Michael Edward Edgerton

Michael Edward Edgerton Radio

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ari(rang) from Folk Songs #85

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Released: Mar 4, 2011

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ari(rang) from Folk Songs #85
2:31
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A Marriage of Shadows #77
8:02
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DRAFT 1 25 2002 (#76)
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Tempo Mental Rap, variation 1 (#72)
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Tempo Mental Rap #72
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General Info

Genre: Classical / Classical Opera and Vocal / Experimental
Location Un
Profile Views: 25167
Last Login: 7/30/2012
Member Since 9/15/2007
Website http://www.msplinks.com/MDFodHRwOi8vbWljaGFlbGVkd2FyZGVkZ2VydG9uLndvcmRwcmVzcy5jb20v
Record Label indie
Type of Label Indie
Bio
Edgerton, born in Racine, Wisconsin, is a composer of contemporary classical music and also with hybrid art projects. In the last 10 years, his concert music increasingly leans toward complexity and the practical application of physical and perceptual models. ................................................................................................................................................................................... After an absence of 16 years he has begun performing on stage once again as a performer of contemporary and ethnic vocal music. ................................................................................................................................................................................... His compositions have received international recognition, including the important German award, the Kompositionspreis der Landeshauptstadt Stuttgart 2007 (Tempo Mental Rap), 2007 Composition Contest of the Netherlands Radio Choir (Kalevi Matus), 5th Dutilleaux International Composition Competition, 2003 (1 sonata), 31 FESTIVAL SYNTHESE BOURGES 2001 (The Elements of Risk in Creation), 1999 Sal Martirano composition competition, Friends and Enemies of New Music (Net/Byrinth), MacDowell Club Award for composition, 1995 (Unspoken Crime), Midwest Composers Symposium, 1988 (A Penny for the Young Guy), 1987 National Federation of Music Clubs Composition Competition (Ai), 1987 National Federation of Music Clubs Composition Competition (Dwellers of the Southwest), Michigan State University Orchestral Composition Competition, 1986 (The Final Diary of a Branch). -------------------------------------------------------------------------------------------------------------------------------------- Mike's music has been performed by artists such as Stefan Östersjö, Kairos String Quartet, Ensemble Ars Nova, Almut Kühne, Matthias Bauer, Stockholm Saxophone Quartet, Gary Verkade, Angela Rademacher, Timo Kinnunen, Works-in-Progress Ensemble, Chatschatur Kanajan, Quartet New Generation, Jeffrey Burns. -------------------------------------------------------------------------------------------------------------------------------------- He is also an active researcher of voice, acoustics and perception and is regularly invited to deliver guest lectures. His work with the extra-normal voice is internationally known through performances, journal & magazine publications (including a paper in Scientific American, 281, 1999) and a book, The 21st Century Voice, published by Scarecrow Press. ................................................................................................................................................................................... Michael received his Doctorate in Musical Arts (DMA) in composition from the University of Illinois, the Masters of Music (MM) from Michigan State University and the Bachelors of Arts (BA) from the University of Wisconsin-Parkside. From 1996 to 1999, Michael was a Postdoctoral Fellow with the National Center for Voice and Speech, where he conducted research on voice science for his book, the 21st Century Voice (http://www.scarecrowpress.com/) .................................................................................................................................................................................... More? ................................................................................................................................................................................... http://en.wikipedia.org/wiki/Michael_Edward_Edgerton.. ................................................................................................................................................................................... http://www.last.fm/music/michael edward edgerton.. ................................................................................................................................................................................... http://www.youtube.com/user/MichaelEdgerton ................................................................................................................................................................................... for my book The 21st Century Voice @ http://www.scarecrowpress.com/
Members
Influences
