'Dripping' - by Andreas Bick
A Sound Composition for the WDR Studio Akustische Kunst
Awarded the Prix Ars Acustica 2000
Editing: Klaus Schöning
First broadcast: 18th November 2000
full length: 29 min.
"Drip drop, drip drap drep drop. So it goes on, this water melody for ever without an end. Inconclusive, inconsequent, formless, it is always on the point of deviating into sense and form. Every now and again you will hear a complete phrase of rounded melody. And then – drip drop, di-drep, di-drap – the old inconsequence sets in once more. But suppose there were some significance to it! It is that which troubles my drowsy mind as I listen at night. Perhaps for those who have ears to hear, this endless dribbling is as pregnant with thought and emotion, as significant as a piece of Bach. Drip-Drop, di-drap, di-drep. So little would suffice to turn the incoherence into meaning. The music of the drops is a symbol and type for the whole universe; it is for ever, as it were, asymptotic to sense, infinitely close to significance but never touching it. Never, unless the human mind comes and pulls it forcibly over the dividing space."
"Water Music" (1920) – Aldous Huxley
'dripping' introduces the listener to imaginary rooms, whose physical structures are made
tangible by the composition of droplets generating sound. The droplets can be thought of
as being the echoes of a location system, which gives the listener access to a whole
microcosm of almost unperceivable sounds from the perspective of an insect. The initially
irregular dripping sounds describe a path through a "virtual" soundscape of various
different material consistencies. They then begin adopting rhythmic patterns that create a
hypnotic atmosphere as a result of their combined repetition and nuanced fluctuation. The
spectrum of dripping patterns ranges from the zero value (according to information theory)
of a steadily dripping water tap to the broadband noise produced by rain, though the
emphasis lies in experiencing dynamic dripping systems whose information content is
described approximately by the middle of these two poles (1/f-noise).
The melodic and rhythmic structures were created using dripping devices that were
specially constructed for dripping. The equipment comprised several burette-like droppers
that were connected to a water supply by symmetrically arranged hoses. The dripping
behaviour of each of the outlets influenced one another because the hoses were all
interconnected. Changes to the water pressure and flow velocity generated self-organising
processes leading to complex rhythmical patterns. The arrangement of resonating bodies
with different pitch characteristics beneath the droplet outlets led to the formation of
melodic structures – a free-running system of self-generating musical patterns was the
result. The dripping exhibited a rhythmical subtlety organised around a clearly discernible
pulse and demonstrated considerable musical complexity. In order to analyze these
complex structures, a looping technique was used which "drifted" through the material,
moving through it in tiny steps. This permitted a flowing shift to take place in the rhythmic
interpretation each time the loop was run. By using this montage technique, several
dripping patterns could be interwoven into dense structures that developed out of the
above-mentioned tangible rooms and "virtual" soundscapes.
'dripping' is divided into five sections based on the principle of the Chinese theory of Wu
Xing, or five phases. These five transformation states are generated by one another in an
endless cycle. Their characteristics can be attributed to the elements of wood, fire, earth,
metal and water. The resonating bodies that are used in each section correspond with these
elements and describe an imaginary room that is initially "scanned" using sparse and
isolated droplets. Over time, rhythmic references begin taking shape between the
individual droplet pulses, and complex structures start forming – a constant alternation
between contraction and relaxation and between ordered and disordered states underlays
the whole composition.
• The sound of a droplet
Droplets do not produce a sound on their own nor do they have their own characteristic
sound (despite the fact that they have a tendency to oscillate in zero gravity). Only when
they strike an object, i.e. a resonating body, do they generate a sonic event. This
percussive event is isolated and amplified so that listeners can immerse themselves in the
sound and experience it at an as yet unfamiliar proximity. The listener begins to notice that
although the drops produce a superficially uniform sound, each impact does in fact
generate a different reverberation in the resonating body, the overtones ring out slightly
differently and the drops splash and scatter into thousands of tiny droplets that can be
heard as a light drizzling sound. This seems paradoxical: no droplet is the same as the next
despite the fact we tend to accept the notion that they exhibit some kind of universal and
recurring self-similarity, whose shape any freefalling liquid takes on. In this perfect
embryonic state, liquid molecules attempt to reveal as little of their surface area to their
surroundings as possible. To see the world in a grain of sand – to recognise the cosmos in
a droplet of water if we look, or in our case listen, closely enough.
Another dimension was added to this basic phenomenon in the form of a varied assortment
of resonating bodies – the instrumentation. The resonating bodies are associated with the
above-mentioned five elements and only idiophonic objects were chosen which resonate
naturally after the impact of a droplet. Some resonating bodies were available in various
pitches and were used to create melodic structures. Instruments made from metal, wood,
glass and clay were used, such as flower pots, agate disks, wooden boards, cognac glasses,
singing bowls and gongs, but also materials like sand, gravel, stone, plants, leaves, foliage,
metal sheets, etc. played a role. Other unusual sonic events were also incorporated, such as
the vaporisation of water droplets on hot coals, the dancing of a droplet on a stove hotplate
and the impact of a hot droplet on ice. Some recordings of droplets falling into vessels of
water were carried out using an underwater microphone. Various instruments and
pentatonic pitches were combined to produce a harmonic structure that was subject to
constant change due to the overlaying of individual resonances (implied harmonies).
