages of the
'Kastner Trial, Electronic Opera in Thirteen Scenes' (1994,
Shapira 1994), a setting of the transcript from a politically
controversial trial, the sharply articulated rhythmic qualities
of Hebrew language highlights the conflicted and
impersonal nature of the case by juxtaposing the spoken text
with a distorted double and with a repetitive electronic beat.
Biblical chant is used to connect tragic past and present. The
tape composition, ‘Upon Thy Ruins Ophra' (1990; Shapira
2000), overlays multiple fragments of early pioneering
songs, accompanied and gradually overwhelmed by brief
introjections of electronic sounds. The songs’ idealistic
spirit is counterposed by what Shapira sees as the abrogation
of that spirit by subsequent pioneering efforts.
Another Israeli composer who draws upon
culturally-specific sonic material is American-born Stephen
Horenstein. ‘Andarta’ (Memorial, 1987) utilizes field
recordings of Holocaust survivors to create a poignant
portrait of a tragic period in the life of the Jewish people and
the newly emerging nation of Israel. In ‘Zman Emet’ (Time
of Truth, 2003), the sounds of a double woodwind quintet
are processed and distorted, “gradually accompanied [by]
faint echoes [of] the Versailles building collapse [a wedding
hall that failed in 2001 due to faulty construction] and other
environmental sounds. The piece is meant to reflect the
grotesque irony about a particular period in Israel
contemporary history.” (Horenstein 2005)
The music and software design of Persian-American
composer Shahrokh Yadegari unfolds within a critique of
electroacoustic practice. Yadegari cites as problematic the
bifurcation of musical form and content material/sound that
is characteristic of Western, including electroacoustic,
music. “The computer, a product of mechanization of
logical processes, has always been portrayed as a Western
instrument. Thus, computer music has often been produced
based on Western ideas.” (Yadegari 2002, 8) Yadegari
locates an alternative approach, one that unifies form and
content, within traditional Persian music, “a framework for
improvisation … mostly based on a collection of vocal
melodies … involv[ing] many rules and the musician needs
to learn and internalize the complete body of the ancient
melodies. This complete repertoire together with its
hierarchical classifications and functional definitions of its
melodies is called the Radif.” (Yadegari 2002, 149)
Yadegari designed a compositional system for
computer music, Recursive Granular Synthesis, within
which “the unity of form and material can be used in this
paradigm by applying the same algorithm for defining the
micro structures of sound all the way to the macro structures
of form.” (Yadegari 2002, 129) An example may be found
in ‘Tear’ (1999, Yadegari 1999:1), which the composer
describes as “a study on the relationship between timbre and
melody” (Yadegari 1999:2). The composition is constructed
from RG synthesized sounds and “a melodic improvisation
by Mohammad Reza Shajarian, one of the greatest living
vocalists of Iran, in the mode of "Bayat-e Tork" (similar to
the western scale with the 7th degree flattened a
quartertone).”
4
Timbre bridges traditions
The distinct features of some Eastern instruments,
particularly stringed instruments, suggest the possibility of
close attention and creative treatment to timbre. Turkish
composer Sinan Bökesoy observes: “The richness of Eastern
instruments demands a more personal adventure between
the performer and the instrument itself. So the parameters of
the instrument (tuning, resonance…) can be altered
extensively to provide more richness in a mono[phonic]
layered pitch (I don’t like the word 'melodic') structure.”
The timbral control allowed by some instruments - the
author’s own work suggests the Turkish saz (lute) as an
example (Gluck 2005) – can be enhanced and extended
through the use of electronics. Korean instrumentalist Jin Hi
Kim (Kim 2005) believes that an essentially new instrument
is created when the timbral possibilities of a traditional
instrument are electronically expanded, extending not just
technique or timbre, but what she refers to as “the
atmosphere of a traditional instrument”, its musical
capabilities and the aesthetic values represented by its
tradition. In this way, traditional instruments can inform
contemporary practice. Ethnomusicologist Mark Slobin
suggests the possibility of a two-way dialogue when he
describes traditional practices as dynamic and not static.
