The Music of Stomp

I believe, after conducting my research, that the sound produced by the group known as Stomp can be considered music. They follow all of Michael Bakan’s 5 propositions that help to define whether something truly is or isn’t music. In addition, they travel around the world performing as a musical percussion group.

Another important fact is that I agree with their message stating that music can be made from anything. I do not believe that one needs generic musical instruments in order to create music. People can create amazing compositions with anything if they put their minds to it. This also creates a fun and unique way for anyone to take common household items and create something unique and original.

When discussing the topic of “What is music?” John Cage’s 4′33′′ composition is an interesting case study to look at. The piece involves him sitting at a piano, clicking the start button on a stop watch, and placing his fingers over the piano keys. Not once, however, does he actually play the piano. After 4 minutes and 33 seconds are up, he turns off the stop watch and the piece is over. Throughout the performance, the only noise that can be heard is that of the ambient noise in the room. Depending on the location and the audience, the air conditioner or heater can be heard as well as any coughing or scuffling occurring in the audience. The big question with this piece is whether or not it can be called music. I went and found a couple of books discussing 4′3′′ and why John Cage created it.

Book 1: John Cage

The 4′3′′ composition is considered by some to be a manifesto presentation of Cage’s “definition of silences as the presence of ambient and unintentional noise rather than the complete absence of sound” (page 78). It allows sounds from the environment to flow freely and be heard throughout the venue where the piece is being performed.

Cage was also known to relate his ideas on silence, which is featured in his 4′33′′ composition, to glass. He thought that openness to environmental sounds can be found in the openness to modern sculpture and architecture. One example he uses is a glass house, where one can see through the actual glass that composes the house and into the environment surrounding the house. Another example is a wire sculpture where both the sculpture and the space between the wires is visible and a part of the sculpture. There is always something to see or something to hear. There really is no such thing as silence.

Temporal container is one way to describe this form of silence that has the potential to be filled with any type of sound. The purpose of 4′33′′, and many after it, was to change or shift the foundations of music. “An ‘empty’ score with only a temporal framework ... 4′33′′ gave Cage’s stunning assertion of ‘silence’ a noted form” (page 193). Cage is also know to have been inspired by Robert Rauschenberg’s White Paintings for this piece.

There were three versions of 4′3′′ that Cage created and there were three important aspects that made this piece unique to all the others before it. One, the 1952 version has the musical notation removed from it. Two, in 1953 the song echoed the painting mentioned above. Three, the musical notation was converted into a textual proposition.

Book 2: John Cage: Music, Philosophy, and Intention

Cage confessed at one point in his career that his initial intention for 4′33′′ was to create a silent piece that he could broadcast over the radio. When composing this piece, he actually used a metric notation. There were three movements each with their own sets of short silences and together the three movements ended up being four minutes and 33 seconds long.

Although structure is necessary for understanding life and art, it is unnecessary for the composer to impose that structure consciously. Even though structure is vital, Cage believe that structure doesn’t really have a point. In 4′33′′ for example, sounds arise on their own even without the guiding hand of the conductor.

Book 3: The Music of John Cage

In 1948, when Cage was first toying with the idea of creating a composition where the performer made no sound, he described it as a “Silent Prayer”. “Silent Prayer” is an ancestor of 4′33′′. Originally, “Silent Prayer” was supposed to be four and a half minutes long. Cage said it would “open with a single idea which I will attempt to make as seductive as the color and shape or fragrance of a flower. The ending will approach imperceptibility” (page 59).

4′33′′ on the other hand is a four minute 33 second piece that is broken up into three parts: one that is thirty seconds long, another that is two minutes and twenty three seconds long, and a final part that is a minute and forty seconds long. These lengths were created by chance through the combination of many shorter durations of silences in 1952. Back in 1948, when he first thought of this idea for a silent composition, Cage would have almost certainly used a consciously-chosen structure instead. The final product that became 4′3′′ is truly an empty rhythmic structure.

Book 4: The Amores of John Cage

Early in his career, Cage seemed to reject the traditional Western view that pitch was the primary element of music. Since he rejected pitch as the primary element, a larger emphasis was often times placed on rhythm and tone color in his compositions. At first, he created many precessional pieces, then he switched over to the piano, and finally he worked with electronic music. 

