Noah Jordan (CAN)
Artist in Residence, 2020
About the Project
Microtonal Flute and Voice Recording Project
Winds / Irjieħ is a work for multiple flutes and voices. The project aims to explore the intersections between pitch sets, microtonal harmony, traditional Maltese vocal music, and the most primal pitched instruments (the flute and the voice). It is necessary that the study of intentional tuning (rejection of a 12-tone standard) to bridge historical and contemporary perspective of tuning, from all traditions of music and sound art, as well as to incorporate mathematics, linguistics, and ideas of formal language and communication systems, as well as acoustics and studies in psychoacoustic perception. Small and isolated communities are often the holders of special cultural artifacts, including regional tunings, songs, tales, and ideas. As linguistic isolates and creoles can provide insight into the function of human language as a whole, musical isolates and cultural combinations can do the same, especially in the realm of music which strives to remove cultural centrism. This project will focus on the raw nature of the voice and the flutes and their flexibility in playing a deep harmonic structure due to their pitch flexibility.
About the Artist
Noah Jordan works in various facets of musical creation: improvisation, composition, music production, sound art, and cross-disciplinary arts. A large part of his work focuses on the decolonization of music, specifically through the realm of pitch and tuning. His works use the symbols and patterns of this process of crossing a metaphysical and psychologic border of archetypes represented through abstract numerical relations entering the physical world through vibration, and the cultural processes we are undergoing as citizens of the world during the time of globalism and hyper mass communication. Through an infinite pitch spectrum, over a discrete (and small) pitch set, the boundless possibilities both allow a greater descriptive nature of the vast diversity of musics around the world, but also allow for an intangible possibly complexity of future musics as we explore the nature of the relationships of higher harmonics. His work includes improvisations for solo microtonal piano (The Devil, The Moon), a 17 tone Jazz duo (Formality vs Reality), acousmatic music and sound art (Ís), microtonal hiphop in collaboration with poets and experimental composers in Mexico (Noah Nabora), and sound sculpture (Bone Saga).
Photo credits: Julia Hoffman