Time Descrip+on (Allocentric) Prevailing Listening

Mode (Autocentric)
00:00-00:20 Sounds of ceramic pots excited by their lids. 1 sound per time. 1, 3, 4
Percussive sounds. Mid frequencies, with high frequencies
resonating after initial hit. Sounds as gestures.
00:20-00:40 Increasing rhythmic ac4vi4es and sounds. Some4mes 2 1,3,4
sounds per 4me. Same material and frequencies.
00:40 -00:52 A new sec4on starts with an upbeat. And leads to a higher 1,3,4
volume sound with a different frequency which can be
created by hiFng a different part of a pot.
00:58-02:25 Repe44on of the primary frequencies with the same sources. 1,3,4
This sec4on can be a kind of combina4on of the first two
categories. ONen, at least 2 sounds per 4me.
02:25-03:10 New sounds and frequencies, produced by other objects, are 1,3,4
introduced. At least, three sounds per 4me. More the
rhythmic and dynamic movements increase, more I focus on
frequencies (than sources). To me, musical elements (and
meaning) are more evident. ONen, three sounds per 4me.
03:10-03:50 With producing the low frequency, I no longer think of 1,3,4
kitchen appliances. It Sounds like an orchestra. In this
monophonic sec4on, the use of manipula4on techniques
adds a feeling of illusion and acts like a passage (let me say a
“tunnel”) to the next sec4on; The glissando-like effect (from
low to high register) accelerates the music in all dimensions.
03:40-04:40 The new sec4on overlaps (elides) with the pervious. At first, 1,3,4
it sounds like to be a climax, but soon the ini4al sonic sound
disappears.
In a general view, this new sec4on is more like a dialogue
between mechanical and electrical sounds (which is like
beeping alarm of a microwave!) and acts like an introduc4on
to the next sec4on, when the sound sources are more
electrical.
04:40-05:35 The second electrical sound, in a higher frequency, is added, 1.2,3,4
and, in the background, I can hear the wind ambiance (or a
transformed sound which resembles that) but I don’t care
that much about it! 4 and 5 sounds at the same 4me.
05:35-06:00 Despite con4nuity of the rota4onal quality of the electrical 1,2,3,4
frequencies, new 4mbers and sounds shape a rhythmic
pa]ern. 4-6 sounds per 4me.
06:00-07:00 Sound transforma4on is one the most dominant 4mber of 1,3,4
this part which imitates a glissando-like quality. As this effect
grows, the beeping sound disappears over 4me.
07:00-07:30 As the long descending mo4on of all sounds fades away, the 1,3,4
primary material start over. This sec4on is more like a bridge
to the next part.
07:30-09:00 The primary theme (A) is reversely repeated with “a tempo” 1,3,4
and acts like a cadence. In other words, what we listened to
at almost the first three minutes of the composi4on, is
retrograded. It starts with three sounds at the same 4me and
ends in solid “sounds of ceramic pots excited by their lids”.