MUSICAL WRITING / LIVING MATERIALS
Skin, breath, signal.
Electronics extend a gesture: a resonating strike, a voice that insists, a silence that shifts the phrase.
Starting with a body.
Rooted in percussion and singing, Hatem Béjar composes with Postune from a physical experience of sound. A skin gives an attack, breath gives duration, a voice makes a presence audible. Electronics can extend, displace or challenge these gestures.
Mediterranean influences, voice and hand percussion meet contemporary electronic writing. These are starting points for exploring timbres and relationships without confining every piece to a single label.
Rhythm tells a story as much as words do.
In Undanced, a triple-time rhythm moves with murmured choirs. Dance and loss meet: movement does not make absence disappear.
Cry of Peace brings skins and fractured voices into tension. Unnamed, by contrast, begins with a lullaby around the word mother, carried by several languages. The choice of sonic materials follows what each work seeks to make us feel.
A choir can let someone enter.
One voice and many voices do not occupy the same place in listening. A choir can become company, memory or distance. Its density, register and surrounding silence change that presence.
The site’s sound atelier offers a small way to explore this: compare unison, open and low voices, then choose the strikes that accompany them. These are exploratory materials, not the separate stems of Postune’s recordings.
Shift a note, shift a sensation.
A half-flat lowers a note by a quarter tone. In the atelier, the trumpet offers an E half-flat, between E flat and E. This inflection offers another colour to listen to without claiming to represent an entire musical system or tradition.
Play a bendir, cajón or bongo strike. Bring in the choir. Let the trumpet answer, then remove a sound. Listen to how a relationship changes, and how silence takes part in composition.
Enter the dialogue
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