In recent days it has occurred to me that I could finally respond to my teachers with exactitude and silence them. Silencing them forever with terms which turn inside out silence,self-analysis, and activism.

Let me begin with silence as one realizes that phenomena amasses. One is silenced to learn what was by-passed in the interior. Now, I stand silent in front of the world ready to improve an ability to treat near to far relations, relationships of continuity.

Self analysis boils down to auto-experimentation. A tasking in detailed articulation, to understand how one "thinks while acting" formulates the psychic and sensory.

Activism appears to me as my going out into the world (travel is only a by-product of activism). The gist of going into the world is to better understand materia. Materialism according to poly-techniques, mathematics and statistics each contributes to how we understand relatedness. One cannot be an activist without having a material pension.

Silence, self analysis, and activism can all be treated as a civics. What is left remains asking "What is time?"

There is a great deal of primary investigation which is overshadowed by normative thinking. The contextual scheme, of those that came before us, obscures and stands between primary research and how we set research priorities.

The history, names, and works must be treated by other's. It is vital to construct a sensibility on sensory and physiological ranges. This is the first step to discuss the anatomy of sensory resources in reception or transmission.
 
 

A graphic display appeals to the eye but does it reproduce the vibratory sensation as when the display is read aloud? A methodical graphic system would carry the gradual organization of utterances as much as meaning and phonology. By current standards representation of speech can only say one thing at a time and pause to ready for the next utterance. Graphic displays in poetry keep running into the limits of poetry. Another problem of notation is how to detail pronunciation requirements. My solution combines the notation of articulation, the use of dialogue, and choral forms which establishes a layered realization. The superimposed text is not a single voice instead it contains the gestures of voice parody and multiple personalities. The superimposed text is a variety of exits and entrances as many speakers, singers, and others provide their vocal range or the parody of another's range.

We begin our search for a generative graphism in a form that will... excite "meaning and sound" or "sound and sensation" (tone sensation). We do not make it new. Our purpose is to sustain, prolong and extend utterances of all kinds. This technique centers upon respiration within diction.

A retentive temporal asssemblage is of primary interest as one designs a graphic display system. Text generation of this sort is based on song. In singing norms of phonology are modified as breath and empathic inflection are distributed across the nasal, oral , and glottal pathways.
 

• A transparency technique integrates delay, echo, and the page turn.

• A text dispersed on a transparent page is superimposed upon an opaque page

• which yields sustained expressions on a written page

• The cadences of the first page are modified (renewed, dropped, or varied).

• This technique reinforces key passages and allow us to say serveral things at once.

William Carlos Williams found graphic symbols which are not intrusive.

Denise Levertov found Williams used marks of punctuation to indicate pause and respiration. These graphic marks appear to the reader as an ornament but the professional reader uses lay-out as a cue on how to time, the rendering of the poem, into more vocal phrasings.

Williams' variable foot in triadic and couplet forms forces us to go ahead, forward in time, never looking back. The text likewise advances lineally while Williams' metric structures make the reader look in extended bursts, unlike Paul Celan's fugue internalizing itself within blocks of verse. Williams' display end's with finding one intimacy: the poet with the page.

It is through the attempt to write simultaneously, that I found a methodical means to process text introducing real-time shifts. Once I devised a technique to superimpose narration, it occurred to me that the end result was how to communicate with the reader's memory-sensory faculties. The tactile device of the page turn was essential to this approach. With each page turn the graphism would sharpen the reader's attention as the reader takes care to see and hear the poem taking form (decomposing or compositing).

The aim of this tactile-memorial technique leads the reader to have a more gradual sense of time as the reader alone sets up and perceives the cadences,repetitions, and deviations.

The remainder of this essay will present other graphic notational systems and parametric guidelines to generate poetic speech. These techniques anticipate applications of time-warp processing for audiovisual poetic accompaniment or parallel processing of a generative text application.

One finds in Cassandra's Dream Song (1970) a flute solo of great complexity: simultaneous motions which function independently often moving in divergent directions, with very small micro-rhythms nearly impossible to realize. The graphic notation is a detailed architecture which challenges one to realize this solo.

