Cover: South Winds (2002) live at VOLT-AA, a series of events curated by Eric Mattson. Photo by Eric Mattson.
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Christof Migone – Sound Voice Perform documents the performance, sound, and video works of the Canadian artist. Working since the mid-80s, Migone weaves together a multitude of media, from radio to telephones to digital objects, to form a stunning and highly dynamic practice. Combining an acute sonic sensibility with performative usages of the body, video, and the voice, his work engages corporeal presence with a subtle invasion, unsettling speech and gesture through investigative and theoretical poetics. Including documentation of works and a full length CD of audio works compiled from over the last 15 years including previously unreleased material. With essays by Allen S. Weiss and Brandon LaBelle, an interview with the artist by Martin Spinelli, Christof Migone – Sound Voice Perform is the first monograph on this unique artist. Christof Migone – Sound Voice Perform forms the second volume of Critical Ear, a series of monographs on artists working with sound through performative, spatial, and musical means.
TABLE OF CONTENTS Introduction Brandon LaBelle & Achim Wollscheid 7 Word of Mouth: Christof Migone’s little manias Brandon LaBelle 9 Fourteen and a Half Words to Bespeak the Migone Allen S. Weiss 27 Works 33 Image Notes 49 under the analphabête series Christof Migone 55 Sound Holes: Interview with Christof Migone Martin Spinelli 61 Biography 70 CD Notes 73
CD LINER NOTES 1 Sexualized 1990 / 00:10 Caller 1: Hi, I would describe myself as highly sexualized, perverted,
computerized, audiophonic, loud and obnoxious… basically very human.
Caller 2: I would describe myself as subterranean, obscure, black, poetic,
infrequent, defossilized, primary, unfulfilled, desiring, funny, frantic,
myopic, skinless, untouchable, paralogic, incompetent, silent, freaked
out, unfamiliar, dry, speckless, insincere, crazy, wanton, lustful, and
completely selfless.
Excerpt from Describe Yourself (1990), live radio piece as part of the weekly two-hour radio art program Danger in Paradise (CKUT-FM, Montréal 1987-1994). An attempt to define the radiophonic body by asking listeners to describe themselves. First released on Hole in the Head (track 26) (Québec: Avatar/Ohm éditions, 1996).
2 Evasion 2001 / 04:04 Holding out your tongue as far as you can for as long as you can.
First performed live at the l’instant du presbyte enculé festival in Montréal, early 2001. Live components of this recording come from this first performance. First released on the CD accompanying the book Writing Aloud: The Sonics of Language, edited by Brandon LaBelle and Christof Migone (Los Angeles: Errant Bodies Press, 2001).
3 SevenSixOne-FourEightFourOne 1994 / 07:01 ¿Quién es usted?… Hola?… How did you get my number?… Where are
you calling me from?… Ma, que parle per favore?… Unlocated number…
moshi moshi, domo… I don’t know why the hell you’re calling
for… ok, anything I can help you with?… I’m not interested in talking to
you right now, thank you… you’re calling for who?… si, pero… ¿quién es
usted?… well excuse me sir… hable… alo… Hallo… ¿que es el
número?… Canada is not United States of America… le numéro n’existe
pas… Wo wollen Sie denn hin? Nach… wuenschen? Wen wollen Sie?…
I know you’re not making sense… I don’t know what you want, I better
hang up… so, you can have this phone number over there… this phone
number over here is in the United States of America, it’s not in
Canada… Kein Anschluss unter dieser Nummer… no existe… don’t call
this number anymore!… who’s calling… Sir, right now I’m entretaining
people, is that the number you want to talk to?… Wer, wer, wer ist da?…
deme su nombre…what number you want, what, what did you want that
number for?… Ja wuenschen?… you what?… okyakusama ga okakeni
natta bangou ha genzai tsukawarete orimasen… No further information
is available about…
For this piece I called everybody in the world with my telephone number (but different area/country codes). Sometimes the number was not activated, sometimes the person answering and I had no language in common, sometimes they became upset and hung up once I told them the reason for my call. The other sounds come from the recreation of a 1992 radio piece entitled Running away with me: conversations with the neither here nor there. Instrumentation: one voice, two legs, many breaths, some distance. The piece consists of having a conversation with myself where, between each sentence, I have to run between two different rooms. A mic and recorder are setup in each room. In this piece the conversation is edited out. First released on compilation Rappel, curated by Christof Migone (Québec: Avatar/Ohm éditions, 1996). Rappel was a project organized by Avatar, the pieces were first exhibited on an answering machine. Other participating artists: Algojo) (Algojo, Pierre-Andre Arcand, Doyon/Demers, Chantal Dumas, Kathy Kennedy, Daniel Leduc, Jean Routhier, Sylvia Wang and Gregory Whitehead. Edited 2004.
