for two or more voice(s) or instrument(s).
©2018 Esin Gunduz.
- Contained potential [00:00]
- Lift-induced drag [02:29]
- Potential to kinetic [04:13]
The sense and the bodily experience of types of physical energies, imagined as sound.
Sense of Energy workshops:
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 -even- 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 throat after hearing a “scratchy” throat-sound.
For my process as a composer, I ask each musician’s involvement in imagining and thinking sounds, or similar types of tension, in their own bodies. Even for a piece of new music that is completely notated, thinking of and experiencing a sound in the body leads the musician to a path where creation starts within them! Through this ‘sound in body’ approach, through connecting with the human experience, musicians can explore new ways to stay true to themselves while staying true to the (requested!) sound.
“Sense of Energy” works as an exercise towards that awareness!
The participants sit in a circle, and are told to imagine a certain type of energy. We imagine these energies first in our mind, then in our body. We are given the freedom to share our experiences. Following the directions, gradually, we start uttering these imagined vibrations, as sounds. As the imagined vibrations become sound as physical -“real”- vibrations, we experience the energy even more directly.
In workshop environments, participants are also invited to think of one other type of energy, what would be their personal version of an additional movement to “Sense of Energy”. As a group, we explore them!
What does it do?
Through this process, we explore our own agency and connection to embodiment and sound production. Connecting through the bodily-experience of an energy focuses us to think about types of vibrations rather than types of musical materials. This brings about novel connections between our bodies (self), our sensations, our imagined voices, and physical voices / instruments. Regardless of each participants’ choices of types of sounds, a distinct sense of awareness occurs as a result of the process. This awareness is the aim of the piece. Further, unity within community is achieved through openness, shared moments of embodiment / focused intention.
I’ve observed that, through ensemble meetings where open conversations about our experiences of sound take place, we can explore and bond in deeper musical ways. The process asks for less judgment and more trust and, therefore, brings forward a safe environment for “co-creation” to happen. This level of attention, intention and connection can work in the service of our community (composers, conductors, ensemble performers) of new music.
With that -given- primal human empathy, our audience is often aware of the intention within/behind any sound. Audiences beyond our immediate reach can connect with that language. I can see how our new music community, and our wider culture longs for such human, direct connection in musical experience.
Performers on the recording above:
Roopa Mahadevan, voice
Esin Gunduz, voice
August 2018, (R)evolution Resonant Bodies Program, Banff Centre for Arts and Creativity.
Photos, other recordings, and upcoming performance/workshop dates:
2nd performance Aug. 3 2018 (R)evolution Resonant Bodies Banff Centre for Arts and Creativity, Alberta Canada, by a duo of voices Roopa Mahadevan and Esin Gunduz.
3rd performance Sep. 26 2018 So Percussion Brooklyn-Bound Series, Brooklyn, New York NY, as part of a set by Lucy Dhegrae, by a duo of voices Roopa Mahadevan and Esin Gunduz.
5th performance, June 14th-15th 2019, “Sense of LMCML” workshop proceedings at Montreal Contemporary Music Lab (LMCML), at Conservatoire de musique de montréal (CMM) Canada, by Antonin Bourgault, Dave Klassen, Mayu Funaba, and Esin Gunduz.
6th Performance, June 16 2019, by Montreal-based vocalists Susanna Hood, Christiane Charbonneau and Ayelet Rose Gottlieb, joined by Esin Gunduz. The four will also interact with the participants of Ayelet’s workshop series “Singing with Freedom” at Orchard of Pomegranates, Montreal, Canada.
7th performance, Aug. 22 2019, The Palladium Theatre in Saint Petersburg, FL, USA, by Baker & Hess Duo (Elizabeth Baker, Robert Hess).
Premiere performance by resAUnance: Feb. 27 2018 University at Buffalo, NY
Esin Gunduz is a new music composer and a vocal performer whose work investigates the types of energies at play among all beings (connection / tension, opposition / union), exploring these energies as sensory experiences and sound. In her works, the tessitura in human voice is translated into instrumentation and orchestration. The landscapes built from recorded-voice samples surround the instruments creating other-worldly atmospheres.
Categories: Original Composition
Composer and Vocal performer