A critical investigation into mimesis in the context of working with audio scores, or how failure and diversity sustain complex creative processes at the intersection of listening, composing, and performing
Contribution to the workshop “Perception, Listening, Mimesis and Critique. Concepts and Theories of Aesthetic Experience.” as part of the FWF PEEK project Sound as Score, University of Graz in cooperation with musikprotokoll 2024.
Abstract
In order to contribute to the proposed exchange and discourse into mimesis, I draw my own experiences, observations and research in composing (with) audio scores. Between 2006 and 2014, I used audio scores in a number of works in different formats, ranging from pieces for a solo performer in dialogue with electronics to large choral settings and music theatre. Here, I will explore the compositional works, their design and the production of the audio scores, the process of rehearsing and performing, my observations of working with performers and their reactions, and reactions of the audiences if available. My critical analysis is based on in-depth studies on the topics of audio scores, listening and composing, and mimetic approaches. I first came to ‘develop’ audio scores through experiences gathered in contemporary dance workshops around 2000, and through my practice as an experimental music performer using (analogue) electronic machines. I aimed at translating dance formats such as ‘mirroring’ and ‘shadowing’ and electronic processing effects such as ‘delay’ and ‘corrosion’ into aural conceptions that can be performed by musicians. From 2011-2017, during my doctoral research in composition at the University of Huddersfield, I deepened investigations. In my thesis The Noise of Mind: A Feminist Practice in Composition (2017), an entire chapter is dedicated to composing with audio scores in the wider context of contemporary art. My findings are underpinned and contextualised with studies into current brain research and neuroscience. To complement my experiments, I collaborated with the composer Éliane Radigue to realise two new pieces belonging to her OCCAM compilation; her works are also based on a particular kind of aural score, and involve mimesis. Finally, I will explain why I stopped working with audio scores after 2014.
List of works containing audio scores mentioned in my exploration
VARIETIES (2009)
For two solo singers (mezzo, baritone), two lead singers (audio scores via headphones) and two large choirs (100 persons in total) imitating aural input/performing by ear following specific instructions. In an installation setting by Irene Pichlhöfer. Music and concept by Pia Palme, with a text by Oswald Egger and Sophie Reyer.
Duration 35 minutes [MAK Vienna and City Hall Tulln]
https://piapalme.at/works/varieties-2009/
CANTU FOLIATU (2012)
A sketch and kit for four singers SATB (or more) for the ensemble EXAUDI, performed by four singers via audio scores transmitted through headphones.
Duration 12 minutes [University of Huddersfield]
https://piapalme.at/works/cantu-foliato-2012/
BARE BRANCHES (2012)
For soprano solo, mezzo solo, percussion, and two mixed choirs performing from audio scores (following specific instructions). With texts by Anne Waldman and Pia Palme.
Duration 40 minutes [Festivals e_may and wienmodern].
The work received the Outstanding Artist Award of the Republic of Austria
https://piapalme.at/works/bare-branches-texts/
ABSTRIAL (2013) – a radical opera
A collaborative music theatre work for baritone solo, three female voices, bass recorder, electronics. Music by Pia Palme and Electric Indigo, texts by Anne Waldman.
Duration 60 minutes [KosmosTheater Vienna]
In this work, during certain scenes the baritone soloist performs by audio score in certain scenes and the three female singers are asked to perform from aural input.
https://piapalme.at/works/abstrial/
GIB SIE WIEDER HER (2014)
For a viola d’amore performer (different types of audio scores with specific instructions), an electronic installation and a performer with a subbass recorder, written for Garth Knox.
Duration 15 minutes [St. Paul’s Hall, Huddersfield]
https://piapalme.at/works/gib-sie-wieder-her-2014/
Éliane Radigue
OCCAM XIX for subbass recorder solo (2013)
OCCAM RIVER XXI for subbass recorder and harp (2014, with Rhodri Davies)
piapalme.at/works/abstrial/