On-location sineosoid performance

2023 — Till Bovermann

This practice evolved during the first wait and hear residency in 2023 and was further developed during the drifts residency in 2024.

Being outside at a possibly remote location, we are often surrounded by a soundscape that is rich in detail and spectrally broad in its frequency content. Think for example of wind agitating the leaves of trees, water flowing in a nearby stream, or the distant sound of a car. While some of these sounds are continuous, others, like bird calls or insect sounds, are more transient.

This practice is meant to highten the listener’s awareness of the soundscape by adding sustained, sinusoidal tones that complement the existing soundscape. They form a kind of cinematic soundtrack for the environment that is not too prominent, but still perceivable.

Below are instructions for both the performer and the audience.

Performer Link to heading

Bring a speaker and a sound-generating device (e.g. a synthesiser) to the venue. Remember that there are often no power sockets in remote locations, so battery or solar-powered devices are particularly suitable.

Remote locations have the advantage that high volumes are not necessary to produce sounds that can be heard from afar. Therefore, large loudspeakers are not necessary. Your sounds should blend in with the ambient soundscape, so make sure that your sound system is capable of reproducing frequency ranges that are similar to those of the surroundings.

Look for two places; one for you as the performer and one from which the audience can listen. The locations should be far enough apart so that your generated sounds blend well with the surrounding ambience.

Perform at a volume that you assume will blend in well with the surrounding soundscape. Your task is to craft a kind of cinematic soundtrack for the environment that is not too prominent, but still perceivable. Try to avoid rhythmic patterns and instead focus on sustained, sinusoidal sounds. Occasionally it may be useful to vary the pitch of the individual sounds. However, do this very slowly and gradually.

What impact do harmonic relationships between these tones and the environment have? Is it possible to create beatings by layering artificial sounds with the surrounding sounds? Are you able to imitate aspects of the environment with your sound generator whilst mostly adhering to the above guidelines?

The duration of the piece depends on your patience and the quietness of the place you perform in. Play slower than it feels right.

Audience Link to heading

Find a place to listen where you are comfortable and where the sounds played by the performer blend with the surrounding sounds. Try to bring yourself into a state of mind where you are able to listen to your surroundings without being distracted by their sound. Ideally, your listening mind should drift back and forth between artificial and natural soundscape.

From time to time, try to distinguish between the sounds played by the artist and the sounds of the environment. Are you able to clearly assign individual sounds? How can you recognise the difference?