Cage believed that structure can exist independently of content as an inorganic composition. If this is the case, than structure should be able to exist without intentional content as in 4′33′′. Since this is the case, 4′33′′ can actually be performed by any instrument, even though it is known for being played (or not played depending on how you look at it) on the piano. The movements of the piece can also be altered to be any length of time. 

For 4′33′′ the three parts that make up this piece are known as tacets. To signify the beginning of each of these parts, when played on the piano, the lid of the piano is opened and then closed. 

Bibliography:

DeLio, Thomas, and Michael J. Budds. The Amores of John Cage. Hillsdale, NY: Pendragon, 2009. Print.

"John Cage's 4'33"" YouTube. N.p., n.d. Web. 12 Mar. 2016. <https://youtu.be/JTEFKFiXSx4>.

Patterson, David Wayne. John Cage: Music, Philosophy, and Intention, 1933-1950. New York: Routledge, 2002. Print.

Pritchett, James. The Music of John Cage. Cambridge: Cambridge UP, 1993. Print.

While I was searching the internet for sources that contained information on STOMP, I ran across many websites with interesting tidbits about the group. Although I couldn’t find any case studies on the group, it was still interesting to learn more about them, why they do what they do, and how they came to be.

Website 1: http://articles.latimes.com/1996-07-15/entertainment/ca-24466_1_orange-county-performing-arts-center

Stomp was once a singular group that originated in Britain, but now there are four Stomp groups - two national tours, one in New York, and one international tour. One of the national touring groups have 12 actors that are from California (some were born in CA, some moved to CA, and some studied in CA). A member of one of the Stomp groups explains briefly how tryouts went when she applied for a spot in the group. During the first tryout, they were asked to use their hands and feet to create a set rhythm. For the second part of the tryout, brooms and poles were given to them. Finally, all of the props that you would find in a regular Stomp performance, garbage can lids, poles, brooms, newspapers, etc. were given to the people trying out and they were asked to improvise. Finding new talent with new ideas helps Stomp maintain a fresh feel and sound during the performances. The use of improvisation also allows the actors to express themselves and show off their personality in the shows. 

The performances are an hour and 70 minutes long, and this tests the actors strength and stamina. At times, the groups perform eight shows a week with little time to rest. The way the shows are set up, everyone in the group is, for the most part, on stage at all times. Being a part of Stomp also requires all of the performers to expand their skills so that they can use their bodies, the props, and their expressions to make the show what it is.

Website 2: http://www.mlive.com/entertainment/kalamazoo/index.ssf/2010/01/how_stomp_turns_props_into_ins.html

All of the sounds heard during the Stomp performances come from the actors onstage. None of it is a prerecording or a track in the background that accompanies them. There are normally between 25 and 30 microphones on the set that help the actors project the sounds that they are creating. Since the group uses props that are normally meant for simple household tasks, the sounds they make are not supper loud which is why they use the microphones. Another interesting fact that I found was, “in one week the cast of Stomp goes through 30 broom, eight trash-can lids, six trash cans, 12 boxes of matches and 200 liters of water”. There are prop masters that help take regular items and tune them so that they will produce a unique sound. Sometimes, the performers will chose or modify a specific prop so that it will produce the sound they are trying to create. An example is that some of the performers will clip bristles off the end of their brooms so that they can knock the wooden par against the ground with greater ease. This is one of many ways the performers modify or tune their instruments to fit their needs.

Website 3: http://www.yesnoproductions.co.uk/STOMPLive.html

Stomp combines percussion, dance, and physical comedy (use expressions rather than words to create comedy). Over 10 million people worldwide have seen Stomp groups perform. The goal is to show that “the junk and clutter of urban life [can become] the source of infectious rhythm and wonder”.

Website 4: http://www.broadway.com/videos/153234/behind-the-scenes-making-music-at-stomp/#play

This was an interesting video that talked about Stomp and about how they create their shows and form their precessional compositions. Unfortunately, this link was on a site other than youtube, so I was unable to link the video in here, but if you click on the website above, that will take you straight to the video. One of the female performers talks about what it is like for her to be part of a Stomp group. She also takes the time to talk about a couple of the pieces that they will do in a regular show in more detail. The tree main ones she discusses is Matches, Pipes, and Just Clap Your Hands. I found the video to be very informative and helpful in understanding why this group means so much to the performers and how they are able to create such a diverse sound with such simple props. 

