Onomatopoeias and Robert Normandeau’s Sonic World of Baobabs: Transformation, Adaptation, and Evocation

Abstract

Selon plusieurs compositeurs, le studio est un espace retiré qui permet d’intérioriser leurs idées, contrôler chaque élément et réaliser l’entièreté de leur imagination musicale. Bien que Normandeau soit un compositeur renommé pour ses oeuvres acousmatiques fixées, il ne se limite pas à l’espace solitaire et contrôlé du studio électronique. Il apprécie le processus, la transformation et l’adaptation. C’est ainsi qu’il adapte l’oeuvre acousmatique Le renard et la rose (1995) pour quatre chanteurs, six percussionnistes et électroacoustiques, dans le cadre de Baobabs (2012). Après avoir contextualisé l’utilisation des onomatopées dans les compositions du xxe siècle et dans l’oeuvre de Normandeau, et à la suite de la présentation du cycle Onomatopées et de Baobabs, l’article propose une analyse orientée du point de vue du rythme, des relations tonales et formelles, de la texture et du timbre. L’étude propose en conclusion une réflexion sur les différences fondamentales entre les deux compositions, particulièrement autour de la question du contrôle et de la dualité compositeur/interprète.For many composers, remaining in the secluded world of the studio allows them to completely internalize their ideas, to control every element, and to realize their exact musical imagination. While Normandeau is certainly most known for his fixed acousmatic works, he does not restrict himself to the closed and controlled world of the electronic music studio. He embraces process, change, and adaptation, in this case adapting the acousmatic work Le renard et la rose (1995) for four singers, six percussionists, and electroacoustics in Baobabs (2012). This article first contextualizes vocal onomatopoeias in 20th-century compositions and Normandeau’s output. Following an overview of the Onomatopoeias cycle and Baobabs, the analysis is divided into rhythm, tonal and formal relationships, and texture and timbre. The article concludes with a reflection on the fundamental differences between the two works, particularly as they relate to control and the composer/performer binary

Co-construction of meaning, creative processes and digital curation

“…The work Baobab of composer Robert Normandeau builds on onomatopoeias (Woloshyn, 2014). The initial idea was to assign vowels to singers and consonants to the percussionists, showing another example of what was not done (our own translation): RN It's true that the initial project was to have the percussionists do the consonants and the singers do the vowels but it didn't work that way [...] In relation to the onomatopoeias, Robert Normandeau provided sound examples to the four singers so that they may practice.…”

“…The work Baobab of composer R.N. builds on onomatopoeias (Woloshyn, 2014). The initial idea was to assign vowels to singers and consonants to the percussionists, showing another example of what was not done (our own translation):…”