4 Excavation 1993 / 01:05
First released on Hole in the Head (track 27: Excavation 3) (Québec: Avatar/Ohm éditions, 1996). Edited 2004.
5 « I » 2003 / 08:41
Audio piece composed entirely of sounds produced by the eyes of Aleksandr P. Thibaudeau as manipulated by himself. The sounds from this recording session were then manipulated by myself. First released on compilation noli me legere… to Maurice Blanchot (Lisbon: sirr-ecords, 2004). The piece premiered June 3 & 4, 2003 at D!sturbances in Copenhagen, Denmark — a pitch black concert curated by Hans Christian Gimbel and Mylène Lauzon. Video stills from the recording session with Aleksandr P. Thibaudeau.
6 Crackers 2000 / 01:52 … ahhhh… ok and now in order to do my elbows I will have to make a
quick motion like this, so I’ll make sure I don’t bust into the mic but I
usually have to be standing to do it… so you keep it in one place… that’s
as close I can come there… now the jaw which is usually on this side…
it’s not one that a lot of people like to hear… now… neck, if you can put
the mic back in here, tell me when you’re ready… hold on, ok… I was
hoping for a better one than that… not much no… toes, of course…
alright so you’re going to have to be right on the floor for this… no, just
a second, I can do it here… ok, the other one, mine as well exhaust all
of the areas and then get to my back… ok… now when I do my back I
have to swing it as well… so stay in one place… the best sounds usually
come out of about right there…
Do you crack your fingers? your neck? your back? your knees? your elbows? your ankles? your hips? your jaws? your toes? your…? A joint is the locale where bones articulate a tension. Crackers are compulsive about the release of that tension. A crack is incontinent. A cracker too. As the sound of the cracks echo, some wince, others feel relief. A crack is a body nonsequitur, a bone edit, a broken break.
7 Crackers 2000 / 04:24
Crackers began in 1997 as residency project for Gallery 101 in Ottawa. Participants were solicited through the radio, classified ads in the weekly paper, and via the Gallery’s membership. The recording sessions consisted of an interview succeeded by a cracking session. Participants: Germaine Koh, Justine Akman, Marguerite Dehler, Tony Daye, Sarah Dobbin, Vera Greenwood, Louise Levergneux, Michael Sutton. First released on Crackers (track 4) (Chicago: Locust Music, 2001). Remastered 2004. First released on Crackers (excerpt from track 1) (Chicago: Locust Music, 2001). Remastered 2004.
8 Ni (ni vu, ni su, ni connu) 1999 / 04:19
This project paired an audio artist with a photographer. Taking the title of the project literally, the sound of images, I put digitized versions of Jack Burman’s photographs, sight unseen, into a sound program and played them. The converted files became the source for this piece. First released on the compilation Le son des images, curated by Chantal Dumas (Québec: Galerie Vu, 1999). Edited 2004.
9 it would smack of bodysnatching 2000 / 03:29
Instrumentation: microphones. Site: mouths.
First released on undo’s (Christof Migone and Alexandre St-Onge) CD, un sperme qui meurt de froid en agitant faiblement sa petite queue dans les draps d’un gamin (Montréal: squint fucker press, 2000). Title of the CD and all the track titles are taken from one page in Samuel Beckett’s The Unnamable.
10 l’étranglement 2000 / 03:23
Alexandre and I strangled each other softly with contact mics placed on each other’s throats while Eric observed the strangulation and measured his heartbeat and blood flow with an amplified medical device. The throats swallowed, the strangling arms shook and sweated. Duration of original performance: 23 minutes. Performance by undo with Eric Letourneau at Casa Del Popolo, Montréal, July 29 2000. Previously unreleased. Recorded live, mixed in 2004.
