Page 78 - Composing Processes and Artistic Agency

The processuality of composing 67

voice to slowly be distilled out of “abstract” sounds, which start off sound-
ing like human breathing. […]Hereis the – still incomplete – progression:
1. Breathing > sputtering; 2. Sputtering > stuttering; 3. Stuttering >
whispering; 4. Whispering > chorus 5. Chorus > groove; 6. Groove >
slurring; 7. Slurring > speaking. Each of these formal parts will be
described in detail in a sort of performance score. […] All afternoon I
define the various sections and simultaneously try them out on the soft-
ware instrument. I’m very satisfied with it because I’m no longer con-
sidering a free improvisation (which would also be within the realm of
possibility).

The sketched-out progression of Essl’s piece is the result of an extensive pro-
cess of exploring, in terms of both the raw material and the software instru-
ment. Karlheinz Essl gained a deeper practical insight into both, and realised
how to develop his instrument further. This is paradigmatic of the way
exploring, understanding, valuing and making unfold: they are not only gov-
erned by knowledge, but generate new knowledge as well. Similarly, during
composing, comparisons with other works occur which are acts of valuing.
Thus, one aspect of the process of exploring can be about who (peer-orientated)
did what similar work (music-history-orientated), how it was done (music-theory
and composition-orientated) and to what extent (comparison-orientated) it
could be used as a reference point – including for a quotation or for differ-
entiation. Contextualising one’s own making helps to expand ideas and
develop them further. Essl’s decision not to include any “free improvisation”
can here be interpreted as a “forking path”:it definitively excludes a possibility
that had been considered.
In the following days, Karlheinz Essl works on composing the piece, an
activity we call making.

[12 Feb 2014] More work on the formal progression of the piece to
complete the ending: the speaking becomes “singing”, which develops
into “bellowing”. For the “singing”, I develop a method of giving the
speech particles harmonic colour using a flanger. For this, I use the scale
(c# – d – e – f – g – a♭– b – c), whose notes are chosen at random. Its
middle note g is the “tonal” centre of the piece, already hinted at in earlier
sections. […] I start the first trial recordings of the piece. I like the third
recording, Herbecks-Versprechen_24590.aif, even after repeated listening.
Nonetheless I recognise that the ending doesn’t cohere yet: still too much
going on there. Editing is called for!

Since the formal structure of the composition (see previous diary entry) has
already been developed, Essl’s composing now follows an established path
specifically regarding individual parts of the piece. Once again, hearing is
crucial. Essl’s concentrated re-listening to the provisional reference recordings
of his piece also changes the directionality of the listening. On a case-by-case