Composer and vocalist Erin Gee (ResBods 2019, September 5th) happened into her singular composition style somewhat by accident—she was assigned a composition exercise as a graduate student: write a work for solo voice. She wondered, as many composers do, “is there a way to go beyond the emotions that we automatically apply to voice? Can I make sounds with the voice that are truly abstract?” What she came up with has been her incredible artistic output, the Mouthpiece series, which lives in a sound world all of her own making. On this episode, Erin goes into a deep dive with ResBods director Lucy Dhegrae about how these pieces came to be, how she transitioned to being a vocal performer, and where she sees her work going next.
Acrobatic, otherworldly soprano Jane Sheldon, who first sang on the 2014 NYC Festival, talks about her upcoming set on opening night of the 2019 NYC Festival on September 3rd at Roulette where she will premiere “Poem For a Dried Up River” which she composed for herself and ensemble, using the poem of the same name by Alice Oswald. In this episode she discusses the challenges of authoring as well as performing in a new work; motherhood vs. composerhood; and Virginia Woolf’s essay “Professions for Women.”
Vocalist, improvisor, composer, and noise artist Charmaine Lee dives deep into her technique, musical journey, and equipment with ResBods Festival director Lucy Dhegrae on this podcast episode. Charmaine opens the 2019 NYC Fest on September 3rd with close collaborator Conrad Tao (piano & electronics). The conversation ends with a beautiful <10' improvisation by Charmaine using several microphones—including one that picks up her sound through her neck & larynx—ending a very special and thrilling ResBods Podcast episode!
Anaïs Maviel is a vocalist, composer, and multi-instrumentalist—among other things—and brings her liquid vocals and entrancing storytelling to Resonant Bodies 2019 NYC Festival on Wednesday, September 4th, opening the evening with a solo voice and ngoni set. In this episode she talks with ResBods director Lucy Dhegrae about her song-writing process, how she developed a relationship with language (beginning as a vocalist who refrained from words), and how she came to play her custom 14-string kamale ngoni, a harp-like West-African instrument.