THE BRITISH LIBRARY

Sound and vision blog

3 posts categorized "Travel"

09 December 2016

British Composer Awards 2016

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On Tuesday 6th December the 2016 British Composer Awards ceremony took place at the British Film Institute in London. This annual event recognises the achievements of composers working in musical fields as diverse as jazz, choral and orchestral composition.

Though each area is fascinating in itself, our eyes were firmly fixed on the category of Sonic Art where composer and artist Claudia Molitor was nominated for her major audio work, Sonorama. Conceived as an audio companion for the train journey between London St Pancras and Margate, Molitor drew extensively on the resources of the British Library's sound archive during both the research and composition process. From cheeky music hall songs to tranquil woodland soundscapes, Molitor skillfully combined archival sound recordings with interviews, readings and original compositions to create a rich  soundtrack that vividly brought to life the social history of the otherwise silent landscape experienced by passengers from the train window.

All Aboard for Margate_Florrie Forde

Sonorama opens with 'All Aboard for Margate' sung by Florrie Forde and published c.1905 by the Sterling Record Company

Each track related to a specific  point or area along the train line and covered topics including visio-centricity, Roman history and hop-picking. The historian David Hendy  helped inform the project and artists such as flautist Jan Hendrickse, poet Lemn Sissay, Saxophonist Evan Parker and writer Charlotte Higgins lent their talents to the mix. 

Sonorama was an enjoyable and highly rewarding project to work on. It is a brilliant example of the creative reuse of archival sound recordings by contemporary composers and so we send a huge congratulations to Claudia for this fantastic achievement!

Claudia Molitor

Claudia Molitor, British Composer Awards 2016 Sonic Art winner for Sonorama (photo by Mark Allan)

Visit Sonorama.org.uk for more information about the project, including information on how you can access the audio work.

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Sonorama was curated and produced by Electra in partnership with Turner Contemporary and the British Library, with funding and support from Arts Council England, Southeastern Rail, Kent County Council Arts Investment Fund, Hornby, University of Kent. The Sonorama catalogue is published by Uniformbooks.

19 January 2015

Below the lines in the ice: the sonic world of icebergs

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No exhibition about the Arctic would be complete without some reference to icebergs. It just wouldn’t be right. During the planning of the British Library’s current exhibition, Lines in the Ice: seeking the Northwest Passage, icebergs, or more specifically, the sounds of icebergs, cropped up in a number of meetings and so the hunt for these sounds began.

A common misconception would be that icebergs are silent, white giants, moving noiselessly through the freezing waters of the polar seas. In fact, this couldn’t be further from the truth. Though at the opposite end of the world, crew members of Sir Ernest Shackleton’s Imperial Trans-Antarctic Expedition (1914-1917) commented on the sheer variety of sounds heard in the presence of the Rampart Berg:

“Close to the berg the pressure makes all sorts of quaint noises. We heard tapping as from a hammer, grunts, groans and squeaks, electric trams running, birds singing, kettles boiling noisily, and an occasional swish as a large piece of ice, released from pressure, suddenly jumped or turned over.”

Frank Worsley, Captain of the Endurance (excerpt from 'South' by Sir Ernest Shackleton)

With our focus firmly on the Arctic, the work of Irish composer Dr Karen Power, who, in 2013, spent time in the Arctic as part of the Arctic Circle Residency programme, came to the forefront. Wanting to explore and document the sounds of the ice, Power armed herself with a weaponry of drills and hydrophones in order to explore this mysterious world.  

“Despite the silence, there is a tremendous pressure in the atmosphere. I wanted to get inside what I thought might be the cause of this pressure – the ice reshaping, melting - so I drilled some holes in some icebergs, at first on the shore and then floating in the middle of the water, and I was introduced to the most amazing sonic world”.

