Sounds Of In-Between – the album

The cover artwork for Sounds Of In-Between

Just a short post to announce that ‘Sounds Of In-Between’ (formerly ‘The Sound of In-Between) has been officially released and is available via BandCamp here. If you’re at all concerned about how artists receive funds through recording sales, BandCamp is about the most direct route from listener to creator, as the artist determines what to charge and there is an option for the buyer to pay more for an album if they wish – it’s a good system. The album will also be made available on iTunes and the usual digital channels in the coming month, but expect to pay more for it there.

And for those who haven’t heard the album yet, or haven’t been following the many blog posts over the preceeding months – expect to be transported in a contemplative, mesmerising and captivating exploration of sound, from gentle ukuleles and reverberant drums, iridescent bells and distant voices to water-filled woks and acid-streaked guitars. It’s quite a trip, and you’ll be pleasantly surprised you took it. 🙂

Keep an eye for further posts as I explore liminality further in cinema and music video. If anyone has their own ideas on what they’d consider to be states of suspension in other forms of music or visual art, please feel free to drop me a line via the contact form on this site. I’ll also be working on visual interpretations (i.e. music video) of the pieces from the album in the coming months.

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The phenomenological aspect of sound and vision

Lunar Eclipse by Keith Burns - courtesy NASA

Lunar Eclipse by Keith Burns – courtesy NASA

In the interim from my last entry, a great deal has happened – the submission of of my honours research (which you can now read here), graduation from the B.Mus. at UWS, a university medal and now the commencement of a PhD, which is something I’d never dreamed of undertaking a few years ago. Really though, this all seems to be a continuation of a very long journey I’ve been pursuing, unconsciously sometimes, over many years. Trying to tie down this ‘in-between’ quality in music has actually led me back to where it all started in the first place, the nexus point where music and the visual seem to coalesce in this suspended state that I’m so fascinated with.

Although the main interest has always been with music and sound, I have a similar relationship to visual phenomena that appears to share the same ‘in-between’ quality, which I’ve documented in previous posts. Arnold Van Gennup, who first posited the idea of a liminal state in Rites de Passage (1908), noted that “the universe itself is governed by a periodicity which has repercussions on human life with stages of transition” (Van Gennep, 1960, p. 3). Although Van Gennup’s observations were based on human behaviour in rites of passage, it is the idea of liminality as a “nameless, spatio-temporally dislocated and socially unstructured” state (Thomassen, 2006, p. 322) that I believe has application for both music and imagery. Victor Turner expanded on Van Gennup’s ideas in the 1960s “to include both a personal and collective liminality, temporal as well as spatial” (Thomassen, p. 322) and in this respect Turner’s definition of liminality relates to both time and space. Van Gennup acknowledged that ritual often accompanied “celestial changes, such as the changeover from month to month (ceremonies of the full moon), from season to season (festivals related to solstices and equinoxes), and from year to year (New Years Day)” (Van Gennup, 1960, p.4) and it’s often in these transitional periods that I observe liminal occurences at play, i.e. the transition periods between day and night, namely twilight and dawn, when the quality of light and colour are changed so markedly from the pure tones of daylight. I seem to derive this sense of ‘in-between’ particularly in these periods, and use this quality in creating both my sense of a ‘liminal aesthetic’ in my work and attempting to bring about a ‘liminal state’ in the creative approach.

Phenomenological approaches to sound and vision

In my honours year research, I investigated what I believed to be liminality in popular music, especially music that sidestepped conventional notions of time. Looking at elements such as drone, repetition, metrical ambiguity and different forms of harmony all informed the practical component of the research. The examples I used were from my background in popular music, in particular 1960s pop and psychedelia, the ambient work of Brian Eno in the 1970s and the ‘shoegaze’ movement in the late 1980s, although I recognised precursors in the music of Debussy, Stravinsky and Copland, and in the minimalist work of Steve Reich, Terry Riley and Phillip Glass. I also acknowledged traditional musics such as the Indian classical music tradition (which was a direct influence on psychedelia and several of the minimalist composers), Georgian and Bulgarian vocal music and Scottish and Irish traditional music, all of which use drone and metrical interplay.

