|dc.description||Premiere: Espace GO, Rien à voir, Montréal, December 14, 2001.
Published: ICMC 2002 CD (LJCD 5232), Göteborg, Sweden: LJ Records, 2002.
Further performances: London Metropolitan University (2006); BEAST, Birmingham (2005); Ciclo Internacional de Conciertos de Música Electroacústica, Santiago de Chile (2003); MAXISII, Leeds (2003); Electric Spring, Huddersfield (2003); International Computer Music Conference, Göteborg (2002); Unbalanced connexions, University of Florida (2002); Sonoimágenes, Buenos Aires (2002); Sonorities, Belfast (2002); Roadmender, Northampton (2002).
Research summary: This work investigates the sonic properties of the linguistic phenomenon of the ‘tongue twister’. Recordings were made of tongue twisters spoken by four native speakers in different languages, in order to make available a broad initial range of sound types. The key structural idea in this work was to extend the innate ‘patter’ structure of the tongue twister into larger scale rhythmic and gestural musical processes. One key process in realising this was the construction of ‘skeletal’ versions of the recorded texts, typically by isolating attack transients, which allowed the rhythmic integrity of the texts to be preserved as well as rhythmic frameworks that were cross-fertilised into new sound identities. More extensive transformation processes could then be applied to those materials without the perceptual ‘clutter’ of persistent source recognition frequently produced when consonant and vowel components of vocal sound are electroacoustically processed. This also made possible the projection of a sense of ‘play’ around vocal source recognition, hybridisation and abstraction.
A discussion of the techniques and musical processes used in the work are reported in ‘Tongue—A compositional Approach to Sound and (Non) sense’, MAXIS II, Proceedings of the 2nd International Festival and Symposium of Sound and Experimental Music. Sheffield: Sheffield Hallam University Press, 2003, pp 121-5, and further developed in ‘Reflections on sound-image design in electroacoustic music’, Organised Sound, 12(1): 25-33, 2007.||en