MAP Project: Jeanne Côté — Write-up
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Jeanne Côté — Write-up
The research I conducted in collaboration with composer Pedram Diba was based on various areas of interest which ended up all centering on the musician’s inhabited space. We explored some mechanical sounds, as well as intimate sounds, that are produced within that space. The use of binaural technology greatly contributed to the discovery of new timbres and to a new perspective on listening.
At the outset, my colleague and I exchanged audio and video files. We were mutually interested in indeterminate sounds from a range of sources: the crackling of a crepe as it cooks, the drumming of the rain, fizzing kombucha, a bouncing marble. Binaural recording technology allowed me to more easily understand the ideas Pedram was trying to convey. It specified the position of the subject so precisely that I felt as if I were in Pedram’s shoes.
Over the course of the research period, we discovered that Pedram and I do not listen in the same manner and that these differences in perception affected our process.1 This contrast was noticeable from our very first meetings, and it ultimately enriched our work. This outside perspective from my colleague, who was interested in things I had not considered, encouraged me to further explore certain sounds. Our numerous exchanges of audio or visual material as well as our work sessions also helped me to clarify my thoughts and redefine my ideas and objectives so as to better communicate them to my peers.
Pedram’s focus was on the movement of sound within the inhabited space, for example, the sound of a spinning coin or of sweeping the violin around my hair. My own attention was more focused on “mechanical” sounds, the involuntary background noises which allow sound to be produced, such as a finger pushing on the fingerboard, a hand rubbing across the body of the violin or the friction of the bow’s hair against the string. Given the close placement of the mics, these sounds came through so clearly on the playback it made me want to refine my playing in order to eliminate them. However, I quickly changed my mind and instead took advantage of the new technology at hand. In a creative research context such as this, it seemed wiser to take the time to explore these mechanical sounds than to work on polishing my sound, as I would for a concert performance. Our interest in these kinds of sounds led us to seek out others that might be produced in the same space.
Recording so close to the musician allowed us to capture very delicate and naturally quiet sounds. Besides exploring mechanical sounds, I investigated various techniques like rubbing the strings against my hair, sliding my hands over the violin and blowing into the f-holes. These three gestures produced results unique to the performer (hair, skin, breath), which is why my colleague and I called them “intimate sounds. ” Though it was interesting to explore them, it was especially enlightening to listen back to them, as a binaural recording gives the listener a sensorial experience similar to human hearing. Listening to these intimate sounds created the feeling of not only possessing the musician’s ears, but of being in their skin.
Experimenting with binaural technology pushed me to transform the way I listen and the way I play. When the microphones were in my ears, I played the role of both musician and audience member. Playing for my own ears turned out to be quite a challenge. Among other things, I had to resist the impulse to project far into the hall, which is normally a concern of mine. Having this dual role within my own space and without an audience to act as intermediary, it felt as if I were working with raw material. I was therefore able to quickly adjust my playing, including my timbre, by reacting directly to the sound as I heard it.
Given my dual role of sound producer and of listener, sharing and improving on different timbres with Pedram was quite simple. It was helpful that the binaural recording so closely resembled what I was hearing live. Towards the end of our collaboration, I recorded some sounds in an anechoic chamber with the help of Florian Grond. This silent room allowed us to collect samples of “pure” timbres without the interference of any other noises. My sensitivity to timbre has been continuously improving, especially since collaborating on ACTOR projects. This research project has led me to reflect more specifically on my own instrument’s timbre, and its variants, pertaining to my own perception and spatial positioning. Recording within my inhabited space also justified the exploration of extremely quiet sounds.
All of the conversations and ideas that emerged over the course of this research project resulted in a work that employs the musician’s inhabited space, mouvements and personal sounds. The piece is written for amplified violin with binaural microphones and is accompanied by a digital audio track. Some logistical adaptations had to be made; since it is impossible to wear both mics and headphones, I will have to play without hearing the track. A graphic score,2 a visual metronome or both may solve this problem.
As a violinist, it was quite engaging and enriching to be involved so closely in the compositional process. Numerous exchanges of audio and visual material defined the creative process, allowing Pedram and me to explore and develop various ideas. Our exploration of the musician’s inhabited space led to some great discoveries. In future research projects, it would be interesting to use binaural technology to study the difference between the perception of the musician and that of the composer.
1 References the four modes of listening proposed by Pierre Schaeffer: listening (écouter), perceiving (ouïr), hearing (entendre), comprehending (comprendre).
2 References the system of notation used by composer Symon Henry.