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Vocals, gloves and rumbles

Posted on July 1, 2014 with 0 comments

It was a voicy sort of evening: last night I attended David Howard's Gresham College lecture on 'The Science of Singing'. A musicianly engineer's approach to the structure, care and use of our vocal equipment, the talk featured a chorus of 3D-printed vocal tracts standing up on their driver units like a litter of wee aliens with an alarming affection for barbershop.

After all that it was time for a stroll to Finsbury via Clerkenwell, just so I could wander down SANS Walk, pausing only for a swift half at the Sekforde Arms. At St Clement's Church in King Square there's an improvised music session which turned out to be great fun: no audience, consenting adults just making stuff up. And it was fun in a spacious and quietish way: the acoustic of the church lent itself to long pauses - courtesy of the God of the gaps? - and since there was a piano the other participants were spared an overdose of my vocal weebling.

Tonight, it's off to Old Street to hear what Imogen Heap does with her larynx. And gloves.

Now, say 'aahh!'

Then there was Zubin Kanga's piano recital a couple of weeks ago at the Royal Academy of Music - playing Patrick Nunn's 'Morphosis' which used sensors embedded in a pair of wristlets to play with live electronics. The venue was in the bowels of the Academy and trains visiting Baker St tube would add a rich infrasonic rumble to the proceedings every now and again. I thought it added a subtle flavour: Sarah Angliss tried something like this deliberately a while ago: