I can’t very well write an objective review of Interior Design: Music For The Bionic Ear, but here’s an overview of what happened on the night.
For those of you coming in late, Music for the Bionic Ear was an evening of new musical works written specifically for listeners with cochlear implants. Miraculous as they are, cochlear implants have a long way to go if they are ever to an accurate representation of sound. In music, it can be difficult to comprehend pitch, timbres, harmonies, even rhythm in some circumstances. Music for the Bionic Ear is a part of the research into how to develop music perception and appreciation for implant wearers.
Six pieces were presented at the concerts, each taking a different approach to making music that may be particularly suited to the Bionic Ear. All audience members, regardless of whether or not they used implants, were asked to fill out a short survey included with their programmes. Furthermore, after each piece listeners were asked to grade their reactions to the music, based on a set list of questions.
The six pieces were:
Rohan Drape, Another In Another Dark. This piece for clarinet, viola, cello and piano had a very late-Morton Feldman feel to it; not so surprising when the composer refers to Feldman’s Palais de Mari in his programme notes. The instruments play subtly shifting textures in extended, suspended harmonies.
Natasha Anderson, Study for the Bionic Ear #1. For the first half, two percussionists iterate a cycling rhythmic pattern on tuned drums and shaker, before a sampled piano and electronic noises intrude. The second half focuses on constant sounds from a vibraphone, rolled and bowed, mixed with sampled cello drones and electronic tones.
I’ve already described my own piece in some detail on my website, and plan to go into more excruciating detail later.
James Rushford, Tussilage. This piece for viola, cello and tape (playback and electronic sounds) kept steadfastly to the “difficult” language of the avant-garde, with extended playing techniques and a mixture of pitched sounds and noises of varying complexity. The use of these sounds of these sounds was based upon earlier tests and auditions with implant wearers.
Robin Fox, 3 Studies for the Bionic Ear. Electronic sounds were simultaneously played through the surround speaker system and represented graphically on the screen, either as colour bands of pitch frequencies or as waveforms. The sounds alternated between steady drones of electronic tones that accumulated overtones in different patterns, affecting harmony and timbre, and differing articulations of sharply rhythmic, ascending scales.
Eugene Ughetti, Syncretism A. Three percussionists produce an array of timbral and textural effects, largely with untuned instruments, also using amplification and other electronic treatment, as well as speaking voices in one section.
The survey sheets used by the audience concentrated on questions of aesthetic pleasure to be found, or not, in each piece. The results are now being collated and analysed. Audience members were also invited to attend discussion groups immediately after each concert, to give their thoughts and reactions.