Project #2
For my second project, I have decided to explore the glissando, and Edgard Varèse's concept of opposing noises. In chapter three of Noise Water Meat, Kahn details Varèse's resentment of the limitations of the standard musical system of notes and melody. He felt that he could break away from the boundaries of the western scale by using the glissando; yet still maintain structure through the use of percussion; thus "compensat[ing] for the weakness of the other". I hope to also explore the influence of natural sounds in glissandi, and draw comparisons between the "infinite gradation of nature," urban sounds, and musical composition.
The first "movement" of my audio piece demonstrates natural glissandi. I used the sound of heavy wind, to function as my glissando, while thunder is used as a percussive accent.
The second "movement" of my piece transports the listener into a modern city, with sirens blaring, and engines revving. These mechanical sounds, often used by Russolo in his work, portray the mechanized compliment to natural glissando. The sounds of slamming car doors, breathing air breaks, and blasting horns help hold the soundscape together with their percussive clatter.
Finally, the piece fades into my musical interpretation of Varèse's tactic. I layered recordings of glisses made on fretless basses and slide guitars, with glisses from popular recordings such as Digital Underground's "Humpty Dance". Drumbeats are then used to hold everthing together musically.
In conclusion, I used my piece to demonstrate Varèse's ideas of musical glisses and compensating percussion, while introducing the listener to the influence of nature on sound.