Acousmatic Chakras 5-7 (2011-13) Post-Electroacoustic Arrangement (2016)

Percy, Ian (2016) Acousmatic Chakras 5-7 (2011-13) Post-Electroacoustic Arrangement (2016). [Composition]

Audio (Acousmatic Composition in Concrete Audio) Acousmatic Chakras 5-7 Post EAS Arrangement 2016 DrIPercy.mp3 Download (21MB)

Abstract

This is a post-modern behemoth of a work composed exclusively from the sounds of the sitar that took on a life of its own ever since conception. Post-modern in the fact that multiple, seemingly disparate blocks, strands and strata juxtapose and overlap through variable links, chains and transitions to collate into a cohesive whole when viewed in retrospect. The project started with a relatively simple narrative of setting each of the Chakras in sections of sonic mood and textural character:

Chakra is a Sanskrit word, meaning circle, cycle or wheel. In this context it refers to the cyclic nature of life-energy. Chakras are connected energy centres, which channel life-energy (white light) or ‘Chi’ through the body. There are believed to be hundreds, but the seven main chakras are situated in the head and torso. Each is associated with a different area of spirituality, health and emotional wellbeing. Each is distinguished by its own colour: red, orange, yellow, green, blue, indigo and violet and each associated directly with a different element, sense and emotion.

The various sections quickly grew into movements (Chakras) and the concept evolved to produce variable concrete form through alternate links, chains and transitions. Each of the transitions was composed from the same palette of sounds (representative of White Light/Chi). Transitions developed into potential movements (Prologue, Epilogue and Void) and new sections emerged increasing the level of variables in concrete form. The original Acousmatic Chakras can be presented as individual movements or in continual form (34 minutes in length).

The project evolved into Electroacoustic Chakras, where the concrete audio provided a sonic partnership for structured improvisation by Indian Classical musicians. This produced alternate ‘concrete’ arrangements and new material as the work was realised for live performance at the Jawahar Kala Kendra, Jaipur, India in January 2013 with a continual form of approximately 48 minutes.

A multitrack studio realisation was recorded during the same visit to India, featuring musicians trained in the Hindustani style (voice, bansuri, sarangi and tabla). The studio recordings were extensively recomposed, remixed and rearranged in the UK before the final CD realisation in late 2013.

Electroacoustic Chakras can be performed as individual movements or with a continual form of ca. 60 minutes in length. It has a plethora of alternate forms, which, through variable combination, can customise each performance and constantly reinvent internal structure. Comparing the concrete audio from the CD version of Electroacoustic Chakras to the original version of Acousmatic Chakras, the composer was surprised to hear how different they were, yet reassured at how each was still clearly recognisable as the same movement.

The first three Acousmatic Chakras were presented in premiere at Sonic Interactions 2011, so it offers a pleasing symmetry to present the final three Post-Electroacoustic Acousmatic Chakras remixed, rearranged and remastered at Sonic Interactions 2016. This post-modern behemoth could provide new material to the composer for years to come?

Prologue: White Light and Awakenings (fragment abridged)
Chakra Five: Communication and Inner Sound
Chakras Six and Seven: Inner Light, Sight and Enlightenment
Epilogue: White Light and Conclusions (fragment abridged)

Item Type:	Composition
Additional Information and Comments:	All performers have agreed recordings can be used for dissemination of research and personal portfolio
Faculty / Department:	Faculty of Creative Arts & Humanities > School of Creative and Performing Arts
Depositing User:	Ian Percy
Date Deposited:	13 Dec 2017 09:23
Last Modified:	12 Mar 2021 16:53
URI:	https://hira.hope.ac.uk/id/eprint/2296

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