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The Harp Extended: an Exploration of Resonance, Mimicry and Improvisation

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The Harp Extended: an Exploration of Resonance, Mimicry and Improvisation THE HARP EXTENDED: AN EXPLORATION OF RESONANCE, MIMICRY AND IMPROVISATION CLARE M. COOPER WRITTEN COMPONENT SUBMITTED IN PARTIAL FULFILMENT OF THE DEGREE OF MASTER OF FINE ART COLLEGE OF FINE ARTS, UNIVERSITY OF NEW SOUTH WALES, SYDNEY. 2008 CONTENTS INTRODUCTION…..……………………………………………... (Page 3) CHAPTER 1: Influence, Expectation and Evolving Ears……… (Page 4-19) Promises the Harp makes simply by being a Harp Cultural Baggage, Stereotype and Cliché The ‘whole’ Harp and its co-conspirators CHAPTER 2: “This Music” - the problem with defining approaches to extending the vocabulary of an instrument…………..………………………….. (Page 19- 29) “This Music” “Extended Technique” and “Non-traditional” playing “Preparation” Know the rules before you break them Lifting the sanctions CHAPTER 3: Improvisation and Necessitating Sounds………….. (Page 30- 34) CHAPTER 4: Mimicry……………………………………………….. (Page 35-37) Mimicking machines: Field Recordings CHAPTER 5: Exploring Physical Structure and Resonant Spaces (Page 38- 44) Exploring the instrument’s physical structure and resonant spaces Amplification and Electronic Extension Feeding tones CHAPTER 6: A Guide to Submitted Works …………………....… (Page 45-47) CONCLUSION ……………………………………………………...... (Page 48) References / Resources / Bibliography List of Interviews conducted via Email Performances / Collaborations / Residencies 2005-2007 1-2 Introduction This research project explores methods of extension of the pedal Harp vocabulary in an attempt to develop a unique language that challenges the instrument's stereotype and better responds to a range of contexts. I have investigated three key areas of extension: the physical structure of the Harp and its internal resonant spaces, mimicry as an exploratory tool useful in better understanding the Harp in relation to the Australian environment, and improvisation both free and structured used to challenge the vocabulary of the Harp in solo performance and collaborative contexts. The research stems from my longstanding curiosity with regards to the limits that a sanctioned or stereotyped repertoire of sounds and techniques places on an instrument for those who engage both as players and listeners. This critical commentary documents the results of the three areas of exploration indicated above as well as exploratory practice undertaken by other Harpists, it also discusses the problematic term 'extended techniques’ and draws on interviews conducted with progressive Harpists and improvisers with regards to extending the vocabulary of their own instruments. The sixty concerts I have performed internationally over the research period have also been central to my research. The final work consists of three elements: a solo Improvised Harp performance in my family home in suburban Sydney (filmed and recorded), a recording of Second Stabbing (Ohnedaruth), a Harp-lead composition by my Berlin-based ensemble: Hammeriver, and a series of three short studies composed of recordings of the resonant spaces inside the Harp entitled Spinal Fluid. All four pieces draw from and address what I have learnt from exploring the resonant physical structure, mimicry and improvisation. The result is a unique language that challenges the stereotypical profile of the Harp as a decorative instrument by embracing both its unique resonance and capacity for darkness, subtlety and texture. This language allows for a more flexible response to a broader range of contexts. 1-3 Chapter 1 Influence, Expectation and Evolving Ears Promises the Harp makes, simply by being a Harp To some degree, all musical instruments are trapped by the listener’s pre-conceived notions of their limits and the social context with which they are associated. Even before a sound is produced, the audience’s knowledge (or lack thereof) of the equipment/instrument/artist inevitably dictates their experience and subsequent digestion of the sounds, approach, and performance. Having studied the Harp for 12 years, I have come to see this as an annoyance as well as a challenge and advantage – more often than not depending on context. In the 8 years that I have been performing live as a harpist I have felt certain expectation from an audience. What do they expect to hear from the harp? How much does this expectation hinder a listening experience? Do my assumptions about what an audience expects affect how I choose to play the instrument? This audience expectation – based on the clichés that result from the instruments limited public profile – has been problematic enough to deter me from playing the Harp for extended periods. I grew defensive if people sighed in awe of the instrument, and resolved to ‘liberate the harp’ from it’s stereotype. If I assume that the majority of the audience has not seen a harp up-close then the physicality (engagement of all limbs) and the revelation that the instrument is filled with a complex mechanical system is bound to surprise. How much of what I choose to play is