Bibliography:

15, July. "United in Rhythm." Los Angeles Times. Los Angeles Times, 15 July 1996. Web. 12 Mar. 2016. <http://articles.latimes.com/1996-07-15/entertainment/ca-24466_1_orange-county-performing-arts-center>.

"Behind the Scenes: Making Music at Stomp." Broadway.com. N.p., n.d. Web. 12 Mar. 2016. <http://www.broadway.com/videos/153234/behind-the-scenes-making-music-at-stomp/#play>.

[email protected], Simon A. Thalmann |. "How Stomp Turns Props into Instruments." N.p., n.d. Web. 12 Mar. 2016. <http://www.mlive.com/entertainment/kalamazoo/index.ssf/2010/01/how_stomp_turns_props_into_ins.html>.

Those who practice Islam believe that the call to prayer is not a form of music. It is important to realize that the people who combine sounds and silences in an organized way have to decide whether or not what they are creating is music to them. The Islamic call to prayer is an excellent example of this. 5 times a day the Muezzin leads and recites the call to prayer. Although they are singing and producing sound and silences in an organized way, they consider this to be a prayer, not music. Others who do not practice Islam however, may classify the call to prayer as a form of music since it does follow Michael Bakan’s 5 major propositions.

In Aribic singer means “one who enchants” (Bakan 298). Qur’anic recitation and other sacred Islamic vocalization is not viewed as a form of music. The idea of it being considered music is actually rejected by the Islamic community. To categorize the person who recites the Quran as a singer would be considered offensive. While Qur’anic recitation is seen as a form of praise to Allah (God) singing and music are seen as a threat to Islamic piety. It is believed that music will tempt people away from their duty to Allah. There is a “‘suspicion toward music because of its secular and even profane associations’ that dates back many centuries” (Bakan, 298). Contrasting this is the idea that sacred forms of Islamic art posses musical qualities. For the most part, however, music is frowned upon in any context with some forms of singing being a rare exception.

Bibliography:

Bakan, Michael B. World Music: Traditions and Transformations. Boston, MA: McGraw Hill, 2012. Print.

One definition of music is “organized sound that is meaningful to people within a specific time and place” (lecture 2). The big takeaway here is that the organization of sound and silences can be called music. What is really important is the meaning behind the sounds being produced. As Bakan mentions, “One person’s music may be another person’s noise, prayer recitation, or even silence” (Bakan, 3).

Towards the beginning of class one of the main concepts that the textbook  discussed is what can and cannot be considered music. Michael Bakan lists out five major propositions that are used to describe music.

1. The basic property of all music is sound

Tone is used to distinguish musical sounds from one another. Bakan defines tone as “a sound whose principal identity is a musical identity, as defined by people (though not necessarily all people) who make or experience that sound” (textbook page 3). There are four basic physical properties that every tone possesses. The first property is duration which is the length of the sounds. Second is the frequency, also known as the pitch of the sound being heard. Each musical piece will have its own unique range of pitches. The third property is amplitude and this describes how loud the sounds are in the musical composition. Finally, there is timbre, or the quality of sound / tone color. Timber is used as a way to use sensory representation such as smell and sight in order to describe the sounds being created. 

Musical environment surrounding the tone provides the composition with musical meaning. Relationships with other tones are the building blocks of music that lead to the formation of melodies, chords, rhythms, and textures. 

In addition, cultural meaning can be attached to the tone through symbolic associations that are attached to it by people. An example used by Bakan is that one tone can be used for both a religious ritual and for a commercial jingle. How people perceive and interpret the music and the tone is just as important and the physical sounds that are produced. 

In relation to the question of what can be called music, Bakan discusses how notes that are played on the piano have the potential to be music just as much as slamming shutter doors, pig squeals, water rushing in a stream, or anything else does. He believes that theoretically anything can be considered music, but people will put limits on what sounds they will and will not categorize as music.

