This project aims to create a basic musical vocabulary and performance format for a severely hearing impaired and deaf audience. High-powered electronic sound systems are a very recent development in the history of music, expanding the dynamic and tonal range of earthly sounds. These modern sounds effect the human senses in ways that were previously only possible by close proximity to large percussion instruments (i.e. Japanese Taiko drums or the ancient Hindustani Tabla drums, huge instruments of war pounded while hanging from either side of an elephant). Through the experiments and performances proposed, the electronic percussion and deep throbbing bass that is Miami's claim to fame in contemporary popular music can be applied to the development of a new musical vocabulary for the hearing impaired. While building on an artistic precedent of dance for the deaf, sometimes choreographed by placing speakers face-down on the stage so that the dancers could "feel" the music rather than "hear" it, the project attempts to approach deaf culture on its own terms.

The project will involve two distinct stages: development and performance. Two development sessions will utilize large, quadrophonic amplification to survey the participants' perception of various electronic test tones, oscillations, and rhythm pulses, from gradual bass swells to intricate pulse patterns. Variables include volume, attack, and decay of sounds, proximity to monitors, physical arrangement of monitors, and equalization. These tests would be conducted in two contrasting acoustic environments: a smaller "dry", carpeted environment and another larger "wet", reflective concert-hall environment. Two professional American Sign Language translators will aid with simple surveying techniques to document which sounds and patterns are perceptible to the participants, as well as their subjective effects on individuals. The "yes- i feel it" and "no- i don't feel it" reactions will be recorded alongside a journal of the sounds, volumes, etc. being tested. The verbal translations of subjective reactions will be recorded to audio tape and transcribed. The results of these two development sessions will culminate in a composition approximately 30 minutes in length, performed on two nights and open to the general public. Projected oscilloscope and spectrum analyser readings will provide visual representations of the sounds for the audience.

© elegua records, 2001