Week 10 score by Chris Galanis
one of my favorite songs when i was a kid!
I have to say it was not very hard to do this piece, I think that I must sing all the time, nearly everywhere. However it wasn’t until I started thinking about the score that I realised how much. I even hum while waiting on the phone to talk to people. But when I also started to think about singing I realised the very different ways I sing, sometimes I am making up songs or tunes other times I am humming or singing the same several lines I have heard of a song a few days ago, and whatever is going on for me it continues to resonate until something replaces it.
Thanks Linda, I find that fascinating, as I also ALWAYS have a song in my head, and usually on my lips as well – there’s barely a moment in my waking hours that some song is not occupying a place in my consciousness.
hey LINDA, we skyped last week , I am at CSM under HUGH MC CARTHY tutelage, a great word, please let me know if you have any tips for me, I am researching online composer clubs, eh maybe I mixed you up with KERRY, oops well anyway , nice music and crunchy thought kix, MB
Hey Martin, yep you have definitely confused me with kerry, she would definitely be the one to know all about online composers clubs. Hope you submitted something for the ISSTA convocation.. I am chairperson for the Sound Art Section, but not sure who is for the composition, think its Victor Lazarini and Kerry
I was spending a lot of time with a 10-month old the first week I read this score, and I sang to (and with) him a lot. I liked noticing the kind of singing that he felt comfortable with and would join in on (long open tones, especially on “ah”), and the kind of singing that seemed to actually concern him (minor folksy melodies). The following week I sang a lot while walking around the city (in both Ottawa and Montreal), something I used to do ALL THE TIME, but which I haven’t really done a lot of in years and years. In both cases, I enjoyed thinking of singing as a way of communicating my internal state to my surroundings, human and nonhuman, near and far (communication not through conscious choice of sound or melody, but through the “sounding” of my body), and also of relating and paying attention differently to those surrounding worlds.
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