2. The sounds and silences that comprise a musical work are organized in some way

A unifying difference between random sounds and musical sounds is that musical sounds contain a type of organized framework while random sounds may or may not. Another important note to keep in mind is that just because a piece of combined sounds may seem unorganized to some people, this does not automatically mean that it can be disregarded as music. Different cultures organize their music in unique ways, so what may be aesthetically pleasing in one region of the world may sound like complete randomness somewhere else. Some musicians may also strive to create compositions that defy previous organizational methods to create a new style of music. This can make it difficult to form a clear-cut line dividing what is and is not considered to be an organized musical piece.

3. Sounds are organized into music by people (“humanly organized sound”)

Music is sometimes described as a “human phenomenon” which brings light to the fact that humans are the ones organizing the sound into specific patterns and rhythms. It is also said that some forms of communication between animals, such as with dolphins and whales, contain music-like qualities relating to the organization of sounds. Animals may also be able to conceptualize sounds similarly to how humans conceptualize music. 

Currently, it is widely agreed upon that music is a human invention that is defined by the concept of humans creating sound. Whether humans are the ones making the music or are assigning sounds made by other organisms into the category of music, it is still human intention and organization that determines this. Again, this returns us back to the earlier idea that all sounds have the potential to be music. What people make of the sounds is the main criterion.

4. Music is a product of human intention or interpretation

When people create sound, it is made with the intention of it being heard as music. Also, when people perceive sounds and silences put together as music, this means that it can be called music as well. Bakan calls this approach to defining music the HIP (human intention and perception approach). There are two parts to this approach: one, “privileges inclusiveness over exclusiveness” and two, “emphasizes the idea that music is inseparable from the people who make and experience it” (Bakan, 5). Both John Cage’s 4’33’’ composition and Islamic call to prayer (each of these musical compositions / rituals are discussed at some point in this blog) can be considered a form of music according to this parameter.

Bakan continues on by giving an example that involves a father and a son. The son listens to thrash metal recordings, but the father thinks that it is just sound rather than music. Bakan argues that the musicians created it with the intention of it being heard as a form of music, and the son thinks of the sounds as music. For both of these reasons, it meets the criteria for something that can be classified as music. It is interesting to take note that to the father this is not considered to be music, leading to a continual debate about what can and cannot be classified as music.

5. The term music is inescapably tied to western culture and its assumptions

Many people in the world do not even have a word that translates into “music” and even if there is such a word, it does not necessarily hold the same meaning as it does in Western culture. Although there are many cultures around the world that put together sounds and silences, they may not categorize it as music. This leads to a very ethnocentric view when it comes to music around the world. There are a couple of things that could be done to confront this dilemma: 

1. avoid dealing with trying to classify what is and is not considered to be music

2. impose Western musical concepts onto groups that have none

3. integrate both indigenous terms and western perceptions of musics

Bibliography:

Bakan, Michael B. World Music: Traditions and Transformations. Boston, MA: McGraw Hill, 2012. Print.

When searching up “what is music?” I came across a book review article written by Bennett Reimer that discusses what music is. There are many different opinions of what music is and when sounds make up music and when they are just considered to be random. 

The book being reviewed classifies music into four basic categories that have been around since ancient Greece: “formalist”, “expressive”, “metaphysical”, and ethical”. Formalist interest focuses on how the structure and the quality of the sound are meaningful. Expressive interest looks into how the music engages people at the level of subjectivity. Metaphysical interest focuses on the nature of being and how music has a spiritual aspect to it. Finally, ethical interest deals with the societal activity associated with music. Each of these four aspects of music help provide meaning and allow the audience to connect with the music being performed. 

It does not matter whether or not what is being performed is in the same language or is culturally similar to the audience watching, music is universal. An example of this is American pop music. Although it is in English and originated in the United States, it has become popular world wide. This shows that even if there is a language barrier, people will still appreciate the tunes and music that accompanies the words. There is a deeper meaning to music that anyone can feel and understand and it is something that people identify with and enjoy. Also, music doesn’t have to involve words. The instruments alone can be used to create meaning.

Music is created through the silences and sounds that are intentionally made by people to capture an audience and/or to freely express themselves. People have intentions and ideas that they are trying to get across to their audience through their music. It takes time and intention to create a piece of music or to develop the skills to do it on the spot (improvisation). Sometimes music is described as a conversation and the instruments sound as if they are able to speak. An example of this can be found in Africa where talking drums are used to communicate. The sounds produced by the drums mirror the sound of words.

