Contributors’ Notes

CD COMPANION Contributors' Notes LONG TUBE TRIO Brenda Hutchinson, c/ o Pauline Oliveros Foundation, 156 Hunter Street, Kingston, NY 12401, U.S.A. Artist's Statement It is important to me that the activities of playing with and listening to sounds are integral parts of daily experience and that this experience is accessible to anyone who is interested in participating. The voice, found objects and the ambient sound environment pmvide free, ever-present, readily available source material that anyone can use to make something interesting. I also prefer to work with vocal, found and ambient sounds (as opposed to abstract electronic or instrumental sounds) because of their associative properties, which provide layers of context in addition to the sounds themselves. About Long Tube Trio The length of this tube (9Y1 ft x 1YI in diameter) has been very generally matched to the female voice. The tube has a series of harmonics that cannot be heard when they are excited by a voice singing those pitches through one end of the tube. When matched exactly, the notes just above the most resonant pitches are "canceled out" at the vocal cords, making it impossible to sing those notes. There is no processing of the voice, and the modulation that results is achieved by coming as close as possible to those particular points in the tube. The Long Tube Trio was originally performed in 1993 at the Victory Theater in New York by Reiko Coto, Elliot Ross and myself. This version was recorded and produced at Harvestworks/ Studio PASS in New York. Brenda Hutchinson's work as a sound artist has included performance and compositions for dance, opera, film, video and radio. She has built interactive exhibits and installations. Her work makes extensive use oflanguage and stories, ambient and sampled sounds. Hutchinson has worked for the past 10 years at Studio PASS, New York, and at the Exploratorium, San Francisco. Paul Dutton in performance. (Photo: Ellen Band)© 19941SAST Brenda Hutchinson in performance. (Photo: Joey Morgan) METALOGOS: SUITE IN TWO PARTS (A & B) Paul Dutton, 68 Kendal Ave., Toronto, Ontario, M5R lL9, Canada. Artist's Statement Metalogos. The word beyond the word. Words fail me. Sound is sense. Make sound, make sense: nonsense, essence, presence, physical sense, spiritual sense, any sense. In creating my soundworks, whether formulated for repetition or improvised for one performance, when it really happens I become a wand being waved by forces that, whether within or beyond me, are felt to arise from other than conscious volition . Though volition is, of course, a part of it all, for I choose, in my exploration of human utterance (a term I use to indicate more than the purely vocal and less than the broadly physical) to focus on the variety of texture and sonic layering (or multiphonics, to use the upscale term) of which we are capable. In my artistic application of these effects, I have yet to feel the need for an electronic enhancement beyond amplification. In relation to overdubbing and electronic treatment of utterances, I maintain a stance of keen enthusiasm for works by others, to whom I leave the field. For one thing, I lack the skills, my techno-sophistication being limited to asking the sound engineer to ensure as faithful a rendering as possible of the acoustic reality of my soundworks. I stick with this work because it continues to lead me into new spaces, to challenge me physically, emotionally, esthetically , and creatively. Through it, I have learned to listen more acutely-to sounds in general, but especially to human sounds, both my own and others. I have come to realize that my work, at a technical level, is a kind of magnification of effects that occur in blues and black gospel singing, in jazz and country singing, in folk-singing idioms around the world, and in everyday speech in all languages. My reference to speech is pertinent, because, however far from it I might range, it remains fundamental to my soundwork, in much of which I still use narrative or ideational components, words, syllables and/ or phonemes. A recent composition, in fact, is a completely verbal chant, LEONARDO M USICJOURNAL, Vol. 3, pp. 73-79, 1993 73 built...