Son-Icons and 3D room-scores
I call my graphic scores Son-Icons because they are not a simple representation of sound, but rather more like seismographic renderings, a visualisation and continuation of the music. The Son-Icons should also be semantically coherent, and not simply a sonic transcription. The eye makes often other decisons than the ear. The focus is elsewhere and its perception of proportions are different. These incongruities between the perception of the eye and the ear interests me and is propelling my work.
At the beginning of a new work i frequently choose a spezial place which interests me and gives shape to the performance.The musical idea influances my choice of the place and vice versa the place determines the music in many ways. While listening to the sounds at the place I draw the sounds i can hear.
At the same time I communicate, with all the acoustic and visual and every imaginable stimulations of the place, with my voice. I use both hands and four pencils simultanously to create the drawings which are a visualisation of the real sounds of the place and my reactions with voice or later with viola.
Drawings of a communication.
After the first approach towards a place, I have two sources, an acoustic and a visual one
and many possibilities to continue; the Son-Icon becomes the score for a new improvisation, either for viola or voice or a mixture of both. The generation of the piece happens in many layers, acoutic and visual ones. The Son-Icons are made on transparent paper. The recent ones are clearly visible, the others are shining throug. Even if I dont see the initial Son-Icon it is there and I am still connected with the history, the roots of the piece and every state of the process. Sometimes I move the layers and a very elaborated appears and mixes with a rough original Son.-Icon. There is no chronological order of the appearing fragments. The creation of the score is not a linear process but is more like a genealogical tree and works more like a fractal developement.
The drawings becomes larger, sometimes several meters of length. After a while even a large piece of paper becomes too limited to contain music. I create a room-score with the Son-Icons, music has to do with space. One can move in the score, look the Son-Icons from very close or take some distance to have an overview.
Surrounded by visual stimulus it is impossible to see and to remember all the visual informations. - memory is a keyword in my work. For the liveperformance I have to make choices and find each time a personal way through the installation and consequently the music sounds different each time.
The linear approach to a score is increasingly overshadowed by a confrontation with complex spatial information as I wander through and among the coordinates connecting the sonicons anew in space.
The work with the Son-Icons and my audio-visual room-score is all about communication.
The initial communication with the space, between the ear and the eye, between the history of the process and the actual moment, between direct stimulus and memory and finally it is a very open communication with the public. The audience can see the the roomscore or even take place in the score. The audiance sees me moving and playing in the score and create new music in this actual moment..
Hug uses her surroundings as a means of exploring the acoustic reality of her instrument, by reinterpreting her own improvised drawings ('Son-icons') made on site - with extraordinary results..
DAN WARBURTON -PARISTRANSATLANTIC 2003
Charlotte Hug March 2009 www.charlottehug.ch
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Charlotte Hug at The Red Room Part1by dennisovich458 views
A unique video, all its parts are perfect and the whole is extraordinary,
Yellerwood 1 month ago