Bibliography:

While looking for more information on Stomp and its history, I came across a website with a historical timeline describing all of the major events that have happened since the formation of the group. The exact and complete timeline can be found at http://www.stomponline.com/history.html.

1991: Luke Cresswell and Steve McNicholas form the group known as STOMP in Brighton, UK. The first show takes place at the Edinburg Fringe Festival. 1991-1994: Soon after, STOMP begins to travel around the world and play for international audiences. In 1994 the group received two Oliver Award nominations and won the award for Best Choreography. 1994: In addition to opening at the Orpheum Theater in New York City, the group also wins OBIE and Drama Desk Awards 1995: STOMP begins its American tour and is featured on a Quincy Jones recording. 1996: STOMP performs at the Academy Awards and performs at the Acropolis in Athens. 1997: The 45-minute television special that HBO created called STOMP OUT LOUD received four Emmy Award nominations. Below is the documentary mentioned.

2000: STOMP performs on the steps of the Memorial at President Clinton’s Millennium celebration 2002: An IMAX film of STOMP premieres 2004: STOMP celebrates 10th anniversary at the Orpheum 2006: STOMP New York marks its 5,000th performance 2007: STOMP OUT LOUD opens in Las Vegas with a cast that is double the size of the original, and is able to perform in a specially designed theater 2009: A two-year run begins at the Marines Memorial Theater for STOMP (in San Francisco) 2011: STOMP celebrates 20th anniversary in London 2012: STOMP performs in the 2012 London Olympics closing ceremony

Bibliography:

"STOMP - Out Loud - FULL 45min Footage." YouTube. N.p., n.d. Web. 12 Mar. 2016. <https://youtu.be/fN5T8y8bCJ4>.

I think that it is hard to fully understand and appreciate Stomp until you have seen the group in action. That is why below I have provided four examples of what their performances look like and how they use their different props to create music.

The significance and purpose of all of the pieces is to show that music can be created out of anything. They want to prove that everyday items can be used to create music and that a story can be told with no words. By using items such as pipes, pots, pans, newspapers, etc. they prove their first point. Since they do not speak through the entire performance, but instead use music and body language to tell a story, they prove their second point. Both of these goals that Stomp wishes to portray to their audience can be seen throughout their performances. The high energy and passion put into their shows also show how dedicated they are to their music and what they are doing.

Soundscape example 1: Brooms

Setting:

This performance is taking place on a stage that has been decorated so that it looks like the streets. There are big blue barrels and rusted metal panels in the background of the stage. There are also buckets laying around and posters and signs on the walls. Doing this helps to convey Stomp’s origins of being based off of a street band that the two producers were once in. The other purpose of having a setting like this is to reinforce the idea that music can be made from anything by anyone anywhere.

The piece begins with one  man onstage performing with a broom. He is dressed in a black tank top and some battered looking jeans. Later a couple of other people join him on stage and they all create sound using the brooms together. By the middle of the piece there are two women and six men on the stage all playing together. There is also a lot of movement and jumping around throughout the performance to add character to the piece.

Sound:

There are three main sounds that can be created by the brooms: a sweeping sound, a wooden tapping sound, and a soft bristly tapping sound. The sweeping sound is created by pushing the bristles across the floor in a sweeping motion. The wooden tapping sound can be created by tapping the side of the base of the wooden broom against the floor. Finally, by banging the bristles of the broom against the ground, a softer bristly tapping sound is created. The combination of all of these sounds can be put together into a composition.

In addition to the sound made by the brooms, the actor(s) are also using their feet as a precessional sound. They use both their toes and heels to create noise. Some of the actors also create random sounds with their voice, that aren’t words.

Throughout most of the performance each of the actors plays their own rhythm on the broom, and when all of these rhythms are layered on top of one another, a polyphonic texture is created. Sometimes there are pauses in the performance and all of the actors stopped playing for a moment. Then, they would all make the same noise with the broom and finally they would all start to play their own unique rhythms again. There are also times where all of the actors play in unison to form a monophonic texture.