ABOUT MY MUSIC ................................................................................................................................................................................... Julio Estrada, COMPOSER "I listen to your recording of Prana and the voice is surprising: it sounds like an oboe. There is not European tradition there. … This remembers the eclecticism of American music, which is also a choice. I find interesting your work and … common interests as continuum and voice. In any case, I like what you do and now I'm more convinced .. about your music writing, … your long article on the continuum. It seems to me several coincidences on the same interest with my work; your optics are extremely useful and interesting because they provide the acoustical and psycho-acoustical tools, both indispensable to understand what exactly happens when we deal with a multiplicity of components on which I call the macro-timbre, a fusion of rhythm and sound. … your string quartet and I like it".. ................................................................................................................................................................................... Eliot Fisk, GUITARIST. 15 NOVEMBER 2009 I received with some delay here in Salzburg your very impressive work TEMPO MENTAL RAP. This is indeed a piece I..d love to address to see if I could penetrate its mysteries ...I certainly admire Mr. Östersjö for learning it...and I wish I had time in my life right now for this type of pure artistic exploration. … Your idea of taking techniques from this world (Zappa /Vai kind of cutting edge rock derived modernism) and bringing them back to the classical guitar in a way involving a very complicated rhythmic notation is extremely interesting. I … hope our paths will cross some day so that you can help me to more quickly get inside the new world you have found all on your own... ................................................................................................................................................................................... Stefan Östersjö, GUITARIST & DIRECTOR ENSEMBLE ARS NOVA "Edgerton's piece is one of the most ambitious and wide-ranging solo guitar works in the contemporary literature. The work features quite an unusual expressive range and a great variety of technical means, that include not only traditional performance techniques, such as rasgueado and strumming techniques and tapping, but also using other means to produce sustained source characteristics, such as using metal, wooden and glass objects, small fans and dishwashing pads on the strings. … Edgerton takes a Frank Zappa transcription by Steve Vai as material for variations where the outer boundaries of guitar playing are questioned and re-considered. … Edgerton's work is truly one of the most significant and explorative works to have ever been written for the acoustic guitar. It also gives an idea of how the complexity in procedures of compositional work within modernism can be brought in dialectic relations to a great variety of different modes of expression in contemporary music on the one hand and recent research in different disciplines on the other. In addition, the Tempo Mental Rap gives a strong idea of how strategies and instrumental approaches from experimental free improvisation can be brought into play in structured composition." ................................................................................................................................................................................... Hans-Peter Jahn, DIRECTOR OF NEW MUSIC, SÜDWESTRUNDFUNK-STUTTGART ich habe mich persönlich auch sehr gefreut, dass wir uns auf Ihr Werk einstimmen konnten. Es ist brillant und ungewöhnlich farbig... .......................................................................................... I am also personally very happy we could choose your work. It is brilliant and exceptionally colorful. Hans-Peter Jahn (translated by M. Edgerton).. ................................................................................................................................................................................... SÜDWESTPRESSE ROTTENBURGER POST, 6 APRIL 2004 "... Edgerton looked after performance practice and tradition of the string quartet, with only a few pauses were intricate figurations with new means of articulation reorganized – such as finely differentiated rules for bow angle and the intensity of the finger pressure... ................ ......... ... ..... ...... ....... After the first movement I was curious to see how Edgerton applies the findings of his research when referencing Giacinto Scelsi (third movement) and Helmut Lachenmann (fifth Movement).".. ................................................................................................................................................................................... Michael Eidenbenz, RADIOMAGAZIN 25/2004 (SWIZERLAND, JUNE 2004) "... Edgerton, in his 1 Stringquartet writes a complex music that one can either simply intuitively understand, or can parse out a deeper understanding from the composers' instructions. ...(Edgerton's work) is a recent heir to a venerable tradition, in which the last word has not yet been spoken." (Michael Eidenbenz, translated by M. Edgerton).. ................................................................................................................................................................................... Walter M. Grimmel, NEUE ZEITSCHRIFT FÜR MUSIK 3 - MAI/JUNI 2004 "... Edgerton's Quartet 1 ... virtuosic special effects and calculated dramaturgy." Werner M. Grimmel (translated by M. Edgerton).. ................................................................................................................................................................................... Ulrich Köppen, Stuttgarter Nachtrichten 28.04.08 RE: Tempo Mental Rap - Prize-winning concert of the Kompositionspreis der Landeshauptstadt Stuttgart 2007, April 25, 2008. "Eloquent gestures full of tension" "The guitarist Stefan Östersjö whistled along the strings, whispered fleeting noise-clusters and coaxed long drawn out tones from his instrument, sometimes similar to improvised, hectic gestures at dangerously fast speeds. ......................................................................................... The "Tempo Mental Rap" was seen to be a ghostly or disembodied piece, in which conventional musical expressions were thrown out, … Throughout the piece, innovative extensions involving sound production .. hinted at an otherworldly expression.".. ................................................................................................................................................................................... Hans-Jörg Lund. Reutlinger General-Anzeiger 29.04.08 "Search for new styles of expression" "The Swedish guitarist Stefan Östersjö performed the Tempo Mental Rap of the prizewinner Michael Edgerton, a highly virtuosic work. The well-known expressive possibilities and techniques of this instrument were blown up and thus new sound possibilities were developed. Hans-Peter Jahn, director of new music at SWR, had personally assisted Mr. Östersjö in performance by turning pages of the oversized musical score. The intrinsic rhythmic speech-song (of the Frank Zappa rap) remained exciting with both hands gripping, knocking, hitting and stroking until the conclusion.".. ................................................................................................................................................................................... Jens Mügge, Review published online. Cataphora performance by Jan Heinke: Obertontage in Dresden 2009 - 16. September 2009 It was exciting when Jan Heinke premiered a piece of the composer Michael Edward Edgerton. Composed specially for these Overtone Days - great thanks to the Saxon Cultural Foundation - the audience was treated to an impressive, contemporary vocal solo piece, which existed beyond known singing habits. The audience reflected to this with a thunderous applause... ................................................................................................................................................................................... Christoph Sramek, 4. SENDE(R)MUSIK; NEUE MUSIK IM MDR-STUDIO; LEIPZIG–MDR-STUDIO AM AUGUSTUSPLATZ; 11MAY 2004 Michael Edgerton: Streichquartett Nr. 1,1. Satz (2002) " ... The many-layered nuanced colors of the string sound may possibly be associated with the diffusion of light through a prism, to awaken the impression of the existence of a larger string ensemble." Christoph Sramek (translated by M. Edgerton)
Sounds Like
................................................................................................................................................................................... ABOUT MY RESEARCH.. BOOK REVIEWS Elizabeth Terrel. THE VOICE AND SPEECH REVIEW, THE OFFICIAL JOURNAL OF THE VOICE AND SPEECH TRAINERS ASSOCIATION, ISSUE 5: VOICE AND GENDER AND OTHER CONTEMPORARY ISSUES IN PROFESSIONAL VOICE AND SPEECH TRAINING, AUGUST 2007. THE 21ST CENTURY VOICE: CONTEMPORARY AND TRADITIONAL EXTRA-NORMAL VOICE;MICHAEL EDWARD EDGERTON; LANHAM,MD; SCARECROW PRESS, INC.; WWW.SCARECROWPRESS.COM; 2006 "The 21st Century Voice by Michael Edward Edgerton is an indispensable guide to vocal techniques and practices used in nontraditional voice work, focused on the singing voice. This is a book about the extreme potentials of the human voice, placed within the biomechanical framework of vocal technique with which we are all familiar. Its 200 pages are packed with illustrations, charts, graphs, and sheet music examples. An audio CD allows the reader to hear examples of the techniques discussed. ................................................................................................................................................................................... This book is a needed reference as extended voice work becomes more prevalent and moves into the mainstream. Edgerton does an admirable job of citing and reporting recent findings in voice research. Be warned: this book is not light reading by any stretch of the imagination. This is a technical manual of voice production that reads like a dissertation. While some of it seems to be more grammatically complex than necessary, it is admirable that Edgerton did not skimp on his explanations in order to make it accessible for all audiences. ................................................................................................................................................................................... As mentioned, Edgerton places non-traditional singing techniques within the traditional structure. He examines the processes of vocal production one section at a time and then ties them all together at the end. Part I deals with techniques involving Air Flow (egressive and ingressive breathing, and source and duration of airflow.) ................................................................................................................................................................................... Part II deals with Source and issues related to vocal fold use. He covers techniques ranging from the familiar (vibrato) to the less familiar (including pressed voice, damped sound, laryngeal manipulation, glottal whistle, and sub- and supra-glottal sound production.) He relates the technical aspects of gender related voice production and addresses issues related to controversial vocal registers, citing techniques used in Korean P'ansori singing, to which he refers several times throughout the book. ................................................................................................................................................................................... Part III covers issues of resonance and articulation, vocal tract mapping (notably the Edgerton Model of Filter Articulation, which he covers in great detail.) This section includes IPA, language issues, and techniques involved in the modification of