“First above the ice, then inside the ice, and finally at different degrees below the ice, I managed to drop hydrophones down as far as 20 metres below the surface to hear the icebergs cracking and resonating on the sea floor. What I found down there was truly, truly extraordinary.”

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The field recordings collected during the residency open a fascinating acoustic window onto the usually hidden world of Arctic ice. Pops, cracks, creaks, groans, bangs and taps are just some of the sounds encountered during this incredible journey beneath the surface of the Arctic Ocean, a few of which are featured here:

Close up iceberg pops just under surface

Extreme iceberg close up with moaning

With room for only one recording from the collection in the exhibition however, the decision was made to include this wonderful example, which ranges from high-pitched tinkling to low, drawn-out groans.

Pops and smashes from icebergs at waters edge

On her return from the residency, Power created a short documentary, Can you Hear the Arctic?, in an attempt to express how the Arctic has affected her past and present practice, but also what compositional work might lie ahead of her as she draws on the life-changing experiences of spending time in one of the most beautiful and extreme regions of the world.

“I thought I was going there to record above and below the ice, and that’s what I did. What I didn’t think about was all of the other ways that these spaces, the silence, the vistas, people and the places would affect me and leave their imprint on my work.”

“I left there with the most amazing sound recordings but also a change in the way I think about time and space and sound.”

Karen in the arctic photo by Tina Kohlmann
Dr Karen Power in the Arctic (Tina Kohlmann)

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A versatile, enthusiastic and well-received Irish composer, improviser, educator and curator Karen seeks to stimulate, engage and interact with audiences. Her work utilizes two primary sources; acoustic instruments and everyday sounds, spaces and soundscapes. Karen’s output is diverse - both in its approach and delivery - and her primary aim is to capture and translate the essence of an idea through any artistic means necessary. For example, recent projects have been presented as orchestral works, sonic installations, radio art, collaborations between sound and dance, image and experimental film, free improvisations and musical happenings.

Some exciting current and upcoming projects include; Gorging Limpet, which is a collaborative project between sound and experimental film, The Arctic Circle Residency, hearSpace (2014) - an exploration into the world of Radio with a new interactive radio art composition, a large-scale collaborative commission for Canadian-based Quatour Bozzini and a DAAD Artist-in-Berlin Award for 2015/16 residency. Her latest album, Is it raining while you listen, features compositions and field-recording based work.

08 September 2014

Archiving WOMAD 2014

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The British Library’s relationship with WOMAD (World of Music Arts and Dance) is nearly as long as the festival's existence, recording performances for archival purposes since 1985. The first recording in the WOMAD Collection, C203/1, was of the Chinese sheng and flute players, the Guo Brothers, who had recently arrived in London to study at the Guildhall School of Music and were just beginning to create a name for themselves in this country. It was made on Ampex 456 ‘Grand Master’ tape at half-track stereo and in the recordists' notes, strong winds were reported as interfering with the quality of the recording.

1985 flyer from Steve Sherman s_sherman@sky.com

Since 1985 and each year, with the exception of three, a small team of staff from the British Library record as many of the performances as possible, including workshops and interviews. This summer, between 24 and 27 July, six members of staff attended the festival equipped with portable digital recorders and recorded ninety-one performances, covering 95% of the festival. These recordings have recently been catalogued and processed and are searchable on our catalogue. They can be listened to free of charge through our listening service on-site at the British Library in King's Cross in London and in Boston Spa, Yorkshire. 

The British Library holds a significant number of early UK appearances by artists who, since performing at WOMAD, have made great inroads on the international music scene; artists such as Baaba Maal, first recorded by the British Library at WOMAD in 1991, Thomas Mapfumo, first recorded in 1990 and Nusrat Fateh Ali Khan, first recorded in 1985, to cite only a few. In total we hold around 2,100 hours of audio (you would need close to 3 months of non-stop listening to listen to it all!) of performances at WOMAD, held on different physical formats such as open reel tape, DAT, CD-R and digital audio files; all are stored in our basements and backed up digitally for preservation and access.

