Tonight I’ll be taking some more measurements of the National Centre for Early Music for use in the Virtual Singing Studio – but this time with a live audience.
Come and hear what difference an audience makes to the acoustic of the performance space.
Concert/talk details below:———–
David Howard, with members of the Audio Research Laboratory at the University of York and singing friends, takes us on a journey ‘from south to north’ exploring our voices from lungs to head!
Presented in association with the 2013 University of York Festival of Ideas.
Pole to pole
A new vocal sonification by Andy Hunt based on the Earth’s magnetic pole flips over many millennia.
Prototype Vocal Tract Organ
This will be the world premiere showing of the prototype vocal tract organ from the Audio Lab, which is based on 3-D prints of human vocal tracts, that will be used to accompany voices.
If/Then+Really (as if)
for live and synthetic voices, by Kevin Jones, featuring Mezzo Soprano Lisa Coates.
If/Then+Really (as if) is a music/performance work, which explores the broadening impact of human-machine interaction and the ways in which we increasingly find ourselves navigating the terrain that divides the poles of humanity and technology. Featuring Mezzo Soprano Lisa Coates, the piece combines a live singing-speaking voice with synthetic voices performing in a musical/dramatic counterpoint. Growing from a conversation with a telephone menu options system the relationship between the live and synthetic characters becomes a vortex of understanding and misunderstanding as they both struggle to find meaning in their interaction.
Vocal Vision 1
Vocal Vision 1 was written by David Howard for a four-part computer-based synthetic vocalise quartet and two sopranos, Clare Steele-King and Annie Howard.
Vocal Vision 1 juxtaposes a computer synthesised four-part choral texture with two solo voices to allow particular differences between them to be placed in stark contrast as a vocal vision of the technological ‘now’. The synthesised voices can hold all aspects of a note, such as pitch, tuning, volume and vowel quality, exactly and for as long as is desired; this is not the case for a human sung output where there are constant small-scale variations as well as a need to breathe! Listen out for diphthongs, basic sounds we use in speech communication, that are stretched over many bars; something the synthetic choir can easily achieve. Contrast this with the lack of consonants, something the synthetic choir cannot easily achieve, to be appreciated all the more by their absence.