airflow. ................................................................................................................................................................................... Part IV on Heightened Potentials deals with issues such as multiphonic (more than one pitch at a time) sound; extreme vocal use (shouting, screaming, rasping, etc.); and the variety of ways in which the human voice can interface with other forms of media and instrumentation. ................................................................................................................................................................................... In Part V Edgerton discusses how the covered techniques are placed in the context of an artistic framework. ................................................................................................................................................................................... Part VI is the Appendices, Glossary, and Index, which are comprehensive. Additionally, each chapter of the book has an extensive list of Suggested Readings and References. One potentially problematic issue is the availability of replacement copies of the CD. The publisher states that it is not available separately. Secondly, the book's print is quite small, particularly in some of the charts and music samples. ................................................................................................................................................................................... This book is a valuable addition to any voice trainer's library. It's thorough and provides concrete examples with a tremendous amount of information in one place. It is a much needed treatise on the power and potential of the human voice... ................................................................................................................................................................................... ................................................................................................................................................................................... Chris Tonelli. MUSICWORKS - 95 SUMMER 2006; HTTP://WWW.MUSICWORKS.CA/;MICHAEL EDWARD EDGERTON. THE 21ST CENTURY VOICE: CONTEMPORARY AND TRADITIONAL EXTRA-NORMAL VOICE. SCARECROW PRESS. ISBN 0-8018-5354-X. "When books like The 21st Century Voice come on the market, there is cause for celebration. Michael Edgerton has toiled for years, doing all the dirty, meticulous, scientific observation he could to bring about a better understanding of the way voices do what they do. Alongside that aim, Edgerton also wants to ensure that new music composers understand just how much voices can do. Twenty-first Century Voice is a thorough, well-researched shopping list of possibilities for unconventional vocal expression. ................................................................................................................................................................................... The book's introduction is a throwing of the gauntlet. From the title, it is obvious that "complex" and "extra-normal" vocalization is being constructed as the future of vocal expression. ... Rather than allow extra-normal vocalization to remain the domain of those composers, performers, and improvisers who believe in the uniqueness of each musical event, as opposed to the authority and timelessness of the score, Edgerton sets out to provide ... "a clear and concise framework into which all possible means of sound production may be placed." ................................................................................................................................................................................... For composers, for whom this book was primarily written, Edgerton's list of vocal and non-vocal oral techniques includes many practical suggestions for methods of notation for variables such as dental, lingual, and bilabial position, pitch-air ratios, and complex multiphonic combinations. I can't imagine a better way to provide composers with both an awakening of the potential of extra-normal vocal composition and the practical tools needed for composition. Performers of new music will, whether they like it or not, have no choice but to use this book as a reference when composers start using devices like the "Edgerton Model of Filter Articulation" in their scores. Nonetheless, they will appreciate that, at the end of each section, Edgerton does provide his reader with a bibliography of further readings for each area, and he directs readers towards his more pedagogical writing. ................................................................................................................................................................................... ... I must admit that as I type this, I�m covered in saliva from attempting all of the items on the Edgerton list - there are certainly benefits that come from working with Edgerton�s thorough observations about the potential of different techniques. His compendious approach surely holds interesting new possibilities and insights for even the most seasoned vocal performer. ................................................................................................................................................................................... In his quest to provide a total framework, Edgerton divides the book into sections on the differing options for airflow: the breadth of vocal fold behaviour; the larynx as a sound source; theory and practice of normative and unusual register; language-based and non-habitual vocal-tract options for filtering and articulating vocal sound; vocal-tract options for airflow modification; multiphonic combinations; extreme vocal behaviours and vocal health; vocal interface with