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.