11 ID 1991 / 01:13 hey wait, how do you swallow your tongue?
Using material from phone-ins on the program Danger in Paradise (1987-1994) on CKUT-FM in Montréal. First released on Hole in the Head (track 2: Identification) (Québec: Avatar/Ohm éditions,
1996). Edited and remixed 2004.
12 Solar Plexus 1994 / 09:02
Solar Plexus is divided into boils, fires, fountains, suffocations, swallows, descents, and pain directives. The geography — Montréal, Geneva, Bay of Fundy, the Laurentians, and Innsbruck. Solar Plexus consists of microphone intrusions, bad singing, sporadic moaning, and half-hearted humming. Concentrating on the minute, the hereto insignificant, those tiny moments. Produced at PRIM Studios in Montréal, 1993-1994. First released on compilation Radius #3, curated by Dan Lander (Albuquerque: Nonsequitur Foundation, 1996). Edited and remixed 2003.
13 Quieting 2000 / 00:23
First released on Quieting (track 17) (Montréal: Alien8 Recordings, 2000).
14 Quieting 2000 / 00:23
In 1996 I recorded the cannon that is fired every day at noon from the Citadel in Halifax, Nova Scotia, all pieces on the CD are based on that recording or inspired by the shock of the shot. In my preparations for this project, I made several recordings from different positions in the city, but I was stuck on one in particular. In between the recording in 1996 and working on the CD in the Summer of 2000, I had periodically tried to use it, but I could never find the right form, everytime it was placed with or alongside something else, it would annihilate itself along with everything surrounding it. I finally realized that it should stand on its own. And so in thinking of how one could create that possibility in the listening experience, I just put that brief recording in the middle of the CD, preceded and followed by nothing, silence (the preceding track being an example), so as to further amplify the sound of the shot. And that point I felt I had found the right form, the CD got a bit more complex, but that is the basic premise. First released on Quieting (track 18) (Montréal: Alien8 Recordings, 2000).
15 Life is Long Xavier Leroi 2001 / 01:22 To be listened to while lying on your back, weight distributed onto your
shoulders with your hips in the air, legs over your head and knees resting
on the floor on either side of your ears, eyes gazing at your crotch.
(Suggested pose by Claude Wampler).
The piece is an excerpt from the soundtrack of Present Absence, a performance by Claude Wampler which premiered 21-25 May 2001 at the kaaistudios during the Kunsten Festival, Brussels, Belgium. An earlier version of this fartspeaker piece was first performed by myself for La Quinzaine de la Voix at Tangente, Montréal during O, a collaborative piece with Maryse Poulin and Bruce Gottlieb. In both instances the piece was diffused by holding a speaker in front of the ass, and having the speaker face the audience, hence the fartspeaker. It was titled Life is Long Xavier Leroi by Claude Wampler on the occasion of its release on the Syntax Error CD. First released on the Syntax Error CD for the Failure Issue of Cabinet magazine (Brooklyn: Immaterial Inc., 2002). Edited 2004.
16 Nalpas 2002 / 03:03
South Winds presents the results of a recording session I undertook with Le Petomane (Joseph Pujol 1857-1945). Le Petomane performed his fart fantasia at the Moulin Rouge in Paris where, to much acclaim, he would imitate musical instruments and with his ’second mouth’ hum recognizable tunes. For South Winds, Le Petomane and I sought to explore these somatic winds as a response to Artaud’s ontological formulation: “the depth of my being is the volume of my body.” Both Artaud and Pujol were brought up in Marseilles, city in the path of the infamous Mistral, a wind which “has the ill-natured habit of scattering roof tiles about, knocking down chimneys, blowing small children into canals, tumbling walls onto the unsuspecting natives.” South Winds has the same impetuous effect, it confirms that the body is a noisy place, that the body emits and transmits, and it cannot contain itself. South Winds is an essay on the flatulent and the incontinent. A live mix of this CD was performed (using in part the fartspeaker mentioned in track 15) for Volt-AA (6), Fall 2002 in Montréal. First released on South Winds (Track 5: excerpt) (Montréal: Oral, 2003).