Soundscape example 2: Dishwashers Are Crazy

Setting:

The set up of the stage is the same as the one I described in the “Brooms” performance. In the beginning, there is one man on stage who lays out three metal buckets and a metal ladle. Then, he begins to bang on the buckets with the ladle one at a time. He bangs both the outside and the inside of the buckets with round end of the ladle. 

Then, the other male performers join him on stage each with an assortment of dishwashing items that they use to make music. One looks as though he is banging on a metal sink that is held up on a strap that wraps around his neck. All of the people who walked on the stage were also wearing bright yellow gloves that are sometimes used when washing dishes. While one of the actors was sliding his fingers along the metal surface (to create the squeaky sound mentioned below) he opened his mouth as the sound was produced to pretend that it was him who was making the sound. This added a comedic effect to the performance. 

There were also cups and sticks inside of the metal sinks. At one point in the performance, some of the actors removed the metal cups and started to bang on them with the wooden sticks. There were all different size cups and also a few pots were thrown into the mix. While using the cups and pots, water often splashed out of the metal sinks. At some points, when the cups and pans were hit with a wooden stick, water would go flying into the air. There is also a point where the performers begin to splash water on one another to add another layer of comedic affect to the performance. Towards the end of the performance, the actors released the drain in the bottom of their sinks and let the water drain out into the buckets that were placed out on stage earlier by one of the other actors.

Sound:

At the beginning of the performance the audience is laughing. When the actor hits the metal buckets with the ladle, a higher pitched metallic sound is produced. There is also a type of call and response between the sound made on the bucket and the audience. The actor would hit the metal bucket in a specific patter and the audience would respond by clapping back with the same rhythm. 

Once this sort of call and response was concluded, an ensemble of precessional sounds can be heard in the background (off stage). One of the performers is banging his hands against the sides of a metal sink that is filled with water. This creates a low pitched metallic sound. Another performer is sliding his fingers along the metal surface creating a deep squeaky sort of a sound. The larger metal sink created a much lower pitched sound than the other sinks that were smaller.

Filling the metal cups with water and bagging on them created a lower pitched metallic sound. As the performers emptied out the water in the cups (while continuing to bang on them with the wooden sticks) the pitch started to increase. Using the water to splash around was another sound added into the piece.

Soundscape example 3: Newspapers

Setting:

Again, the background setting is the same as the last two performances I have already talked about (“Brooms” and “Dishwashers are Crazy”). In addition to the scene mentioned before there is also a chair and a wooden box on stage. This piece begins with one of the male actors walking onto the stage with a newspaper. He then sits down in the chair and begins to work on a puzzle in the newspaper (maybe the crossword puzzle). Next, he makes some noise with a pen that he moves up and down between his teeth in his open mouth. 

After this, another performer comes onto the stage with a trash can, which he puts down to sit on. This man also has a newspaper. The first guy looks at him with the expression “Why are you sitting right next to me? There is plenty of space over there.” Of course, there are no actual words being said.

Then, a third man comes out and sits on a small wooden box and begins reading his newspaper. The fourth man to sit down uses the newspaper like you would a metal sheet for tanning out in the sun.  There are three main ways to use the newspaper when it is open: clap the two ends together (like you would clap your hands together), go from a closed to open position, and put the newspaper down on your knee and then hit your hand against where it rests upon your knee. The first actor who came out then tries to shush the guy who is making sound with his coughing, wheezing, and newspaper. Then he makes fun of the man through a gesture with his hands and face, adding a comedic sense to the piece.

After this, two of the female actors come on stage. At this point, all of them start to make music with the newspapers in unison. One of the actors starts to nudge one of the female actors sitting on the floor in front of him. Once she gives him a stern look he stops. Next, a piece of hair is in his face and he tries to eat it and while doing this, he almost bites one of the other performers. This again showcases the comedic aspect of Stomp.

Towards the middle/end of the performance one of the actors rips his newspaper in half. He makes it look like it is a struggle for him to do so and then once he completes the task he flexes his muscles. This causes the audience to laugh. After that, he pretends that the two halves of the newspaper are alligator teeth and then a bird. Throughout the whole time, he is hysterically laughing. Then, once that newspaper was destroyed, he gleefully pulls another one out of his back pocket. At this point he pretends to sing into it as if it is a microphone.