One feature within Ferneyhough's remarkable notation system is his notated-respiratory instructions. In Ferneyhough we find him detailing articulations and not what is to be heard. Ferneyhough uses extremely demanding detailed notation to overload sensory stimulus. This overload requires the performer to make performance decisions and to develop memorized and episodic displays simultaneously. Through rehearsal one acquires an ability to realize aptly what has been written. With greater patience one comes to hear what is the optimal sound to correspond with the notational complexity.

Ferneyhough's notation realization is much more then:

"I write it!" and "you play it."

He has designed a graphic scheme which in turn generates a two-step realization. The two steps surpass conventional technical articulations in order to stimulate the new found postures which accomplish what the notation required.

The graphic demands on the performer are simultaneous:

Ferneyhough's notation-realization is a "generative graphism." The articulatory act, prior to sound and audition, is the focus in the notation-realization. The complexity of the aerodynamics leads to a richness of intonation and timbre as the performer produces, maintains, and anticipates sound production. The attractiveness of this notation-realization method is that it takes nothing for granted.
 

• Not the context in which the presentation is to be made.

• Not in the temporal organization of allowable deviation.

• Not in the articulatory layers the gestural process from which the sonic material emerges.

This notation scheme looks at performer behavior according to its available resources and how to transform the performer's ability. The evaluation of a performer requires parametric guidelines. Ferneyhough's notation system tasks the performer rather than picture of what is to be heard.

Brian Ferneyhough's notation system is an example of a notational system which is aleatory but rigid. Since the concern here is verbal language rather than music Roman Jakobson's phonetic system will be referred to.
 
 

Characteristic	Alignment of Sonority
1. Vowel/No Vowel	Vowels/(Vowels mumbled)
2. Consonant/No Consonant	Consonant/Vowels,(Vowels Mumbled)
3. Dense/Diffuse	(Balance of pitch plus partial pitches/Alternations, at wide harmonic intervals)
4. Tense/Lax	(Contractions /Expansion of respiratory tracts)
5. Sonora/Sordini	(Continuous audibility/Curvation of audibility into inaudibility)
6. Nasal/Oral	(Beat/Beatless values)
7. Interrupted/Continuous	(Trill,gargle / Uni-directional)
8. Strident/Mate	(unblocked articulation)/ blocked articulation hum
9. Recursive/Infraglotal	More discharge of energy in a reduced duration/less  discharge of energy in a extended duration

Only the first two binaries are lexical (a word or phoneme or an negation). The remaining binaries 3-8 do not require any phonemic values and can be applied to respiration and oral attributes. The concern here is energy, excitation, and what sustains an attack envelope.

Along with these sonority characteristics Jakobson uses 2 general morphological principles which serve in the phonological evaluation of any vocalization,respired, or pitched articulation:

• Dephonolization: lost of clarity of the sonora trait of a phonema

• Rephonolization: clarifying of a previous unclear sonora trait

Generative graphisms in the widest sense is a type of prose exposition based on pictorial (illustrative or instructional) and progressive schematic development. It is meant to replace the text-illustration combination found in graphic display.

The following generative graphisms are meant to help the poet, composer, dramatist,and linguist to plan and conceptualize the parameters of a task realization.

I have used elementary graphing techniques for the sake of simplification but other more dynamic graphing systems can be employed.

Furthermore, these schemes are not to replace the composition techniques that one uses. These schemes allow one to develop an overlay (outline) concerning traits, functions,materials or practical application in a way which details the conceptualization process.

When one considers the structures to extend the voice over time, in discourse,poetry, or exposition the system used need not be visible neither as an: intentionality within a lineal-narration-exposition nor as a fixed voicing within the narrative-exposition.

Graphisms serve as a means to arrive at a "coherency" which is invisible (embedded) in the text. The ideal graphism, as in Jakobson and Ferneyhough would be: generative,analytical, and silently at work. It is very difficult to scan a Ferneyhough piece to see how it was generated (structurally). His discoveries are coherent and very distinctive, functionally descriptive but difficult to decode, due to their computational complexity which conceals (encrypts) and submerges the generative structure making compositional practice invisible within the notational system.

