Michael Edward Edgerton

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Michael Edward Edgerton (born October 31, 1961 in Racine, Wisconsin) is an American composer and associate professor of music composition and theory at the Guangxi Arts University. He received his D.M.A. in music composition from the University of Illinois at Urbana (1994); the M.M. from Michigan State University (1987) and the B.A. from the University of Wisconsin–Parkside (1984). From 1996 to 1999, Edgerton was a postdoctoral fellow with the National Center for Voice and Speech, based at the Waisman Center at the University of Wisconsin–Madison. He has studied composition with William Brooks, Morgan Powell, Jere Hutcheson and August Wegner.

Contents

Awards/recognition

Edgerton, 2013, Experimental Theater at the University of Malaya, Kuala Lumpur Michael Edward Edgerton, 2013.jpg
Edgerton, 2013, Experimental Theater at the University of Malaya, Kuala Lumpur

Style

Edgerton: adjusting to beams falling, for flute and cello, #73, 2006 Michael Edward Edgerton, adjusting to beams falling.jpg
Edgerton: adjusting to beams falling, for flute and cello, #73, 2006

Since mid-1990 Edgerton has been pioneering the compositional use of scaled & desynchronized multidimensional networks [2] in order to unlock nonlinear phenomenon inherent in mechanical sound production systems (voice and musical instruments). [3] These procedures utilize topological inquiry focused on little traveled regions of the total sonic map. For Edgerton, these multidimensional networks do not just focus on articulation, which is dominant with many who utilize multi-parametric organization. Rather, with Edgerton, these networks utilize all structural components of the mechanical system: power, source, resonance and articulation in order to affect a meaningful (perceptible) sound difference from ordinario. Additionally, more than a focus on unusual sounds or performance practice, the systematic use of desynchronized procedures coupled tightly to expected bifurcations amongst attractor states are utilized as intelligent generative procedures encompassing the consonance/dissonance and musical tension of these extra-complex sonorities (tones that exceed a single fundamental frequency with gradually sloping spectra). [4]

In works such as adjusting to beams falling and his String Quartet #1, he attempts to convey an expression similar to Edward Said's notion of an artwork exhibiting "intransigence, difficulty, and unresolved contradiction" in order to provide an "occasion to stir up more anxiety, tamper irrevocably with the possibility of closure and leave the audience more perplexed than before... to explore...a nonharmonious, non-serene tension, and above all, a sort of deliberately unproductive productiveness, going 'against'..." [5]

Linkage. Other composers who have worked with desynchronized and/or multidimensional methods include Richard Barrett, Aaron Cassidy, Frank Cox, Julio Estrada, Brian Ferneyhough, Klaus K. Hübler, among others. Edgerton's work is sometimes associated with New Complexity in music. [6]

Voice

Edgerton is a specialist of the extra-normal voice as composer, [7] [8] pedagogue, [9] researcher [10] and performer. [11]

Voice composition: Edgerton has written numerous compositions involving normal and extra-normal voice. Since the mid-90s his voice compositions have focused on searching for the bio-acoustic limits of vocal sound production that involve: 1) nonlinear phenomena; [4] 2) simultaneous sound sources in the vocal tract; [12] 3) multidimensionalty of vocal sound production. [13] Additionally, Edgerton has incorporated sound production procedures seen in ethnic musical traditions from Tuva, Tibet, South Africa, Korea and India, to name a few. [14] Representative compositions featuring the extra-normal voice include: #82 Cataphora, #77 A Marriage of Shadows, #68 prana, #62 Anaphora, #54 Friedrich’s Comma, #45 Taffy Twisters, among others.