“Tradition is a process, not a set of objects. You have to
think of ethnicity as a set of resources that people use, not as
a particular content or a particular set of objects. The
concept is how they think about who they are …”
5
Challenges integrating traditional
and electroacoustic music
It has become increasingly common for Western
musicians to draw upon Eastern musical instruments and
traditions. Often this integration is problematic, especially
when the borrowing is done in a manner that is ignorant or
disrespectful of inherited traditions (Gluck 2005). As
Fischman (2005) observes, “Perhaps, it is not simply a
matter of including elements of other cultures to spice the
music, as exemplified by some commercial categories such
as 'world music', which often end up as 'sanitized' versions
for delicate Western palates or, alternatively, as Western
music in disguise for the consumption of the locals.” Also,
the pull exists, Yadegari cautions: “when one attempts to
use the computer for a non-Western music, it becomes a
difficult task not to appropriate or marginalize the nonWestern tradition within the Western frame of mind.”
(Yadegari 2002, 130)
Some electroacoustic composers have experienced
conflict with tradition-bound instrumentalists who are often
protective of the purity of inherited musical forms and
sounds. Further, as Bökesoy (2005) notes, “Composing in
the contemporary domain requires a much different
handling of the traditional instruments, which have been
performed in the same manner for centuries (especially
Eastern instruments). Maybe a traditional rhythmic pattern
is the last thing you want! Taking a Turkish percussion
[instrument] in my hand, I try to first forget all the previous
cultural background I have with the instrument. But isn't this
also the way we start every composition - with the feel and
challenge that we don’t know anything? Then I try to use
my ideas to excite the instrument, since it is just an
artificially made resonating body. Given the conditions of
performance and composition I try to make a catalogue of
ranges of timbre results.”
Consumer electronic music technologies can also
cause distortions of the unique features of a traditional
instrument. Kim (2005) suggests: “If the instrument gets
equipped [with electronics] and it looks bigger or stronger,
the subtlety of the instrument gets lost. The surrounding
[aesthetic, artistic and cultural environment] of the
instrument is more than just the [physical] instrument [and
can become lost].” Off the shelf digital processors can
produce sounds that are “ready-made. You can't alter the
outcome. The processed sound is too common." Kim recalls
that her first electric komungo "sounded like electric guitar.
For Kim, the essential ingredient required for respectful
creative exploration is the discovery of "a meeting place
between the two [musical approaches]”. She adds that the
failure to do can result in "destroying the tradition". If one is
well educated within one’s cultural tradition, “the traditional
aesthetic of music can be preserved [while using] music
technology. [Because of this,] I still keep the meditative
energy in my electric komungo music" (Kim 2005).
6
Discussion
Clearly, a growing body of electroacoustic composers
culturally rooted outside of the Western or Northern
hemispheres is exploring the intersection between
traditional musical forms and electronic technology. The
results have often enriched the fields of electronic and
computer music, taking it in directions that could not have
been predicted by its founders.
This development may be seen as the expansion of
electronic technologies into domains that remain tied to
traditional musical forms. For some, it may reflect an
affirmation of historical cultural roots and traditions. In an
age of expanding globalism, some look to the past for a
sense of belonging and a connection to what is perceived as
an authentic, as opposed to mass commercial culture. This
should not be surprising in a time of increasingly porous
concepts of personal identity, when people can voluntarily
don and doff cultural ethnic, religious, political and even
racial identification.
Should the cultural bridge explored by the composers
discussed in this paper become a sine qua non of creative
endeavor? The answer is clearly no. What is meaningful for
some need not be the best path for others. There is also a
need for extensive dialog about how to locate cultural
particularism within a musical tradition that historically
defined abstraction as a universal. (Chion 1982, Wishart
1985, Emmerson 1998)
Rossi (2001) concludes: “Composers in the so called
peripheral countries are at the crossroads between finding
their own personal identity as creators and their cultural
identity as members of a community that encompasses
them. The challenge relates to getting to be oneself,
discovering one's ‘uniqueness’ in all its potency. This
process not only affects the creator but also influences and
transforms the very geoculture he was born into. The
transculturization of elements (as in the case of avant-garde
techniques and composing in the "classical" style of
European origin) must be digested, internalized, in order to
reappear with a special potency, a unique color that will
broaden the fringes of knowledge, as one explores the
unknown lands of creation.”
7
References
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