The function of an invisible-inaudible generative graphism:
 

• Establish elemental relations and parameters

The parameters of a generative graphism will present the physics of resonance, the curve (deviation) of pressure in vocal articulation, and rattling sting in the mouth or on the skin as a tone is vibrant as much as audible. They will help us develop a choral poetry, multiple voices at once.

• Performance: realization notation-

When we pursue experimental phonetics, semantic and conceptual identification or classification become secondary. Our concern is restricted to dephonolization of resonance, the dampening of articulations into micropitches, or the rephonolization into bright and sheer sounding partial pitches.

Our contribution in the remainder of this essay will focus upon the development of respiration as an articulation. The realizations under consideration seem to go against the grain of the medium or the agent of a multiple-articulation.

Highly developed realization requires first an ample perceptual domain in which the realization takes place. We begin with the mimetic domain in which the realization is to be placed.

Mimetic regions:
 

• Pre-determine the extremities of primitive concepts

• Establish cardinal points e.g. Ritual-Performance, Comedy-Satire
• Ritual and Comedy are given positive values here whereas

- against these cardinal points can be generated criteria

- the generative role is acquired by the superimposition of

IIa.
Schemes for the Evaluation of
Compositional Requirements Realization:
A. Mimetic Regions treated:

 
 

B. Evaluation of Compositional
Articulation/Performance Requirements Contractive Concentration:

C. Sonora treatment of instrument's capabilities with a crossing effect

IIb.

A Mimetic Function:

Crossing of Gender Based Vocal Traits:

Articulation	Modality	Speaker
Faked Accent	Dephonolization	Non-Native Speaker
Nasalization	Rephonolization	Flute

 

Using graphs,charts and a numeric system of evaluation we will present a detailed evaluation of respiration. The meaning of respiration appears as a phonetic evaluation independent of the phonema and its semantic value, articulatory value, or syntax.

The graphics here enumerate,detail, and work progressively to establish in miniature a global overlay of aspired articulations in one of these contexts
 

• mimetics (gestural)

• resonance (beating)

• frictive transformation (aperiodic)

To better situate the reader our tendency is to start with nasalized values and develop these articulations until there appears entangled (frictive) values.

Finally these graphisms are not functional or even seen to define the need of phonema. The practical use of the phonema here is to locate a region in the vocal-respiratory cavities, as one is in the midst of a multiple or intermittent articulation.
 
 

Scale of Realization with increasing difficulty:
 

1= natural articulation (functional)

2= artificial articulation (non-functional)

3= unnatural articulation

3'= physically impossible to realize

Example of Respired articulations:
 

Vocal trill (throat) =l

Fluttertongue =2

Nasalized inhale/exhale audible =3

Simultaneous inhale/exhale nasalized =3'

 
 

Characteristic Sonority	Function	Nasal	Mouthed	Gutteral	Combined
Vocal/no vocal
Consonant/No Consonant
Dense/Diffuse	Timbric Minor Axis
Tense/Lax	Pressure Major Axis
Sonora/Sordini	Limit Value Audibility
Nasal/Oral	Timbric  Major Axis
Interrupt/ Continuous	Central Axis of  Respire
Strident/ Mate	Intonation
Recursive/ Infraglotal	Emphasis

 
The following represent numerical values which can be used to grade a respiratory behavior.

Evaluation of Ratios between 2 respires in the same cavity:

1 = natural articulation

2 = artificial articulation

3 = unnatural articulation

3'= physically impossible to realize
 

A. co-existent respires=(l + 2)

(alternating respires)

B. Nullifying respires=(l - 2)

(with the natural respire as the greater residual)

Nullifying respires=(2 - 1)

(with the artificial respire as the greater residual)

C. Fusion of respired energies=(1 + 2)

D. Waste of energies=(-l -2)
 
 

Generative Evaluation of 2 Ratios of 2 Respires:

C/l with the natural respire as the greater audible energies (l -2)

