For composer, vocalist, and improviser Esin Gunduz sound originates in the body. She explores life’s energies as visceral sensory experience and sound, building landscapes of her own recorded-voice samples to surround acoustical instrumental textures, creating breathtaking acoustic vistas.
Ms. Gunduz has performed her works at the Banff Centre, on So Percussion’s “Brooklyn-Bound” Series, and at the Montreal Contemporary Music Lab. Among the performers who have championed her work are Ensemble Linea and mandolinist Avi Avital, as well as members of the Talea Ensemble and ICE, the International Contemporary Ensemble. Current projects include an electroacoustic ensemble piece based on Sumerian tablets. Upcoming premieres include a work on alchemical processes for the NyCity based duo Ultrafizz, and a work for voice and electronics on texts by Enheduanna to be a part of Rosie Middleton’s Voice(less) project.
A researcher of vocal performance, Esin Gunduz has offered workshops for CS1 Projects and Indeterminacy Festival. She is an adjunct professor of voice at Villa Maria College and holds a PhD in music composition from SUNY University at Buffalo. — esingunduz.com
As a composer, I concentrate on the nature of sound and its embodiment…
As humans, we respond to human-voice with a primal empathy. An immediate kind of mirroring takes place. We “know” the tension that is required to produce that sound.
We feel it in our own bodies!
We reflectively react to it at times:
…such as raising our eyebrows when we hear voices in upper-spectra (like a boy-choir),
…or clearing our throats after hearing a “scratchy” throat-sound…
I am particularly fascinated by culture-specific vocal practices and traditional vocal-techniques, not only because of their complex acoustical spectra, but also because of how they communicate and convey a wide range of such direct and human experience.
Life vibrates within those sounds!
Such vocal timbres carry information into a singer’s attitude / psychology / type-of-being / (…) — phrases of singing are time-capsules of human-life in acoustics!
I learn from these and translate them into instrumental writing.
I aim to recreate the directness of those human-voices, for ensembles.“