The Vibrating Drum - developing a practice for the modern percussionist

Ingar Zach

Over the last 60 years, contemporary percussionists have been investigating the potential of their instruments beyond established classical techniques, making use of a variety of preparations and techniques, additional electronic amplification and manipulation, and alternative setups. In my artistic research project The Vibrating Drum, I apply my background as a percussionist working in various experimental disciplines towards a consideration of how the vibrating speaker (the transducer) can be used to produce sustained sounds. Over the course of my project, I have assembled a haptic system comprising vibrating speakers in contact with the drum skin, small amplifiers, and iPads, that allows me to create and develop new artistic works for percussion. My methodology entails giving a series of solo concerts, where I present different versions of the setup and material from my ongoing research. I have also introduced my material in collaborative projects and explored how vibrating material interacts with specific acoustic spaces. To produce my formal artistic results, I edited and structured the recorded material, which resulted in two solo albums, a video installation, and a final concert. The aim of this research is to broaden my own practice and to offer a tool for modern percussionists, composers, educators, and others for whom my research and approach would be relevant in the future.

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Acknowledgements

It has been a long journey arriving at this point, which is not even the end—I feel like I have only just started. My work here represents only a window into an endless world of membranes in vibration, and these three years are just the most recent chapter of a longer process that started long before the fellowship and will continue for years to come. The research period has given me knowledge that will guide me in new artistic challenges and projects, some of which are already in progress with Etienne Nillesen and Riccardo LaForesta. I also have plans to compose a new piece for twenty-five Gran Cassas with vibrating bass shakers. My future aims include returning to my postponed collaborations with Michelangelo Lupone and CRM in Rome, looking at improvements of the vibrating speaker, and working with Robin Hayward to develop of the app version of the software Tuning Vine. The haptic system, now an integral part of my percussion setup, will assuredly undergo further development as I continue to research and perform.

I want to thank the Norwegian Artistic Research Programme and the Norwegian Academy of Music for giving me the opportunity to dive deeper into the secrets of the drum’s membrane. I have been fortunate to have had a rehearsal studio at my disposal on the top floor, which has given me invaluable space and time to focus.

This research was made possible with the support of the Norwegian Academy of Music, Norwegian Artistic Research Programme, Arts and Culture Norway, The Fund for Performing Artists, The Audio and Visual Fund, TONO’s Edvard prize and The Norwegian Jazz Forum.

I would like to thank my supervisors, Eivind Buene, Anders Tveit and Ivar Grydeland for being there and trusting in me and the project. Their motivation and support have been crucial to the endeavor from start to finish.

I would like to thank my always supportive parents, Sidsel Zach and Wilfried Zach.

In no particular order I would like to thank my wonderful friends and colleagues who contributed with their musical artistry and fruitful conversations, giving me valuable advice along the way:

Jim Denley, Magda Mayas, Ivar Grydeland, Christian Wallumrød, Xavier Charles, Etienne Nillesen, Riccardo LaForesta, Jennifer Torrence, Ane Marthe Sørlien Holen, Stig Gunnar Ringen, Andrea Silvia Giordano, Robert Seaback, Heloisa Amaral, Thorbjørn T. Hansen, Ensemble Musikfabrik, Karin Hellqvist, Esteban Algora, Kim Myhr, Eivind Lønning, Kjell Bjørgeengen, Kenneth Karlsson, Martin Taxt, Michele Rabbia, Ruben Machtelinckx, Giuseppe Ielasi, Adele Rombolà, Daniele Risi, Giuseppina Bruno, Peder Simonsen, Tor Halmrast, Lasse Marhaug, Stephan Meidell, Dag Magnus Narvesen, Arnt Inge Vistnes, Ingo J. Biermann, Jonas Hovden Sjøvaag, Giuseppe Pisano, Espen Aarnes, Catherine Nicolaissen.

A huge and unconditional thanks to Jennifer Gersten for the inspiring talks and for all the help and support in the final stages of the project.

Finally, thanks to my partner in life, Alessandra Rombolà, for standing by me and supporting me all the way in the rocky paths of artistic research.

Oslo, 14 November 2023.

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Ingar Zach - The Vibrating Drum - developing a practice for the modern percussionist - 2024