What many of these had in common, to my ears, was an interest in what Eric Tamm refers to as “verticality” in music, in this case referring to the music of Brian Eno (Tamm, 1995, p. 4). I read this as a focus on phenomenological aspects of sound in music, rather than a linear, narrative-driven unfolding of events still very prevalent in western music, especially popular music. I also observed that literature concerned with this kind of music often uses terminology with visual connotations, for example, Sheila Whitely’s description of the ‘codes’ evident in psychedelia (my italics):

the manipulation of timbre (blurred, bright, overlapping), upward movement (and its comparison with psychedelic flight), harmonies (lurching, oscillating), rhythms (regular, irregular), relationships (foreground, background) and collages which provide a point of comparison with more conventionalised, i.e., normal treatment (Whitely, 1992, p. 4).

The use of visual art terminology to describe music is nothing new, but it’s a reminder that in both music and visual arts there is a phenomenological aspect to how we see and hear music and art, and I believe the approach to be useful in the analysis of the visual and auditory aspects of my project, as it applies readily to both. Phenomenology, a philosophy founded by Edmund Husserl and expanded upon by Heidegger in the first half of the 20th century, is explained rather nicely by Wayne Bowman:

As a philosophical approach to music, the phenomenological method typically resists efforts to explain what music is ‘about’, resembles, symbolises, or is useful for, preferring instead to describe as richly as possible what music itself says, how music is experienced… its concern is not so much to establish absolute or universal truths, but to help recover the richness and fullness of the experientially given. (Bowman, 1998, p. 255)

Although Bowman is referring here to the musical experience, phenomenology I find is readily transferable to the visual, and is a very useful approach in creative practice.  F. Joseph Smith states that “phenomenological philosophy is an attempt at openness and true listening. Openness in this case means not just open eyes and sight but open ears and hearing” (Smith, 1979, p. 17).  Don Ihde also observes the use of visual metaphor in describing the musical experience and notes that “the intimate relation between animation, motion and sound lies at the threshold of the inner secret of auditory experience, the timefulness of sound” (Ihde, 1976, p. 82). Mikel Dufrenne explains that both temporal and spatial factors are present in all artforms, in that time and space “become correlative and even continuous, so that the space of every aesthetic object is temporalized and its time spatialized” (Dufrenne, p. 241). Clearly, a phenomenological-based approach has some advantages in tackling an area that has both auditory and visual dimensions and deals specifically with time and our apprehension of it. Bennett Reimer also observes the idea of a “lived or virtual time” opposed to “real or clock time” in the music listening experience, and this idea of the suspension of time is fundamental to my perception of the liminal experience, both in the work and creative practice.

Evidently there’s much interest in the subject of liminality, judging from the amount of hits I receive through academia.com – there may be something in this after all. More on other theoretical approaches as I work through theories on perception – watch this space.

References

Bowman, W. D. (1998). Philosophical perspectives on music. New York, NY, U.S.A.: Oxford University Press.

Dufrenne, M. (1973). The phenomenology of aesthetic experience. Northwestern University Press.

Ihde, D. (1979). Technics and Praxis. Dordrecht. Reidel.

Reimer, B., & Wright, J. E. (1992). On the nature of musical experience.

Smith, F. J. (1979). The Experiencing of Musical Sound: prelude to a phenomenology of music (Vol. 1). Routledge.

Thomassen, B. (2006). Liminality. In The encyclopedia of social theory. Ed. Harrington, A. Routledge, Taylor and Francis: Abingdon, UK.

Turner, V. W. (1967). The forest of symbols: Aspects of Ndembu ritual (Vol. 101). Cornell University Press.

Thomassen, B. (2006). Liminality. In The encyclopedia of social theory. Ed. Harrington, A. Routledge, Taylor and Francis: Abingdon, UK.

Van Gennep, A. (1960). The rites of passage. University of Chicago Press: Chicago.

