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On 1 June 2024, joined by special guests, artist Junshu Gu and dancer Hari Krishnan, the Vocal Constructivists offer innovative musical explorations of the sense organ we overlook: our nose. Their performance will take place in the architecturally stunning St … Continue reading
19.5.2024 20:57Yes and Nose: A Performance of the OverlookedWe perform works by US Artist Fellow Jin Hi Kim, Scratch Orchestra founder Michael Parsons, the inimitable Linn D., voice expert and poet Barbara Alden, visual artist/musician Alison Cross, the mercurial Kurt Schwertzik, Fluxus artist and poet Nye Ffarrabas, movement … Continue reading
28.6.2023 06:11Living Tones and Musical Objects: A Sonic CelebrationThe Vocal Constructivists are extremely sad to learn that the artist Tom Phillips CBE RA, ‘the most literal man’, died on 28 November 2022. Climbing through the window to get acquainted with Irma, Grenville, the Nurse, Toge and all his … Continue reading
30.11.2022 04:06In memory of Tom PhillipsThe Vocal Constructivists returned to Pentameters Theatre on 20 December 2022 to perform 1952 at 70, in celebration of the 70th birthday of landmark experimental pieces. VCs offered fresh interpretations of Earle Brown’s December 1952 and John Cage’s 4’33”, alongside … Continue reading
8.6.2022 07:471952 at 70To celebrate their tenth anniversary, the Vocal Constructivists are hosting a series of events that invite you to listen, learn, share, and perform with us. The festival, through the square window playfully sequences through these activities over two days. With … Continue reading
20.4.2021 15:35Online Festival, June 5-6, 2021The Vocal Constructivists’ recording of Pauline Oliveros’ Sound Patterns (a track from our 2014 album Walking Still that now has over 29,150 listens on Spotify) finds a new life in SCALA, a purpose-made sound installation at the Tabakalera International Centre for Contemporary Culture … Continue reading
3.2.2021 16:42SCALA: Installation at the Tabakalera International Centre for Contemporary Culture, SpainThe Vocal Constructivists invite all interested singers to join Constructing Infinity, a collaborative series of realizations of Mark Applebaum’s Metaphysics of Notation. Go to https://infinity.vocalconstructivists.com/upload/login.php to register. You will then receive a login and the means of contributing to infinite variety. Use #VCLegacy2020 on Twitter, Instagram, and Facebook to connect … Continue reading
30.7.2020 04:35Invitation to join the Virtual Metaphysics of NotationOn 20 March, 2020, our beloved friend and collaborator Carole Finer passed away. In addition to being a founding member of the Scratch Orchestra, Carole was an extraordinary musician, composer, musicologist, and radio broadcaster. Her radio show Sound Out on … Continue reading
12.7.2020 03:03In Memoriam: Carole FinerIn response to the current restrictions on in-person choral activities, the Vocal Constructivists are launching several new initiatives: a youth participation scheme, multiple fragmentary interpretations of Tom Phillips’ Irma, and a remote performance of a graphic score that will grow … Continue reading
12.7.2020 00:51News, Summer 2020THE VOCAL CONSTRUCTIVISTS perform text and graphic scores, alongside works that extend ‘traditional’ notation, bringing a sense of play to their interpretations of experimental music. Coming from diverse backgrounds, with ages ranging from 19 to 79, the Vocal Constructivists draw … Continue reading
24.12.2017 23:49Vocal ConstructivistsMy current research explores the nature of sound, personal experience and musical notation in association with the intentions of the composer. What i feel may be relevant to the question is that the nature of sound is that it is disruptive, no one performance can ever be the same as it will always be embellished with the time and space into which it is being experienced. John Cage redefined music as the "organisation of sound" interrelating the concept of vision and hearing, space and time. Notation can be seen to represent the activity of sound, a preservation or memory of sonorous occurrences. Musical notation is the visualization of sound, an expression from the composer. A form of communication to the musician, the same way, in which we use words to represent speech, and speech to articulate thought. Language has found a visual form through writing, sound and music has found a visual form through scores. Each viewer experiences music and sound differently to how their neighbour experiences it. The movement of the person in front at a concert will alter your experience of that sound. If sound is a vibration and someone disrupts that vibration then they have disrupted and therefore altered that sound so it becomes a new composition in itself. A chance composition created as a result of what was unintended by the composer. To define music one must consider its association with sound, and sound can never reflect anything other than what it is. As a sonorous experience without any visual sound becomes it's own entity. John Cage described music as someone talking, whereas sound is just sound, it's not trying to say anything. So if music is someone talking that's saying music is a form of communication. What i find interesting within graphic notation is where the piece lies, posing the question of authorship. If the work is the score as a visual piece itself, then the composer is the author, however once the piece is performed and the musician interprets the score than the piece may fall within the realm of collaboration so it becomes a shared authorship?
23.5.2013 14:13Comment on Discussion forum by RoisinLast week, our discussion revolved around one of the central questions of our course: what is notation? However, the readings provoked me towards ruminating on another question. Namely, what is music? I wish that we could gather composers engaged in crafting graphic scores and pose them this question in a single room, because I think that their definition of music would be influenced by the manner in which they notate it. In his article, “Sound, Code, and Image,” Walters offers several tantalizing quotes from various composers who have participated in graphic score notation. Howard Skempton believes that graphic scores say much more about how music works than do scores written by Beethoven, for example (30). Indeed, Skempton argues that “a score has a life of its own” (30). What can we say about Skempton’s understanding of music from these words? Composer John Woolrich also offers an interesting statement: “Notation is to do with hints rather than absolute instruction. You are trying to convey the big image” (28). What exactly is “the big image”? And is it significant that he chooses the word “image” rather than “sound”? One of the graces of graphic scores is that they allow for the interpretation and production of the piece they represent to be dependent on the individual making the music. The meaning of music becomes flexible because it depends on how it is created and by whom. As Walters writes, “the visual aesthetic of this work evokes an imagined music in the observer’s mind, an invisible music more ascetic, beautiful, and formally Modern than any earthly ensemble could produce with real instruments” (26-7). In this portrayal of music, music does not have to be something which is physically sounded, but rather felt internally. It can enter the human body through the eyes rather than the ears. If only because it is interesting to ponder about, I am struggling to give a definition to music when it can be “invisible” and soundless, and wonder if anyone else has thoughts about the definition of music to graphic score composers/notators/readers.
19.4.2012 20:27Comment on Discussion forum by natasharoule@fas.harvard.edu