17 Tickers 2002 / 02:22
A city’s identity contains an inherent tension between order and chaos. From the history of its physical expansion to its development of community standards and its conflictual relation to critical cultures (graffiti, street protests, performance art, etc.), the city is an organism which defies planning and prediction. The individual contains similar internal struggles. Both navigate nervously between the controllable and the uncontrollable. Tickers is part of an ongoing project consisting of portraits of cities through the bodies of its inhabitants. With Crackers (Ottawa, 1997) participants were recorded cracking their joints. With Poker (Montréal, 2001) the sonic properties of taciturn faces were explored. Tickers (Winnipeg, 2002) investigates the rhythmic possibilities of facial tics. These projects perform attempts (however tenuous) to constitute somatic communities; they result in sound and video portraits which oscillate between awkward intimacy and playful complicity. In Tickers participants were paired off and placed face to face, one person adopted a facial tic and the other had to come up with a aural translation of the tic. A participatory project for Send & Receive, Winnipeg, 2002. Participants: Brian Ferguson, Nicole Shimonek, Erica Lincoln, Patrick Harrop, Terri Fuglem, Jake Moore, Steve Bates, Mike Germain. Previously unreleased. Mix of the untreated sound files.
18 … as an idiot who utters thoughts with the grandiose tone
of a self-appointed genius 2003 / 01:27
First released on compilation …as…, curated by Benjamin Green (London, England: Resonance FM, 2003). Edited and remixed 2004.
19 je me te parle 1995 / 08:52
A voice speaks through another’s voice. of nothing in particular, everything and nothing. It is unscripted. The voice speaks to the headphones of the other voice. The public only hears the second voice. The second voice is instructed to say and repeat only what the first voice says, but of course that doesn’t always quite work, the ventriloquism is not perfect. The second voice reacts to what it hears at the same time as it repeats it. Sometimes it loses track of the words, sometimes it starts laughing, sometimes it doesn’t understand. First released on compilation Radio Folie Culture, curated by Jocelyn Robert (Québec: Avatar/Ohm éditions, 1996). Voice: Dorothée Morat.
20-46 Learning to Speak Well1991 / 5:07
20 Learning to – No.1 Neutral Voice / 00:07
22 Learning to – No.3 Falsetto / 00:10
24 Learning to – No.4 Creaky Voice / 00:08
26 Learning to – No.5 Whisper / 00:08
28 Learning to – No.6 Whispery Creak / 00:11
30 Learning to – No.7 Whispery Voice / 00:09
32 Learning to – No.8 Whispery Falsetto / 00:09
34 Learning to – No.10 Creaky Falsetto / 00:17
36 Learning to – No.11 Whispery Creaky Voice / 00:11
38 Learning to – No.12 Whispery Creaky Falsetto / 00:13
40 Learning to – No.13 Breathy Voice / 00:09
42 Learning to – No.14 Harsh Whispery Voice / 00:09
44 Learning to – No.15 Tense Voice / 00:07
46 Learning to – No.16 Lax Voice / 00:08
… No.9676 Wounded Raised Larynx Lax Vitriolic Falsetto
… and finally No.126,789 Creaky, Breathy, Radiated, Harsh, Tense,
Electrocuted, Fondled, Neutral, Contorted, Raised Larynx, Throated,
Vexed, Whispery, Transpired, Articulated and Vehiculated, Incontinent,
Vagabonded, Phantomized and Phased, Jaundiced, Relayed, Post-determined
and Post-digital, Deregulated, Mellifluent, Erased, Manipulated,
Fast forwarded, Battery operated, Synoptic and Phatic and Tonsilitic,
Glottal and Colossal, Salivaphile and Expectorant, Lecherous, Licentious,
Projected, Reverberated, Remote controlled, Vivisected, Transistorized,
Modulated, Masticated, Animated, Assiduous, Analphabête Voice.
The Learning to Speak Well series was part of Horror Radia Vacui: phatic drones and microphobia techniques, the second annual report from the Center for Radio-telecommunication Contortions (CRTC). This performance text travels from the drone produced by the pearl divers of the Persian Gulf to the hems and haws of the radiophonic body. From the horror of the void to the deadness of the air. The performance gropes at radio’s invisible articulations and at the viscosity of its language. The CRTC was a phantom mirror organization to the actual governmental regulatory body, the Canadian Radio-television and Telecommunications Commission (CRTC). Live recording from a performance during the Radio Possibilities festival, March 13-14, 1991 at the Forest City Gallery and simultaneously live on-air at CHRW-FM in London, Ontario. Previously unreleased. This piece also includes in-betweens originating from the following three sources:
The Death of Analogies / 1996
21 Knobby Tongues / 00:11
23 Wrapped Up / 00:13
25 Mal aux Dents (excerpt) / 00:05
27 Visit to Whistler / 00:26
31 Survey of Comfort / 00:14
33 Architecture Hum 2 / 00:07
41 Slap Me / 00:24
43 Architecture Hum 3 / 00:07
The Death of Analogies is a piece for short attention spans. On the radio, the ninety-six sections of The Death of Analogies are analogous to those in-betweens, those intersections or incisions between longer pieces (usually music) and the host talking. Normally, these intrusions consist of ads, station identifications, promotional announcements, and “stingers”; all are instrumental in shaping a radio station’s “sound”. These are the bursts and blips of an imaginary radio station. First released on The Death of Analogies (Austin, Texas: ND, 1996).