instruments, machines, spaces, and ritual practices; and the contexts that have employed the voice for differing social functions. Edgerton provides diagrams for mapping tongue placement in relation to the palate; charts that outline the kinds of sounds possible from airflow modification by the various parts of the upper vocal tract; excerpts from a number of scores that have developed notations for extended techniques, and an accompanying CD that illustrates the various techniques he discusses. ................................................................................................................................................................................... The only other book that shares many of Edgerton's goals is Trevor Wishart's On Sonic Art, yet they are very different beasts. Edgerton's book lacks the poetry and esotericism of On Sonic Art, but is infinitely more practical and easy to use. Edgerton draws much from Wishart's work and uses much of his language, but offers a very different final result. If you run into Edgerton, take your hat off; he's worked hard to give us something quite wonderful.".. ................................................................................................................................................................................... ................................................................................................................................................................................... Stefaan Van Ryssen. LEONARDO - DECEMBER 2005; THE 21ST-CENTURY VOICE. CONTEMPORARY AND TRADITIONAL EXTRA-NORMAL VOICE BY MICHAEL EDWARD EDGERTON; SCARECROW PRESS, LANHAM, MD, 2005; 224 PP., ILLUS. B/W, WITH AUDIO CD. PAPER, $42.95 ISBN: 0-8108-5354-X. 1 DECEMBER 2005 "Anyone with even the slightest interest in traditional and world music, avant-garde, pop and classical will surely has noticed the sheer endless variety of vocal techniques that are available to today's performers. Shouting, humming, multiphonics, inhaling, whispering and whistling are just a few of the tools in their toolbox. All this certainly makes for fascinating music, but it leaves composers, ethnographers and musicologists with the daunting problem of categorizing and noting what is in the air and performers with nothing less than a moral duty to expand their repertoire if they want to stay in trade. ................................................................................................................................................................................... Composer and performer Michael Edward Edgerton has undertaken this Herculean task with enthusiasm, insight, and a lot of common sense. Building on such diverse sciences as phonetics, physics, organology, and linguistics, he describes and analyzes any vocal and paravocal sound imaginable--and some of them unimaginable if you rely only on your inner ear and your past experience. ................................................................................................................................................................................... Even better, he has collected hundreds of fragments from scores and 99 audio samples to illustrate the many techniques and practices he describes. Do not expect to hear some Klingon or an outlandish dialect spoken on Tatooine though. The collection is limited to what the human vocal tract can reasonably produce, and that is an awful lot on its own account. ................................................................................................................................................................................... Sensibly, the author hasn't tried to categorize sounds by what you hear but by how they are produced. And, again sensibly, this means he has to start with the basic element of sound: airflow. From this he moves on to the source of vocal sounds: the human voice itself, how it is built, what its characteristics and limitations are and how its potential may be tapped. Next comes articulation and resonance or the formation of intelligible and unintelligible sounds during speech and song. " . . . [A]s this text is about potentials for sound production, it was clear that a model needed to be developed that would account for all regions and manners available for human sound production that practically should retain the qualities of flexibility and ease of absorption and retention. The result was the development of a mapping of vocal tract articulation for filter-like, turbulent and absolute airflow modification" (p. xxiii, emphasis by the author). ................................................................................................................................................................................... Multiphonics in all its disguises has a chapter of its own, leading to some reflections on where it all might end ('extermes') and what to do if things go wrong ('causes and treatments of vocal disorders'). Of course, the voice in itself can be amplified, modified, and augmented by means of classical and modern (electronic) instruments. This is what Edgerton calls 'interfaces', and it naturally and logically leads to the question of how people listen or rather how sound is perceived in different contexts. ................................................................................................................................................................................... This is, by far, the most comprehensive text ever published on vocal techniques. Its many illustrations-both graphical and auditory-and its clear and concise writing makes it an invaluable sourcebook for composers and performers as well as a fun read for those who just want to enlarge the repertoire of their solitary shower performance. Mind your arytenoid cartilage!"