Prix
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Terra Prosodia
Antje Vowinckel
_Terra Prosodia_ is a radio composition based on prosodies of European dialects and minority languages that are in danger of extinction. The idea is to underline the richness and variety in melodies of spoken languages in Europe without using any folkloristic ornament.
The recordings were all made in 2011 in Gotland and Faro (Sweden), Lötschental and Tarrasp (Switzerland), Cavaillon and Tarbes (France) and Glasgow (Scotland). The dialects and languages are: Gutamal, Wallis-Dytsch, Rhaeto-Romanie, Provencal, Gascon and Scottish Gaelic. I visited the speakers where they live and asked them to tell me a personal story which is connected to the places where they live. However, it is intended and important that the majority of listeners do *not* understand the context.
For the seven parts of the composition in each case I used the whole story focusing on the melodies in the language. Using Melodyne software I exported the spoken language as midi files, which I then used as a basis for melodic composition. As the midi files produce a much too complex translation of language, which sounds more like electronic machines, I extracted simpler, more recognizable and more dynamic melodies.
These were then either played by me on other instruments or by virtual instruments. In one case I hummed the melodies. These instrumental or hummed melodies sometimes imitate the language melodies and sometimes become independent, like a second voice in a fugue. The simplification of the melodies is related to the simplification of melodies in our normal hearing. Our ears are always searching for figures—like our eyes do in a cave of stalactites.
The recordings were all made in 2011 in Gotland and Faro (Sweden), Lötschental and Tarrasp (Switzerland), Cavaillon and Tarbes (France) and Glasgow (Scotland). The dialects and languages are: Gutamal, Wallis-Dytsch, Rhaeto-Romanie, Provencal, Gascon and Scottish Gaelic. I visited the speakers where they live and asked them to tell me a personal story which is connected to the places where they live. However, it is intended and important that the majority of listeners do *not* understand the context.
For the seven parts of the composition in each case I used the whole story focusing on the melodies in the language. Using Melodyne software I exported the spoken language as midi files, which I then used as a basis for melodic composition. As the midi files produce a much too complex translation of language, which sounds more like electronic machines, I extracted simpler, more recognizable and more dynamic melodies.
These were then either played by me on other instruments or by virtual instruments. In one case I hummed the melodies. These instrumental or hummed melodies sometimes imitate the language melodies and sometimes become independent, like a second voice in a fugue. The simplification of the melodies is related to the simplification of melodies in our normal hearing. Our ears are always searching for figures—like our eyes do in a cave of stalactites.
WDR - Studio Akustische Kunst 2011
supported by Film- und Medienstiftung NRW
with:
Ingvar Larsson, Ingrid Wahlgren (speaking Gutamal)
Nesa Engler (speaking Raetoromanic)
Remy Graillon (speaking Provencal)
Georges "Jojo" Cadéac (speaking Gascon)
Peter Meyer (speaking Wallis-Deutsch)
Don Eoil (speaking Schottic-Gaellic)
supported by Film- und Medienstiftung NRW
with:
Ingvar Larsson, Ingrid Wahlgren (speaking Gutamal)
Nesa Engler (speaking Raetoromanic)
Remy Graillon (speaking Provencal)
Georges "Jojo" Cadéac (speaking Gascon)
Peter Meyer (speaking Wallis-Deutsch)
Don Eoil (speaking Schottic-Gaellic)
Antje Vowinckel (DE) is a composer, director and performer. She studied literature and music (flute/piano) and completed with a thesis on radio art. She creates radio plays and sound-art compositions for a variety of public radio stations such as WDR Studio Akustische Kunst, DRadio, SWR, BR, NDR. Her piece _Call Me Yesterday_ has been broadcast in fifteen countries. Works have also been presented at various festivals, e.g. ZKM Karlsruhe, Biennale Bonn, Prix Italia, Festival Alicante, Prix Europa, Goethe-Institut Lisbon, Hammer Museum Los Angeles. In recent years, she has also created musical live performances, e.g. for organ and objects.