As years have passed and while I was immersed in contemporary music composition, complemented with some exploration and experimentation with different composition methods, I discovered a great interest for “sound” as a tool and source of inspiration at the moment of creating. In this proposal, the term “sound” is understood in its broadest sense and with all its possible applications. In this context, I have consolidated an eclectic composition method, which mixes different contemporary art techniques and I have also seen the need of taking my art to public space, which is one of the principal sources of sound in its purest expression.
And so the first premise of this research/project arises from two simple actions: listening and observing. The fascination I feel for the sounds produced by different sources, the interaction of people with the environment and the way they communicate (dialects, onomatopoeias, jargon), nature (animals, rain, wind), mechanical devices (vehicles, billboards), and even how the architecture affects acoustics and landscapes has led me to record, analyze and experiment with this rich and diverse elements which are always available at hand’s reach. Additionally, as a passionate traveler and walker, I have found out that public space provides me a meaningful opportunity for showing works of art, resulting in a fusion between the spontaneous and the natural aspects of daily life, as well as the effort and the intention of the artist.
It is not strange that we go home or towards our workplace so fast that we do not contemplate the things that surround us. If the way becomes an artwork, the interaction with it will favor the shaping of a meaningful experience which makes possible to set a symbiosis with it: a way with more meanings. Streets, passages, stairs, bridges and tunnels, all of them places where people go without stopping, constitute ideal spaces to be intervened with the purpose of providing more options to the passersby to slow down their pace and better contemplate the environment that surrounds them.
With these two premises as starting points, “Music Intervention” come up as a try to break that barrier and to create not a unique artwork, nor a piece of music, but a way to intervene the city, a life plan willing to be shown in different routes around the world, bringing the audible, visual, and social environment to the inhabitants of a particular place.
As Bernal (2006) explains, in order to achieve an eco-aesthetic comprehension of urban territories, it is important to produce a cultural deployment which integrates creativity as the deployment of life in the social experience of happenings and events that set singularity from innovative practices regarding art, science and technology in coexistence with other forms of interaction.
The development of the process will be implemented under a principle of flexibility, which means that the experience itself contributes to technical and conceptual decision making; those decisions are related to the place, orchestration, rehearsals and development.
Stage 1: Choosing and getting to know the place: It comprises: 1. choosing a place: some observation of different places will be done around the streets. The information will be registered in films, pictures and sound recordings. Three criteria will be taken into account when choosing a place: the people’s behavior, architecture and soundscape. 2. Interaction with the place for its characterization and comprehension: There will be some time for coexisting in the chosen place in order to approach to its meanings, itineraries and routines. Some observation and information recording will be carried out in different moments and in different directions within a process of coexistence with abstract, human, audible, and physical objects. There will also be a moment for registering information about the experiences of the people who live in that place and their interactions with it, by using field journals, as well as film and sound recordings.
Stage 2: Place analysis: It comprises 1. Organization and interpretation of information: What happens in the place is the question that guides this second moment. A detailed analysis on what happens visually and acoustically will be carried out, which can provide evidence on what the most common and the least common people’s behaviors and sounds are. The images registered in the film recording will be analyzed in order to better understand the behaviors and experiences in the place and it will be complemented by the category-based analysis of the observations made and recorded in the field journal. This information will be very important in order to determine how the project is to be taken to the people. 2. Material selection: It is based on a process of deconstruction (Derrida, 1920-2004), which means to deconstruct the environment in order to understand it and intervene in it without destroying its essence. After having fragmented the environment and having analyzed all its components, is necessary to select those materials that, are marred or ignored by the passersby.
Stage 3: (re)orchestration and tests: In this stage I will be using the orchestration term in a wider sense than the conventional way. It will comprise not just the musical aspects but also the visual and social aspects. The structure of the sounds chosen will allow making decisions on the material that will be selected and the techniques that will be used. The range is wide and covers from acoustic instruments to the use of new technologies for getting complex electronic sounds. The means used should call the people’s attention towards the environment. Afterwards, some tests will be done with the performers; the relation they have with other similar sounds in the soundscape will be analyzed and some practice will be done in the street or indoor. At this point, a very clear notation will be developed, which will allow the performers to establish a relationship with the environment and with the passersby, letting them to be his or her guides at specific moments of the experience in the place.
Stage 4: performing and staging: Although sounds and performers should link the audience to this new space that is being created, in order to cause a more intense effect, the visual aspect should be regarded with the importance it deserves. The location in the space, the costumes, and the possibility of intervening the streets or the walls with objects will help to better catch the attention of the unaware passersby and invite them to interact with the environment. The performance as well as the impressions and responses of the people will be recorded. This will allow improving the performance and keeping a record of the experience for its spreading and acquaintance by academics and people in general.