The voice and the machine- and the voice in the machine - now you see me, now you don’t-

Tone Åse

The basic focus of this project is how the use of live electronics can open up new musical possibilities and roles for the improvising vocalist in the musical interplay. The project is rooted in my background as a vocalist taking part in what could be called the Modern European Jazz Scene, and the musicians I have been cooperating with in this project are all important contributors in this musical field. The project has been carried out as an artistic research, where the artistic result has been presented in the form of recorded music and concerts. Recordings of the music are also presented as sound examples in this critical reflection. The main focus areas in this artistic research project are the following: • I have explored how the use of live electronic processing can open up for new musical parameters, compared to the sole acoustic voice as instrument in music. These new possibilities are related to the experience of how electronic processing can create distance from and transformation of the natural voice sound. • Furthermore, I have investigated how the use of these parameters can create new roles for the vocalist in the improvised interplay of my genre. • As a part of my project I have also explored how an audio tracking system created for the theatre scene can be used as a live electronic tool for an a capella ensemble, and contribute to new strategies in the improvised performance. • In another part of my research I have studied artistic possibilities through implementing the role of the storyteller in a musical performance with vocal and live electronics. I have wanted to find out more about how this implementation affects the relationship between performer and audience, and the perception of the performance as a whole. This part of my project has been carried out as a solo performance, in research collaboration with musicologist Andreas Bergsland. The research is using audience feedback, both to feed the artistic process, and to generate new knowledge about the perception of the performance.

When I was introduced to musical improvisation, it changed the way I experienced music, both as a listener and a performer. The unpredictability and the processual character of the interplay gave an intense feeling of freedom and excitement, quite different from earlier experiences. I wanted to take part in this type of interplay. I wanted to be in a new position as a performer; to create the music while playing it.

When I discovered the possibility of changing voice sound and the use of it as musical material through live electronics, this also put me in a new position as a performer. I could take part in the improvised interplay in new ways.This did not make me want to leave my position as a singer, the acoustic voice sound and the melodic lines and lyrics were important parts of my identity as a performer. I just wanted to have other opportunities as well.

2008-2012 I was a fellow in the Norwegian Artistic Research Fellowship Programme. The goal for my research was to explore further these opportunities. The following documentation and reflection is about this exploration, and was made available on my website in february 2012.

Tone Åse

The voice and the machine- and the voice in the machine

- now you see me, now you don’t-

Artistic Research in voice, live electronics and improvised interplay

Photo: Geir Mogen