• Creation of droplet patterns
The droplet patterns were created using a dripping device based on the research equipment
used by experimental physicists investigating dripping water taps. Research showed that if
water droplets, initially of the same size, were produced at the same regular intervals, and
the flow velocity within the water tap was then increased, a phenomenon known as period
bifurcation would occur causing pairs of droplets of varying size to be produced per unit of
time. Further increase in the flow velocity caused additional period bifurcation, which
produced an irregular series of droplets just before the formation of a constant stream of
water. The behaviour of the system described irregular curves on a graph, which are called
chaotic or strange attractors, and point to deterministic concepts for the random behaviour.
If several droplet outlets are combined, however, a global coupling starts taking effect that
leads to a synchronisation of the individual drop sequences and to 2, 3, 4...n-cyclical
period bifurcation. Furthermore, after a new droplet separates, the visible trembling of the
remaining droplet suspended from the outlet seems to influence the behaviour of the
dripping system. It seems that the high frequency oscillations involved in this trembling
constantly excite themselves and lead to a subtle variation in the point in time at which a
droplet separates.
The dripping device was constructed as follows: a water bucket was suspended from the
ceiling. The bottom of the bucket was fitted with a hose and the flow of water through it
could be controlled precisely using two taps. This hose was connected to the actual
dripping device, which had to be mounted at a height of at least 1.50 to 2 m above the
ground. To ensure a constant flow rate, the water container must have a surface area of at
least 1 square metre and the droplet outlets should be positioned 1 m below the water
surface. Various dripping devices were used – generally hoses arranged in a circle with
equally spaced droplet outlets. Various resonating bodies could be placed on the ground
and recorded using separate microphones. The water drained away into a children's
paddling pool and the resonating bodies' immediate surroundings were dampened with soft
material to prevent splashes and drained water from spreading.
The following parameters can be used to influence the drop pattern: the density of droplets
and therefore the dripping speed can be changed by adjusting the water flow. The use of
various types of outlets leads to a range of different droplet sizes and other rhythmic
structures. By using more viscous liquids such as oil or glycerine, more sluggish, slower
rhythms could be created without the universal mechanisms of droplet formation being
altered.
• Rhythmic pattern and ambiguity of the material
The rhythmic patterns generated by the above dripping device have certain qualities:
• The listener perceives a clear rhythmical underlying beat that is paraphrased ncyclically
by the dripping or, expressed musically, paraphrased in quarter, eighth
and sixteenth notes and in triplets. However, the listener does not perceive any
rhythmical emphasis, the "one" becomes blurred and can conceivably occur on any
beat. This ambiguity of the rhythmical material means it can be interpreted
musically in various ways.
• The ostinato rhythms appear to be repetitive only superficially – the rhythmical
subtlety is actually subject to constant change, each passage is different from the
next. This is where a fundamental principle of nature can be experienced: on the
macro-level, cyclical processes and pattern-forming processes take place
conforming to simple uniform natural laws. However, on the micro-level, every
single unit proves to be totally unique.
• The finest rhythmical quantization of a series of droplets is around 20 pulses per
second, i.e. near the frequency at which the human brain is no longer able to
discern them. This is an important basis for the application of the above-mentioned
looping technique.
This montage technique involves works with the axis of the pulse running through the
polyphonic dripping pattern. This pulse is used to split the audio material into time
windows that drift through the rhythmical material. After every repetition, however, the
window jumps by one unit (for example 1/32 of a beat) in the direction of the time
axis and causes a drift. Because of this, a rhythmic cycle occurs in 32 different versions
before a repetition takes place. Our hearing, however, is too slow to discern this minimal
offset. What we hear is much more a flowing, shifting rhythm moving around a constant
centre, which, in the case of a 4/4 rhythm, corresponds with the 2nd and 4th beat.
Furthermore, we hear 33 instead of the expected 32 loops, which means we perceive the
pattern at a slightly higher speed. This new tempo can be calculated according to the
following formula:
New tempo = original tempo + (original tempo / (unit / loop length)),
whereby "Unit" represents the number of offset steps per beat and "Loop length" stands for
the length of the loop in quarter notes (i.e. 2 in the case of a 1/2 beat, 4 in the case of a 1/4
beat, etc.).
This montage technique can be used for all rhythmic recordings but it has the most
pleasing effect if the value for the offset steps is at least around 20 pulses per second, i.e.
around the frequency at which the human brain can just about discern separate pulses.
Many years ago now I ran a business distributing cd's - basically assisting small, specialist labels to get thier music into shops & on mail order catalogues. We had a strong reputation for tradition based musics & were, at that time, the only serious importer of musics from Finland, Sweden, Norway, Denmark etc etc. It was during this time that I first heard Sami traditional music, a tradition based around the yoik (a form of sung poetry). Nils Aslak Valkeapaa was a particular favourite. Not only for his voice but because his works often combined the yoik with field recordings made in the Sami landscape. Many of the cd's released under his name (on the DAT label) were extended compositions for yoik, field recordings & occasional instrumentation. I should also mention that the same label released the cd by Johan Anders Baer - 'Mahkaravju' (dat12) which is, basically, Johan sat on the edge of a cliff yoiking to the ocean & the seagulls. As with much of Nils' output, in the wrong hands this could easily fall into the trap of being tacky, but thankfully it avoids that particular trap. It retains a creative, unaffected quality that speaks of a reality & the same is true of much of Nils' work.