The Sound of In-Between

IMG_1285aAs you could probably surmise by lack of posts of late, it’s been busy; the UWS honours submission date has been looming and it’s been all go, go go. Thankfully, I’m almost across the finish line, and the investigation into liminality in music is all but complete, for now anyway. It’s been an interesting journey, and one that continues, as music tends to do – I’m fortunate to have a chosen a pursuit that never ceases to surprise me, there’s always something new about music to discover, and this project has been no exception.

If you haven’t been following my posts so far, I’d invite you to go back a few and see where I’ve been coming from – and for those who have and are curious to hear the results of all this liminal investigation, I’ve posted the final mix on Soundcloud. If you like music that’s a little ambient, uses space, repetition, drone and alternate forms of harmony, this may be right up your alley.

Once I’ve submitted, I’ll post a summary of what I’ve discovered – better let the examiners have a look first. But for now, enjoy some explorations of liminality – happy listening.

Liminality: a state of ‘in-between’

IMG_1221

I’ve recently been floating around a new concept that may very well tie all of my creative work together, and in the scheme of things makes a whole lot of sense in relation to the music I’ve been trying to create, the ‘spectral’ quality that I’ve been seeking

The concept of liminality (drawing from Greek work limin, meaning ‘a threshold’) describes a state of being that is between things, inter-medial, in transition, suspended… and in many respects, this is very good fit for the quality I’ve been looking for. Although the term itself is drawn from anthropology and refers to a transitional state in rituals and rites of passage, between casting off a previous identity and adopting a new one, it has applications in many areas, and for myself this applies especially to the time-based aspects of my work. Whereas I had been preoccupied with the methods used to produce the ‘spectral’ quality I was observing, namely the use of timbre, drone, repetition, quartal harmony approaches etc., what I’d been after all along was a suspension of time in music; being in ‘a moment’ so speak, and trying to make that last as long as feasibly possible. Liminality perhaps defines this, as an overarching concept or idea, which up until now I didn’t have a name for. It makes a lot of sense – quartal harmony is really an in-between approach to composition, in comparison to more conventional tertial harmony approaches, as I’d been searching for an suspended quality in harmony that didn’t feel a need for resolution. Emphasising timbral aspects in composition over harmonising a melody is perhaps another example of liminality, looking at composition with a more ‘vertical’ approach to sound. Using repetition to focus upon the phenomena of sound (a phenomenological approach) I believe also emphasises this quality, and my recent use of polyrhythms to further disrupt a sense of absolute metre in a piece also contributes to a sense of being ‘in-between’, the potential in what may be, a kind of ‘becoming’… the moment between sleep and waking, the nexus between day and night (twilight), the midpoint between conscious thought and daydreaming…. well, that’s pretty much what I’ve been after all along, really.

IMG_1256What I’ve created thus far has been, in a way, meditative, but not in the conventional sense that ‘meditation music’ usually is, replete with washy synthesisers, distant vocals and pan pipes. I’ve avoided using synthesisers up until this point, which I suspect is something to do with not using ‘real’ instruments, it feels a little like cheating. But really, I’ve been disguising the nature of the instruments or sounds that I’ve been using all along, so in this sense I seem to be striving for a state of unreality. I’ve been unsure up until this point whether to take this all into the realm of the fantastic or surreal, which is what synths seem to do, but working with natural sounds and timbres and seeing what I can do to enhance, or perhaps extend, the normal listening experience of these instruments seems to be my primary working method, so…? Perhaps this project is more about creating a mood, or ambience, or perhaps a state of listening – a place in-between the real and the unreal aspects of sound, taking something that you already recognise and then bending or twisting it, taking it into another realm or world. It seem there’s no point in starting with a sound that’s fantastic to begin with, because there’s no semiotic meaning or reference one can ascribe to it – it appears one has to take an existing, recognisable sound first, establish its significance and then take it on a journey elsewhere. Which is what I seem to have been doing, perhaps inadvertently…

I believe this is it, the quality I’ve been looking for – it’s the nexus, the liminal state between the everyday and the other… and I suspect it’s something I’ve been looking for in music for quite a long time.