Welcome into a sonic world created by one single unprocessed voice.
Welcome to a sonic world created in real time.
Welcome to enter a variety of auditive spaces.
Welcome to a vocal orchestra.
Welcome to a vocal symphony.
I Welcome you to create your own stories while hearing the music.
Oslo September 2023
Ruth Wilhelmine Meyer
About the choice of structure of One Voices
The project is composed as one piece consisting of five distinct sonic environments or sound sculptures, each varying in duration. Between these rooms are short passages lasting approximately one minute. These transitional moments serve as a mental reset, allowing the listener to release their connection to the preceding sound and open their minds to a new auditory experience or mental state. The musical material in these short passages are mostly different colours of white noise.
The composition is anchored by the introductory piece “Entrance” and the concluding piece “Aftermath.” The structural inspiration of this work is drawn from the Tibetan book of the dead, where the transmission between unclarity – clarity is central- in every stage of being.
Three of the works are commissioned works from different institutions:
- “The Loki Castle – Lokeslottet” from The Norwegian Soloists Choir.
- “We” from the app “Trall”.
- “Trinity” for Liv Kristin Holmbergs: “The liturgy of breath”.
About the materiality
I am in pursuit of a vocal and tactile sound language, one that unveils new sonic realms when various forms of orchestrated vocalization come together in unexpected harmony.
Over the years and through thousands of hours of exploring the possibilities of the human voice, I have delved into the intricate world of vocal expression, discovering a rich palette of voice colors. From the barely audible palate mouth clicks to voice based white noise. From resonant, full-toned sounds to the delicate breathy textures that tether us to the essence of life itself, like the thread of existence. I’ve explored simple melodic forms and ventured into the realm of soundscapes woven together through vocal multiphonics.
The work is non-verbal and will have its foundation in the sounds own narrative power. The sounds are created in different parts of the body: some created in the oral cavity, some in the throat, many of them with overtones- and all techniques are tightly intertwined with breath control and body awareness. The music is filtered through numbers of stylistic expressions of various genres that range from classical tradition, selected ethnic traditions -including throat singing, multiphonics and pure noise music.
About technical choices
To keep the richness of the frequencies in the voice I have chosen the microphone DPA 4018A with a super cardioid directional pattern, which offers a linear characteristic from the bottom to the top and images the entire frequency spectrum linearly.
The recordings are made in two locations of different acoustic: The Emanuel Vigeland Mausoleum, a room with 20 seconds reverb, and CasaBlancaStudios- my garden studio, a relatively dry room.
About the listener
The project seeks a sonic world where the sounds become an extension of the listener’s body. The work is designed to be a collaboration with the listener, inviting them to actively engage and participate rather than passively consume. In my compositions, I often choose to omit words, encouraging the listener to become a producer and co-creator of the experience. This approach is intended to stimulate inner engagement within the recipient, allowing their own associations and inner narratives to become the true completion of the work.
When I talked about the principles of this production with the photographer Knut Bry, he exclaimed “Ah, you mean an AAI product?” “What?” I responded, “Yes, an Anti-Artificial Intelligence product” he replied. And we both laughed.
