Forever Apart, Forever Inventive

A critical investigation into mimesis in the context of working with audio scores, or how failure and diversity sustain complex creative processes at the intersection of listening, composing, and performing

For this presentation, I draw my own experiences, observations and research in compos-ing (with) audio scores in order to contribute to the proposed exchange and discourse. Be-tween 2006 and 2014, I used audio scores in a number of works in different formats, rang-ing from pieces for a solo performer in dialogue with electronics to large choral settings and music theatre. Originally, I came to ‘develop’ audio scores through experiences I gathered as a participant in contemporary dance workshops around 2000 and through my practice as an experimental music performer using (analogue) electronic machines. I aimed at translating dance formats such as ‘mirroring’ and ‘shadowing’ and electronic processing effects such as ‘delay’ and ‘corrosion’ into aural conceptions that can be per-formed by musicians. Extensive experiments were conducted with student ensembles in the Musikschule Wien, where I was teaching at the time. I acted as a compositional career changer and was unaware of the long usage of audio scores in music and film. Exploring the results of my tests and adjusting methods, I arrived at an individual set of tools for composing audio scores and continued into larger and more risky formats, such as the large-scale performance VARIETIES (2009) performed by 102 singers at the exhibition hall of the MAK museum Vienna. Later, during my doctoral research in composition at the University of Huddersfield, I deepened my investigations, for example, with the vocal en-semble EXAUDI and the viola d’amore performer Garth Knox. In 2012, I composed and realised the secular and feminist requiem BARE BRANCHES for two solo singers, a per-cussionist, and two mixed choirs that only perform from audio scores. In 2013 I inserted audio scores in the music theatre piece ABSTRIAL. In every case, audio scores were im-plemented because of specific conceptual ideas and decisions; for me, there must be a par-ticular reason why, where, and how an audio score is placed into a composition. From piece to piece, the structure and application of the technique can vary. In my understand-ing, the purpose of the audio score is to activate a performer in a particular way—in a way that cannot be achieved otherwise. My core interest was in working with vocalists; I found that with professional singers, surprising side effects can be observed.

The experiences and results gathered from the processes and performances of the above mentioned works will be discussed in detail. I will explore the compositional work, design and production of the respective audio scores, the process of rehearsing and performing, my observations of working with performers and their reactions, and reactions of the au-diences if available. Fotos, videos, recordings and websites document this work. My criti-cal analysis is based on in-depth studies on the topics of audio scores, listening and com-posing conducted for my doctorate in composition and on essays published during that time. In my written thesis The Noise of Mind: A Feminist Practice in Composition (2017), an entire chapter is dedicated to composing with audio scores in the wider context of con-temporary art. I found that the embodiment of performing as well as that of listening is changed considerably when using audio scores; that applies to performers and audiences alike. My findings were underpinned and contextualised with research into current brain research and neuroscience. To complement my experiments, I collaborated with the com-poser Éliane Radigue to realise two new pieces belonging to her OCCAM compilation; her works are also based on a particular kind of aural score—in this case, an intimate conver-sation between composer and performer. To finish my critical explorations, I will explain why I stopped working with audio scores after 2014.

List of works containing audio scores mentioned in my exploration
Several performances and works with students of the Musikschule Wien 2006–2008

VARIETIES (2009)
For two solo singers (mezzo, baritone), two lead singers (audio scores via headphones) and two large choirs (100 persons in total) imitating aural input/performing by ear following specific instructions. In an installation setting by Irene Pichlhöfer.
Music and concept by Pia Palme, with a text by Oswald Egger and Sophie Reyer
Duration 35 minutes [MAK Vienna and City Hall Tulln]
piapalme.at/varieties

CANTU FOLIATU (2012)
A sketch and kit for four singers SATB (or more) for the ensemble EXAUDI, performed by four singers via audio scores transmitted through headphones. Duration 12 minutes [University of Huddersfield]
piapalme.at/cantu foliato

BARE BRANCHES (2012)
For soprano solo, mezzo solo, percussion, and two mixed choirs performing from audio scores (following specific instructions).
With texts by Anne Waldman and Pia Palme
Duration 40 minutes [Festivals e_may and wienmodern]
Outstanding Artist Award of the Republic of Austria
piapalme.at/bare branches

ABSTRIAL (2013) – a radical opera
A collaborative work for baritone solo, three female voices, bass recorder, electronics.
Music by Pia Palme and Electric Indigo, texts by Anne Waldman
Duration 60 minutes [KosmosTheater Vienna]
piapalme.at/abstrial

In certain scenes, the baritone soloist performs by audio score in certain scenes and the three female singers are asked to perform from aural input.
piapalme.at/abstrial

GIB SIE WIEDER HER (2014) For a viola d’amore performer (different types of audio scores with specific instructions), an electronic installation and a performer with a subbass recorder, written for Garth Knox.
Duration 15 minutes [St. Paul’s Hall, Huddersfield]
piapalme.at/gib sie wieder

Éliane Radigue
OCCAM XIX for subbass recorder solo (2013)
OCCAM RIVER XXI for subbass recorder and harp (2014, with Rhodri Davies)