Sense of Energy

2018
for two or more
instrument(s) | voice(s)

workshops led by Gunduz
& performances by ensembles:

Personal Clutter (as a vocal duo: Rosie Middleton & Sarah Parkin)
Personal Clutter (as a trio sub-group), as part of
Gunduz (voc and leading) w/ Indeterminacy Festival Ensemble
Gunduz (leading) w/ McGill University Professional Development Program Ensemble
Gunduz (voc and leading) w/ Indeterminacy Festival Ensemble
Gunduz (voc) w/ resAUnance
︎Baker | Hess Duo (workshopped independently)
Gunduz (voc) in a quartet w/Mayu Funaba (pno), Antoning Bourgault (sax), and Dave Klassen (perc)
Gunduz in a vocal quartet: w/Susanna Hood, Christiane Charbonneau, and Ayelet Rose Gottlieb
Gunduz (voc) as a duo w/Mike Sandoval (cb)
Gunduz as a vocal duo w/︎Roopa Mahadevan

Sense of Energy
has bee performed
at events | venues:

as part of ‘personal clutter + Jessie Marino’, at KM28, Berlin, DE
as part of ‘Deep Time’, at the Fruitmarket Gallery, Edinburgh, Scotland, UK
as part of the McGill University Professional Development Program, Montréal CA / Online
as part of ︎an Orchard of Pomegranates Series, in Montréal CA

as part of LMCML at The Conservatoire de musique du Québec à Montréal CA
at Banff Centre for the Arts, Rolston Recital Hall, Alberta CA
as part of the ‘Intersect’ program by Elizabeth A. Baker, in Palladium, FL, USA
as part of ‘Brooklyn Bound’ Series by So Percussion, NYC, USA

Sense of Energy

In “Sense of Energy”,
the sense and the bodily experience of
types of physical energies,
are imagined as sound and
translated into physical vibrations of sound:

1- contained potential [00:00]
2- lift-induced drag ︎[02:29]
3- potential to kinetic ︎[04:13]

As a composer, I focus on the nature of sound and its embodiment.

On how we experience sound viscerally, kinesthetically. I explore visceral sensory experience and sound, building landscapes of my own recorded-voice samples to surround acoustical instrumental textures—to create breathtaking vistas.

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 performers and ensembles.