Joints for Novarina / 2000
29 Nova a / 00:08
35 Nova b / 00:11
37 Nova c / 00:13
39 Nova d / 00:09
These are part of the in-betweens for the play Theater of the Ears, a play for recorded voice and electronic marionette by Allen S. Weiss based on the writings of Valère Novarina. These audio miniatures, operate as sonic joints, as compact fragments, as ear-betweens. They are all of Novarina’s characters passing through, emitting a cry, a whimper, a silence and then scurrying past. Previously unreleased.
Metal God / 1992-2000
45 Toupille 00:23
Excerpt from Metal God, a CD-ROM based on a text by Beth Greenspan. Metal God was originally a performance created by Tammy Forsythe and Christof Migone and presented at Espace Tangente in Montréal in 1992. The CD-ROM was completed in 2000. First released on Metal God (Montréal: self-published, 2000).
47 happy land 2003 / 02:18
First released on Escape Songs, CD with Veda Hille (Montréal: squint fucker press, 2004).
48 Lone 1993 / 00:19 Well, why did they hang up? I have no one to talk to…
Ay aya ay, it’s lonely out here in the middle of nowhere…
Oh! We’ve got a friend…
Hello, I heard you were all alone, so I thought I should call
and say something
I was all alone in radio land, it should never happen
Well actually you are never really all alone in radio land, ya know
I felt all alone, no one was here to save me
Gridpubliclock utilizes a radio station, an audience and telephones as instruments. The host welcomes the audience from the studio and then leaves. The host calls from every public phone he comes across and asks the audience to tell him where to go next or invites them to carry out the same process of ambulation and calling in. A silent operator at the radio station fields the calls coming in and puts them on the air without screening them beforehand. The host is no longer the central voice ’managing’ the calls. A couple of versions of Gridpubliclock were performed on CKUT-FM (Montréal) in 1993 before it acquired this name. It was performed as Gridpubliclock (with Ed Baxter as participant) in 1998 for Resonance FM in London, England. First released on Hole in the Head (track 26: Danger 2) (Québec: Avatar/Ohm éditions, 1996). Edited 2004.
49 Sans titres 1993 / 00:35
First released as five different miniatures (Sa, ns, ti, tr, es) on compilation Ding Dong Deluxe CD, curated by Jocelyn Robert (Québec: Avatar/Ohm éditions, 1994). Edited and remixed 2004.<
50 Bore 1993 / 00:19 Hello
There’s lots to say that hasn’t already been said
That’s true. It’s becoming kind of empty
Strange. It feels like I’ve had this conversation before
It’s just you and me
Are you still you?
No. I think I’ve changed
Grown within the past minutes have you?
No. I haven’t progressed or regressed, just changed
You bore me
Sometimes I bore myself too. Goodnight.
Half of a telephone conversation live on Danger in Paradise (Montréal: CKUT-FM 1987 – 1994). First released on Hole in the Head (Track 29: Confession You, Call 2) (Québec: Avatar/Ohm éditions, 1996).
REVIEWS
• Artforum (December 2005, p. 77) in Best of 2005, review by Christoph Cox.
A splendid survey of audio work by this Canadian artist. In the spirit of Antonin Artaud, Dada, Fluxus, and sound poetry, Migone playfully and insightfully explores the sonics of bodily orifices and surfaces.
• Musicworks (Fall 2005 #93), review by Deanna Radford.