C/2 with the artificial respire as the greater audible energy (2 -1)

D/(-1-2) Simultaneous respires with a differential towards the artificial respire=d/(-1+2)

D/(-1-2) Simultaneous respires with a differential towards the natural respire= d/(1-2)

D/3 Simultaneous respires when the artificial erases the natural respire=((-l -2)...3)
 

2 Interrupted Voices: Trill (Tr) & Fluttertongue (Fltz):
 
 

(Tr) + (Fltz) =Multivoiced articulation

multiple pressures + pitch diagonalization
 
 

VENTILATION OR ARTICULATION:

breath (inhale) murmur breath(exhale) air in tube only

Singing or humming potentializes pressure, in the flute they add new degrees of concentrated energy. The clearest example of which is the production of differential series of pressure in a simultaneous wide band.

If we start with subtle pitches such as whistletones in the flute or flageolet in harmonic singing we will find a constant droning (undertone) transforms the whistletone into a spectral tone. These frictive inflections are produced without a lost of energy during articulation which results in longer durational life-time.

The use of these appendices serve to illustrate how the isolation of characteristics of a phonetic phenomena lead us on to phonetic experimental procedures.

We have used the case of respiration within the area of

resonance to establish a phonetic in a non-semantic but expressive case.

The meaning of respiration has been limited to its function in excitation. The meaning of respiration and its emphatic (expressive meaning) I have taken up elsewhere.

-Conclusion-

A systematic use of phonetics in realization-notation problems: establishes those articulations necessary to the realization.

Summary:

Realization-notation forces new music performers to develop a systematic form of conceptualizing and interpreting a piece beyond the practices of normal conservatory methods of performance.

Specialization in new music techniques,ensemble playing reach to over come the need of the director.

The objective in realization is to take conceptually and unorthodox practices forming them along the lines of audibility: playing by ear, such that intonation,accentuation reveal hidden dimensions in the composition.

Realization practices than aim to plan the measures and techniques such that velocity, pitch, intonation are scaled from start to finish... in the same way that a lutist marks the fingering of a Bach suite.

Realization does not end with an ability to realize exotic sounds nor the application of these sounds. The aim of realization is to find those concepts which function according to what aids or impedes both the performer and the listener. What is vital for the realization is perceptual theory, acoustic theory and finally aleatory practices. This paper has presented acoustic and performance principles.

Albayzin 1988
 

Anhalt, Istvan.Alternative Voices: Essays on Contemporary Vocal and Choral Composition. Univ. of Toronto Press.

Brown,Earle. "The Notation & Performance of New Music" Music Quarterly 7 (1986).

Ferneyhough,B. "Forme,Figure,Style..." Contrechamps n.3 Septembre 1984 Lausanne.

Jakobson,Roman Meaning of Sound: Six Lectures MIT Press

Keane,David. Tape music Composition. Oxford Press 1980 London.

Lorca,F.G."La.Arquitectura del Canto Jonde"

Plutarch Dialogue sur la Musique Traduit en Francais Avec
des Remarques par M. Burette. Minkoff Reprint Press Geneve.

Porter,Lewis. "John Coltrane's A Love Supreme: Jazz Improvisation as Composition". Journal of the American Musicological Society, vol 38 Fall 1985. Non-musicians will find the Phonetic-musical analysis of the poem "A Love Supreme" of interest. cf. pp114-119 of this article.

Smith Brindle,R. New Music Oxford Press 1975 London. Chap. 9 on Graphics Chap. 12 on Cage and Other Americans see the section on Morton Feldman.

Titon, Jeffery "Tonal System in the Chanted Oral Sermons of the Reverend C.L. Franklin". Unpublished paper delivered at the Society for Ethnomusicology Wesleyan Univ. Oct. 1975.

Westphal Melik und Rhythmic des Classisden Hellenetums 2 vol Leipzig 1883. cf. sections with Aristoxenes' "Treatise on Harmonics" and the fragments of Aristoxenes' Tract on Rhythmic Prosody.

Yeats,W.B. "Speaking to Psaltery": Essays and Introductions , 1961.