Womad advert

The British Library holds five million recordings on over one million items dating back to the 1890s and possibly earlier. The sound collections have their origin in 1906, when the British Museum began collecting metal masters from the Gramophone Company. Recording performances at WOMAD is one example of the many ways in which the British Library actively develops its sound collections although the majority of material is acquired through donations, purchases or loans.

Steven Dryden, Sound and Vision Reference Specialist, was a member of the WOMAD team this year. In this paragraph he relays his higlhight of the festival: experiencing the live sound of DakhaBrakha, made possible thanks to Dash Arts, the creative agency which brought the group to the United Kingdom.

My highlight of WOMAD 2014 has to be ‘Ethno Chaos’ founders DakhaBrakha - brooding, shamanic ‘noisescapes’ from Ukraine. The Siam Tent filled to capacity throughout the four piece set, the atmosphere building and building with each song. The sound is eclectic, in the truest sense of the word; there is a traditional folk element but also, dance, hip-hop and tribal rhythms. The songs often build to terrifyingly claustrophobic dins, but remain rhythmic and chant like - just as the ‘Ethno Chaos’ tag might suggest, there is a lot of beauty in this chaos. One couldn’t help but reflect on everything that has happened in the Ukraine in the last year. Perhaps DakhaBrakha are capturing the zeitgeist of a generation of Ukrainians? The performance is swamped with pride, Ukrainian flags are featured on stage and amongst the audience. But there is something more here, the sound of the four piece is defiant and confident, totally uncompromising between the past and the future sounds of the Ukraine. This band sucks you in to their world of noise and forces you to contemplate, all while moving your feet.

Listen to an excerpt from DakhaBrakha's performance

Andrea Zarza Canova, Curator of World and Traditional Music, attended WOMAD festival for the first time.

Bernie Krause's talk at the Society of Sound Stage was an inspiring complement to the numerous musical performances I recorded at WOMAD: The Good Ones, Monsieur Doumani, Aar Maanta, Siyaya, Amjad Ali Khan, Mulatu Astatke, Kobo Town, Magnolia Sisters, amongst others. In his talk, the bio-acoustician and founder of Wild Sanctuary, an organization dedicated to recording and archiving natural soundscapes, invited the audience to reflect on the origins of music by suggesting structural relationships between what he identifies as the three layers of the soundscape - the geophony ('non-biological sound that occurs in the natural world'), biophony ('all of the sounds that animals create collectively in a natural wild environment') and the anthrophony ('all the human noise we create'). Using spectograms and audio recordings from his personal archive and recordings of the BayAka Pigmies made by Louis Sarno, his points were made audible.

Listen to an excerpt from Bernie Krause's talk

Andy Linehan, Curator of Pop Music, attended the first WOMAD festival in 1985.

As ever, it is difficult to pick out the highlights of WOMAD – there is so much to see, hear, taste and enjoy even though we are working - but Manu Dibango has long been a personal favourite on record so it was great to see him live and Richard Thompson’s late-night set reminded me what a great guitarist and songwriter he is. Ibibio Sound Machine played a storming set on Saturday afternoon and Youssou N’Dour was as classy as ever that evening. Sunday brought my favourite band of the weekend – Les Ambassadeurs, the reformed band led by Salif Keita who revisited their 1970s blend of afrobeat, funk, jazz and soul in an all-too short 75 minutes of aural pleasure.  And in a contrast of style the final performance of the weekend was a blistering set by Public Service Broadcasting (probably the first band to have played both the British Library Entrance Hall and Womad) who enthralled a packed Siam tent and drew proceedings to a close. It didn’t rain either.

Listen to an excerpt from Public Service Broadcasting's performance

Get in touch to listen to performances from WOMAD on-site at the British Library and listen online to sounds from World & Traditional Music and Pop Music online! See you next year for WOMAD 2015!