fuelled by this reaction? After discovering improvisation, the next phase of exploration was purely reactive and, in hindsight, quite hypocritical (being that I silenced much of the instruments’ voice in order to bring to the fore hitherto unfamiliar sounds and radical approaches). I consciously rejected and avoided any pretty or decorative sounds on the harp, choosing to employ preparations that were as much performative as they were tools to create new timbres (corks, plastic bags, nails, forks and spoons). As a performer I embraced the stereotype by confronting it at the first opportunity: attempting to maximise the shock factor – violently slamming and thrashing the strings and soundboard within the opening moments of a performance in the knowledge that most audience members had not seen this ‘angelic’ instrument in person, let alone heard it sound like a lawnmower. I soon grew tired of this performance art, shock-tactic approach to sound making. A number of people shared their frustrations with my aggressive approach to playing the harp – asking for “just a taste of the beautiful sounds every now and again”… I found that these people were listening for something that I, as an artist, had not promised to provide – but the instrument itself had - simply by being a Harp. 1-4 Cultural Baggage, Stereotype and Cliché What is the clichéd image or stereotype of the Harp? What expectations does this instrument set-up by its physical aesthetic and does this determine what people expect from its aural aesthetic? Overused and limiting descriptions, contexts and pop-culture references for the classical Harp abound (see Images 5-12). American Harpist Zeena Parkins describes her harp as a “sound machine of limitless capacity”1, but more often than not Harps are associated with rich and religion-laden imagery, heavenly cherubs, gargoyles, mermaids, gold leafed virginal figureheads or, at it’s most experimental – the comic skits of Harpo Marx. When replying to those who ask what instrument I play, I more often than not hear a wistful sigh and cocked head; “I looooove the harp! How beautiful!” – indicating to me that in their minds they hear the classic angelic song of the harp,2 I doubt they would have such a reaction if they had been exposed to the Harping of Emi Maeda,3 Anne LeBaron4 or Rhodri Davies. The Harp carries ‘cultural baggage’, in that assumptions are made about the instrument and its role that inhibits a fuller understanding of situations where contemporary performance techniques are applied to it. It is up to the listener whether the baggage is a burden that hinders freedom, or a wealth of experience that can inform exploration into new territories. 1 – From Artists’ website: www.zeenaparkins.com - accessed August 2006 2 It is important to note that Harpists from non-classical circles (eg. Celtic/folk) will have experienced different expectations from their communities/audiences. 3 Japanese Harpist based in Helsinki who works with feedback and distortion on the harp. 4 See Interviewee Biographies 1-5 5 6 7 8 9 10 11 12 5 Harpist Anna Maria Mendieta - picture from www.dancedress.com - accessed July 2007 6 Australian Harpist and Soprano singer Emma Horwood http://emmahorwood.wedd.com.au - accessed July 2007 7 http://reigninggifts.com/WINDCHIMES.htm - accessed July 2007 8 Photo from a ‘Busby Berkeley spectacular -- Fashions of 1934’ www.pemberley.com/janeinfo/pembfun/busby_harp.jpg - accessed May 2007 9 "Lady with a Harp: Eliza Ridgely", portrait by Thomas Sully, 1818 www.pemberley.com/janeinfo/emharpld.html - accessed July 2007 10 Section of King David stained glass window from Christ Church Riverton new Jersey. Image from www.churchgiftshops.com/riverton/index.htm - accessed November 2007 1-6 Technical Illustration of a double action pedal Harp 13 The Harp my research is based on is the ‘Double-action’ harp model, this refers to the set of seven pedals used to sharpen or flatten each note in the scale, allowing for complex chromatic changes.14 The complex mechanical system is designed in such a way that the resonant wooden frame, often elaborately decorated, masks all but the pedals. 11 http://cdxonline.co.za/product_info.php?cPath=95&products_id=1077 - accessed July 2007 12 http://www.gabrielleangelique.com/music-light.html Cover art for Gabrielle Angelique solo CD - accessed July 2007 13 Technical illustration drawn by Clare Cooper 14 The single-action harp was created in 1770, but the disadvantage of this design was that not every key could be played. The double-action pedal harp was patented in1810, the design included the seven pedals that could be depressed twice and each string passed through two pronged discs instead of just one. When a pedal was depressed into the first notch, the upper disc turns holds the string so that it sharpens a semitone. To further sharpen another semitone, the pedal is depressed again into the base notch and the bottom disc grips the string. 1-7 Is the Harp’s typecast problematic? If so, who for? Not all harpists in the field of new and experimental music feel that the Harp’s stereotype imposes limitations on their approach or their audience.
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