Voice pedagogue: Edgerton is a teacher of voice, focusing on methods of extra-normal voice production that extend western avant-garde (anti)traditions, which are influenced from nonwestern music and informed by voice science. Edgerton’s methods are, in the first instance, based upon the healthy voice (i.e. bel canto) that attempt to explore the biodiversity of sound production, in order to expand the limits of the voice – particularly those involving nonlinear phenomena. Edgerton gives individual lessons as well as workshops. [15] [16] His pedagogical activities includes writings designed to spread the idea of systematic processes in voice exploration, these include a book (The 21st Century Voice), [17] two forthcoming book chapters – one in The Oxford Handbook of Singing [18] and the other in Teaching Singing in the 21st Century [19] and two collections of pedagogical compositions, each focused on a separate aspect of the extra-normal voice. [20] [21]

Voice Research: In 1995 Edgerton was asked by Barney Childs and Phillip Rehfeldt, then editors of the New Instrumentation Series at the University of California Press, to contribute a book discussing extended vocal techniques. As a result, Edgerton applied for and received a 3-year postdoctoral fellowship from the National Center for Voice and Speech (1996 to 1999) to conduct research for this project. Under the supervision of Diane Bless, Edgerton began the formal study of voice science which has led to the publication of articles [22] and his book, The 21st Century Voice, [23] as part of the New Instrumentation Series at Scarecrow Press.

Voice performer: Edgerton as performer focuses on contemporary and ethnic-influenced vocal music as well as in improvised settings. Edgerton views the process of voice production as similar to electro-acoustic composition in which the elements of production: power {airflow}, acoustic source {vocal folds or upper vocal tract disruption}, resonators {lower, upper, nasal vocal tract} and articulation {tongue, velum, lips, etc.} are identified and separately emphasized in order to change timbre or even the class of sound production. Edgerton has improvised with Mathias Bauer, Frédérique Bruyas, Axel Dörner, Fern Chern Hwei, Andrés Galeano, Goh Lee-Kwong, Johan van Kreij, Romain Mercier, Izumi Ose, Hugues Vincent, Yong Yandsen, Etienne Ziemniak. [24] [15] A CD of improvised performance to the text of "The Raven" by Edgar Allan Poe, in three versions: one in translation by Charles Baudelaire, one in translation by Stéphane Mallarmé, and the original by Poe. The CD was a collaboration by Frédérique Bruyas and Edgerton and is titled the raven/le Corbeau edgar Poe published by Escargot MNT.

Work

Orchestra/sinfonietta

#86_2 sonata, for alto flute, page 1 Michael Edward Edgerton, 86, 2 sonata, for alto flute, page 1.jpg
#86_2 sonata, for alto flute, page 1
#85a_Ari(rang), for soprano sax, page 1 Michael Edward Edgerton 85a Ari(rang), for sop sax, page 1.jpg
#85a_Ari(rang), for soprano sax, page 1
#77_A Marriage of Shadows, for fl, sax, gtr, perc, vce_movement 1, page 15 Michael Edward Edgerton 77 A Marriage of Shadows, for fl, sax, gtr, perc, vce movement 1, page 15.jpg
#77_A Marriage of Shadows, for fl, sax, gtr, perc, vce_movement 1, page 15

Opera/music theater

#72_Tempo Mental Rap, variation 6, page 47 Michael Edward Edgerton 72 Tempo Mental Rap, variation 6, page p47.jpg
#72_Tempo Mental Rap, variation 6, page 47
#70_1 sonata, for piano, page 37 Michael Edward Edgerton, 70, 1 sonata, for piano, page 37.jpg
#70_1 sonata, for piano, page 37

Large ensemble

64 String Quartet 1; mmt5, p. 107 Michael Edward Edgerton 64 String Quartet 1; mmt5, p107.jpg
64 String Quartet 1; mmt5, p. 107

Chamber ensemble

Anaphora, for solo voice, page 1 Michael Edward Edgerton, Anaphora, for solo voice, page 1.jpg
Anaphora, for solo voice, page 1

Solo instrument

Choral/vocal

Electronic

Scores

Publishers

Book

The text features a comprehensive discussion of extra-complex methods of vocal sound production, within an acoustic and physiologic framework. Most importantly the text and associated recordings propose methods for continued creative exploration. The book has received exceptional reviews and is now available from Scarecrow Press. Due to the comprehensive treatment of extra-complex vocal production within a scientific framework, the book has a broad appeal that extends beyond musical composition and performance to include voice science, acoustics, linguistics, computer modeling and more.

