freedom of musical speech
…” in musical discourse, sounds are perceived as linked into expressive shapes and these expressive gestures may be combined into organic forms of feeling which have the power to reach into and relate to our personal and cultural histories. These qualities characterise musical encounters and permeate the musical environment. We should therefore be aware of them in all educational transactions, whatever the setting, genre or technical level. (…) Lights flash on, so to speak, when these qualities appear. These are recognisable virtues, even though their manifestation may not be predicted or take the form of specific behavioural objectives.” (Swanwick 2008)
The Hues formed as a band during an exercise for improvisation on a residency of Applied Music, UHI. In the making and formation of this recording, I tried to explain my desire to 'talk' to each other in direct sound-communication. Each one of us came from a different genre of music. I suggested to try a polyphonic improvisation on the blues scale, or to engage in dynamic schemes. However, my suggestions caused confusion and were not accepted. Eventually each one of us took a lead in turns, following chord progressions again... On the recording you hear Charlie's lead first, then Eilidh's.
Constitution for the Democratic Orchestra
An ensemble has three role-positions: the audience, the conductor and the composer
§1 The Right to Silence
Only the conductor has the right to silence. The conductor may request silence from any member at any time. Counting is a rhythmic perpetuation of the right to silence.
§2 Freedom of Speech
a) In the democratic orchestra all members are composers.
b) The composer has the freedom of musical speech (unless being silenced by the conductor).
§3 The Right to Listen
Every listener has the right to play as every player has the right to listen.
a) Every member may assume any of the three role-positions (conductor, composer and audience).
The role of the conductor is arrived by vote or nomination.
The positions of composer and audience are assumed by individual choice at any given time.
b) All listeners are immediate members of the orchestra.
Democracy in music
If music is a language, all members of a conversation should be included. An audience however, is excluded from participation. Who decides what is being played by whom, and who has to be silent? A conductor, perhaps?.
I would like to investigate forms of musical performance in regard of democratic inclusion. If nobody listens and all are speaking, chaos may occur. If all are listening to one person, a clear phrase will be heard. When the listener is not excluded from participation, then between listener and performer lies a very democratic process of finding agreements of harmony. Who will listen to whom and why?
I believe that harmonic agreements in musical discourses lie at the heart of democracy. The twelve semitones within an octave relate to each other in a way that each is different from the other, but some harmonise in intervals, while others are perceived as dissonant. Harmony is derived by tension and movement, not through a majority vote.
The rule of law
In fact, the legal basis of cultural democracy already exists. It is underpinned by the UK’s treaty obligations. Article 27 of the 1948 UN Declaration of Human Rights states that ‘Everyone has the right freely to participate in the cultural
life of the community, and to enjoy the arts’(Holden, 2008).
Swanwick, K. (2008) ‘The “Good-Enough” Music Teacher.’British Journal of Music Education 25 (1)
Holden, J. (2008). Culture opening up the arts for everyone. London: Demos.
The Hues (2018). Collaboration of Charlie Houston, Eilidh Grant, Felix Saunders, Uta Korner for Applied Music, UHI