Next, he pretends that the rolled up newspaper is an inhaler when he runs out of breath after belting out a long screeching sound. The inhaler then turns into a snorkel and the actor pretends to be swimming. Then, another newspaper is used as a cape and he stretches out in a superman pose on top of a bucket to make it look like he is flying.

The first actor who walked onstage finally stands up in furry, slams down his newspaper and shushes the other performers. At this point, the other actors sort of calm down and go back to reading their own newspapers. Then, when the first actor makes the noise with the pen against his teeth, as he did at the beginning of the performance all of the other performers shush him.

Sound: One of the first sounds heard in this piece is when the newspaper is slammed down onto the wooden box. It creates a light crinkly sound. Then, the next sound heard is when one of the actors takes a pen and wiggles it up and down in his open mouth hitting it against his teeth. When he does this, some of the people in the audience laugh. Then, he makes a chocking sound from almost chocking on the pen.

The second man who comes out slams a metal trash can on the ground before sitting on it. After that, the third man to come out is wheezing an coughing as he too sits down. Then he begins to open and close his newspaper in a rhythmic pattern that is layered on top of they rhythm created through his wheezing and coughing. 

All of the performers, except for the one who first came onto the stage begin to join in on making music with their newspapers. They all play their own unique rhythm and these rhythms are layered on top of one another creating a polyphonic texture. Another noise that can be heard is the actors making random noises that aren’t words. These moans, laughs, and random sounds help create a mood for the performance. It also helps them add a bit of their own character to the piece. A prime example of this is when one of the actors pretends to be singing into a rolled up newspaper as if it was a microphone. What he was yelling wasn’t actually words, but rather something that sounded closer to monkeys screeching. 

By rolling up a newspaper and banging it on the wooden box in the center of the stage, another layer of sound can be created that is slightly different from all the others. The newspapers are used like drumsticks against the wooden box. This creates a dull flat wooden sound. In addition to using the newspapers as drumsticks, some of the performers use their hand to hit the wooden box. This creates a sound that is much closer to that of a drum.

Soundscape example 4: Just Clap Your Hands

Setting:

Initially, the stage is dark and all that can be seen is black. As the lights start to come on, the stage that has been mentioned in “Brooms” can be seen. Then, one of the male actors begins to move across the stage while stomping his feet and clapping his hands.

Since the actors are only using their bodies to make the music, this is one of the more physical songs that takes a lot of stamina. It also allows them to really express themselves through their actions and rhythms that they create. You can see that at the end of the first actor’s solo, he is panting a little from the amount of energy it takes to perform this piece. There is also a lot more flexibility for the actors to express themselves through a dance that can be added in. Each of the actors takes his or her turn soloing for a little while allowing them to express themselves. 

About four minutes into the piece a couple other male actors enter the stage and start clapping and stomping as well. Then, four more actors join them on the stage and also begin to stomp and clap. After that, one of the actors comes on stage with a broom and pretends to look completely out of place. When he realizes that the other’s aren’t using brooms he puts the broom away off stage and returns to clap along with the others.

Around seven minutes into the show, one of the actors pulls out a bucket and starts duping sand onto the stage. He places sand in front of all of the actors except one who then pulls sand out of his pockets and places it on the floor in front of himself.

The piece ends as it began. One male actor, the same one who started, on stage in the spotlight with a pitch black background behind him clapping his hands and stomping his feet. Then, at the very end the stage goes pitch black entirely.

Sound:

There is a combination of hand clapping and feet stomping heard at the start of this performance. There are three main ways the actors clap their hands together to make sound: flat palm to flat palm (which creates a lower pitched sound), fingers to palm (which creates a higher pitched sound), and cupped palm to cupped palm which creates a deeper bubble-like sound. In addition to clapping their hands against their body to produce sound, they also create many sounds with their feet. One sound is made by stomping their feet on the ground, while another is made by sliding their feet across the ground. Snapping is another layer of sound that is added into this performance. 

When the sound is created by only one actor, they are able to either synchronize their clapping and stomping or create two separate rhythms. There are also an infinite number of rhythmic patterns that can be performed and this allows for a large amount of variation and uniqueness. 

Part of this piece also involves a call and response with the audience. The actor would clap a rhythm and the audience would repeat it back to him. At first, it sounds as if the audience is not quite sure whether or not to copy the actor’s rhythm and respond, but the second time he tries, they all join in. 

