Sonic Poetic Embodiment

Formation Through the Self

Stage 1: Trance Improvisation Mix

The Canto Morph reverie comprises 7 movements of audio multi-track recordings totalling 40 minutes in which I performed all instrumental and vocal parts in a trance-like state using the method of a trance improvisation mix as briefly described in the preceding chapter. The components of this trance improvisation mix as the ‘first stage’ of the Canto Morph opera are:

Canto Morph Reverie

I.  A Te, Mamma 12’30
terra
solo voice, recorder, flute, clarinet, violin, cello, retuned piano and mirror plate with port glasses, live electronics

II. I Sacrifici 5’20”
gently, reflectively
solo voice, recorder, flute, clarinet, violin, ‘cello, piano

III. Viola Del Pensiero
 3’40
still gently, a little overwhelmed
solo voice, cello, viola d’amore

IV. Canto Notturno
 3’30
still gently, a little night song
solo voice, violin, ‘cello

V. Ora Di Calma
 3’40
calmly, (perhaps a little alchemy)
solo voice, recorder, flute, clarinet

VI. Nate Da Pianti 3’30
and he continued to dream
solo voice, recorder, flute, clarinet, violin, ‘cello, prepared piano

VII. Eterno Idillio 5’
e benedice
solo voice, recorder, flute, clarinet, violin, ‘cello, prepared piano

The Lost Reverie
 3’40
still gently, a little overwhelmed
solo voice, viola d’amore

The strategies I used in employing trance-like states and my understandings of these processes are embedded in the idea of sonic-poetic embodiment as a phenomenological state. Techniques for this investigation of subjective experience and altered consciousness can be defined in relation to the induction of feelings of transgression, as associative impulses and its counterpoint of dissociation.

Formation through the self is explored through the concept of alterity, a phenomenological state which seeks a state outside of the self.