This combination of commentary, artist interview, and catalogue appropriately collects acclamation for the work of audio and performance artist Christof Migone, dating back to the 1980s. Sound Voice Perform chronicles this important Canadian artist, whose works is always provocative, alive, physical, and occasionally grotesque. The pieces writing Sound Voice Perform, written by Migone and Brandon LaBelle, Martin Spinelli, and Allen S. Weiss, artfully paint the impetus emerging from Migone’s body of work. Some of Migone’s artistic experiments have involved the collection of saliva, the ongoing protrusion of this tongue, and the cracking sounds of warm human bodies. It pretty well goes without saying that the physicality of Migone’s work can make observers uncomfortable. At the same time, Migone is intent of making the level of access to this art—and to the means of sonic production in general—transparent and immediate. Migone’s long tenure at CKUT campus and community radio must contribute to this perspective. Migone’s artwork is truly playful and critical. In an interview with Spinelli, Migone explains his passion for what he calls “the act of transmission itself”: “Alongside playing around with different relationships with the listener I would also play with the equipment circuitry, I would place my hands on the microphone, touch it, scratch it, play with it and the mic-stand… so that people heard spatially and materially the room that I was in. All of these kinds of situations to make apparent and obvious the mechanism, the machinery, the technology that is being used.” In a beautifully written contribution to the compendium S:ON: Sound in Contemporary Art (edited by Nicole Gingras, Editions Artexte), Migone writes: “… sound epitomizes leakage, sound confirms the porosity of space… Every space… has its own soundtrack, its room tone. Every space is sonorous, every space has a breath.” Yes, these things are intertwined and with this summation Migone adroitly spells out how the sounds he imagines in his mind become real. With this in mind, Migone’s practice as an artist becomes the ultimate praxis. With written, photographic, and audio documentation, Sound Voice Perform is an excellent package.
• Vital Weekly (No. 472 week 17), review by Frans de Waard.
The work of Christof Migone extends beyond ‘just’ audio and into the world of art, and art with a capital A. Many of his works are conceptual, such as a CD with the sound of farts or people cracking their fingers. Despite the fact that some of the CDs have text dealing with the concept behind it, this book ‘Sound Voice Perform’ is the compendium that explains, shows and lets you hear it all. First of all there is a CD with excerpts of the various previous releases by Migone. It was nice to hear such a selection from his works, but for me, well-acquainted with his work, it didn’t add that much new to what I knew already. Migone’s audio pieces work better when heard in their entirety I guess. The nice thing about the book are the texts and pictures. Especially Brandon Labelle’s text on the use of the body in the work of Migone is especially interesting and tells us a lot more on Migone. If ever you wondered what a conceptual composer and artist is all about, I’d recommend this book to study a good example.
• The Wire (June 2005 Issue 256), review by Will Montgomery.
Artist Christof Migone often works with the human body —making audio pieces from the sounds of eyes, the tongue, joints cracking. In an interview in this book, the second in Errant Bodies’ Critical Ear Series, and co-edited by Brandon LaBelle and Achim Wollscheid, he describes his in the body’s ‘mistakes — “saliva sounds, stuttering, mumbling” — glitches abstracted from the digital realm and made corporeal. This model applies across the range of his audio work, which tends to home in on what lies outside or in the way of communicative clarity. He foregrounds incidental matter, sonic by-products and supposedly inconsequential ‘cutting room floor’ audio. It’s a project that, in common with much avant garde artistic practice, wants to tip the balance from signal to noise. Nearly 50 examples of his audio work can be heard on the CD accompanying the book, which compiles material dating back to 1990. Radio is a strong component in Migone’s work — he ran a Montréal phone-in from 1987 to 1994. Some of the most suggestive material presented on the CD are ‘blink and you miss it’ radio miniatures. One of Migone’s projects was to produce little piece of audio punctuation, abstract ‘in-betweens’ of a similar duration to a radio station ident. Another strand of the work is conceptual. In one audio collage, for example, Migone rings his own telephone number but appends different international prefixes in order to stitch together a virtual community of people who definitely don’t want to speak to Christof Migone. Other of the pieces exhibit an ear for the small-scale sound — pops, rustles and clicks that aligns his work with the microsound universe. The book includes photographs of numerous performances, discographical and biographical information, as well as brief texts by Migone and performance theorist Allen S. Weiss. The longest contribution is an essay by co-editor Brandon LaBelle. Sadly, it’s not particular helpful, written in a shopworn, button-pushing theoretical idiom that doesn’t do justice to Migone’s work. With this package, the surprises lie in the audio.