In the group, each member seems to have their own rhythm that they are clapping, but at times they all unify with one another by stomping in unison together.

When the group places sand on the floor this adds another layer of texture to their sound. Sliding and stomping their feet on the sand creates a rougher sounding timber than the smooth floor that they were previously stomping on.

At the end of the performance, the single actor left on the stage slows down the beat for both his clapping and stomping (one at a time). Then, he rubs his hands together at the end and continues to slow down until you can’t hear any sound anymore. This signals the end of the song.

Bibliography:

"Stomp Live - Part 1 - Brooms." YouTube. N.p., n.d. Web. 12 Mar. 2016. <https://youtu.be/tZ7aYQtIldg>.

"Stomp Live - Part 3 - Just Clap Your Hands." YouTube. N.p., n.d. Web. 12 Mar. 2016. <https://youtu.be/l0XdDKwFe3k>.

"Stomp Live - Part 5 - Dishwashers Are Crazy." YouTube. N.p., n.d. Web. 12 Mar. 2016. <https://youtu.be/EULpbJQLzSg>.

The percussion group known as Stomp was created in the summer of 1991 by Luke Cresswell and Steve McNicholas. Cresswell and McNicholas met and first worked together when they were in a band called Pookiesnackenburger. In this band, Cresswell was a percussionist who was toying around with the idea of a group that was Stomp-like long before it became a reality. As part of their street performances, Cresswell would take everyday objects around him, such as a chair or a waste bin, and use it as an instrument. After realizing that their audiences enjoyed this new percussion style of music, the other group members also began to play percussion pieces on random items found on the street. What was once a small street band soon turned into an international phenomenon. The Stomp group originated in Brighton, Uk and is now an international sensation and travels around the world to perform.

When the group first performed, it had seven members in it, but by Autumn of ’91 the group gained an eighth member. From 1991 to 1994 this original cast traveled around the world to play for all different audiences. Then, in the summer of 1994, an American cast began to perform in the Orpheum theater in New York.

In one interview, McNicholas mentions that their inspiration came from groups such as the Japanese Kodo drumming group. He said, “Seeing them made us realize that it was possible to hold an audience’s attention for an entire show using predominantly drums and percussion” (http://stomplondon.com/interview/interview-with-steve-mcnicholas/). Another source of inspiration that he mentions is Moving Picture Mime which is a company that creates theatrics with no words and few props. He notes that this group was one of the reasons why they were inspired to not speak during the Stomp performances.

Since there is no dialogue used in the show, the comedy is universally understood through the gestures and music created by the performers. This lack of dialogue also ensured that there were no cultural references that one nation would understand, but another wouldn’t. Since new routines and new performers are introduced to the show from time to time, it remains fresh and interesting for audiences around the world to view and enjoy.

McNicholas also mentions in the interview that, “It’s the show’s essential contradiction; it is a show about rhythm but not about settling into a groove!” (http://stomplondon.com/interview/interview-with-steve-mcnicholas/). By not settling into a groove, the show remains entertaining and unique from other performances. 

While reading through this article one of the questions rattling around my head was, how does the group turn random props into instruments that make music? McNicholas says that this is accomplished through trial and error. Also, if someone sees a prop that they believe will make a good instrument, they will grab it and try to turn it into an instrument. In addition to creatively turning junk into instruments, this process also shows that junk can be reused and repurposed into something useful. Another important aspect about the group, according to McNicholas is, “invention and discovery, exploration of the sounds we all make everyday and creating something new out of them. Invention, exploration and discovery are timeless, and hopefully our show sows some seeds in the minds of young audiences; take something you do every day, see everyday and turn it into something new, something inspiring” (http://stomplondon.com/interview/interview-with-steve-mcnicholas/).

Bibliography:

"Interview with Steve McNicholas | Stomp London." Stomp London. N.p., 29 Oct. 2015. Web. 12 Mar. 2016. <http://stomplondon.com/interview/interview-with-steve-mcnicholas/>.

When I was originally presented with this project of researching a musical topic of interest, I decided to focus on a unique percussion group known as Stomp. I quickly discovered, however that there aren’t any scholarly articles or books written about Stomp. All I was able to find on the group were news interviews and some websites about its history and origin.