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References

  1. ↑ 52. Kompositionspreis 2007, City of Stuttgart
  2. ↑ Edgerton Michael E. (2012). Desynchronized and Scaled, Multidimensional Networks: Acoustics and Perception. Music and Memory. UPM Book Series on Music Research IV. Edited by Gisa Jähnichen and Julia Chieng. Serdang: UPM Press
  3. ↑ Neubauer, J, Edgerton. M, and Herzel, H. (2004). "Non-Linear Phenomena in Contemporary Vocal Music." Journal of Voice, 18/1, 1–12.
  4. 1 2 Edgerton, M. E., Neubauer, J., Herzel, H. (2003). "Nonlinear Phenomena in Contemporary Musical Composition and Performance." Perspectives of New Music , vol 41:2.
  5. ↑ Edgerton, M. E. The Oak of Mambre, for unaccompanied double bass. Revista Música Hodie, Goiânia, vol. 13, no. 1, 2013, pp. 341–349
  6. ↑ "New complexity music". last.fm .
  7. ↑ http://www.dutchartevents.com/usa/usa-new-york/2012/10/10/breure-van-hulzen-nyfa/
  8. ↑ "Program". udc.es.
  9. ↑ "Facebook".
  10. ↑ Edgerton, M. E., Neubauer, J., Herzel, H. (2001). "The Influence of Nonlinear Dynamics and the Scaling of Multidimensional Parameter Spaces In Instrumental, Vocal and Electronic Composition." In Proceedings of the 4th International Conference Generative Art 2001, (ed. Celestino Soddu) Milan: Milan Polytechnic University Press.
  11. ↑ http://switchonndon.blogspot.com/2011/06/michael-edward-edgerton-society-of.html [ user-generated source ]
  12. ↑ Edgerton, M. E. (1999). "Multiple Sound Sources of the Vocal Tract." National Center for Voice and Speech; Status and Progress Report, 13, 131–140.
  13. ↑ "IMSLP – sheet music online | ekmeles".
  14. ↑ "Conners Publications". www.music-usa.org. Archived from the original on 2006-03-03.
  15. 1 2 "Burp enterprise » Search Results » QUIET CUE".
  16. ↑ "Archived copy". Archived from the original on 2012-01-10. Retrieved 2013-07-22.{{cite web}}: CS1 maint: archived copy as title (link)
  17. ↑ Michael Edward Edgerton. The 21st Century Voice: Contemporary and Traditional Extra-Normal Voice. Lanham, Maryland: Scarecrow Press, 2005.
  18. ↑ Michael Edward Edgerton. "The extra-normal voice (extended vocal techniques)" in The Oxford Handbook of Singing. Oxford University Press, D. Howard, J. Nix, G. Welch eds. (forthcoming)
  19. ↑ Michael Edward Edgerton. "The Extra-Normal Voice: EVT in Singing" in Teaching Singing in the 21st Century. Springer Publishing, Scott D. Harrison, & Jessica E. O'Bryan, eds. (forthcoming)
  20. ↑ Michael Edward Edgerton (1998). KOSMOS (#49), volume two on reinforced harmonics, for one to four voices, Natchitoches: Conners Publications.
  21. ↑ Michael Edward Edgerton (1998). KOSMOS (#48), volume one on articulation, for one to four voices (1998), Natchitoches: Conners Publications.
  22. ↑ Levin, T., and Edgerton, M. (1999). "The Throat Singers of Tuva." Scientific American , 281:3 (1999) 70–77.
  23. ↑ Edgerton, M. The 21st Century Voice. Scarecrow Press (224 pp.). Lanham: Maryland, February 2005.
  24. ↑ "Photos I".

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