Laptop Performance in Electro Acoustic Music

  • View
    215

  • Download
    0

Embed Size (px)

Text of Laptop Performance in Electro Acoustic Music

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    1/98

    LaptopPerformanceinElectroacousticMusic:Thecurrentstateofplay

    MMus

    I.J.Algie

    2012

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    2/98

    2

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    3/98

    3

    LaptopPerformanceinElectroacousticMusic:

    Thecurrentstateofplay

    IanAlgie

    MMus(RegNo.090256507)

    DepartmentofMusic

    April2012

    Abstract

    Thisworkexploresboththetoolsandtechniquesemployedbyarangeof

    contemporaryelectroacousticcomposersintheliverealisationoftheir

    workthroughanumberofcasestudies.Italsodocumentsthedesignand

    continueddevelopmentofalaptopbasedcompositionandperformance

    instrumentforuseintheauthorsownliveperformancework.

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    4/98

    4

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    5/98

    5

    Contents

    TABLEOFFIGURES................................................................................................................6

    PART1WHOISDOINGWHATWITHWHAT?............................................................7

    INTRODUCTION.................. ................. .................. .................. .................. ................. .................. 8SCANNER...................................................................................................................................13 HELENAGOUGH........................................................................................................................15 LAWRENCECASSERLEY............................................................................................................19 PAULINEOLIVEROS..................................................................................................................22 SEBASTIANLEXER....................................................................................................................25 LEAFCUTTERJOHN...................................................................................................................28 ALEXMCLEAN..........................................................................................................................30 DANSTOWELL..........................................................................................................................34 SCOTTHEWITT.................. ................. .................. .................. .................. ................. ...............36

    JEFFKAISER..............................................................................................................................38 BRIANCRABTREE.....................................................................................................................41 GREGORYTAYLOR....................................................................................................................45 FOURTET.................................................................................................................................48 BEARDYMAN.............................................................................................................................50 CHRISTOPHERWILLITS...........................................................................................................53 HANSTAMMEN.........................................................................................................................55 CONCLUSIONS...........................................................................................................................57

    PART2THEINSTRUMENT............................................................................................59

    WHATAMITRYINGTOACHIEVE?...........................................................................................60

    WHY?........................................................................................................................................62 HOW?........................................................................................................................................64 INPRACTICE..............................................................................................................................67 PLASTICITY...............................................................................................................................70 LITTLEMACHINES....................................................................................................................74 NTWICM.................................................................................................................................77 MT02........................................................................................................................................80 HOLDTHATTHOUGHT............................................................................................................83 COOKINGWITHKIDS................. .................. .................. .................. ................. .................. ......84SETINSTONE............................................................................................................................87 CONCLUSION.............................................................................................................................89

    REFERENCES.........................................................................................................................92

    APPENDIX1PORTFOLIOSUBMISSIONANDPROGRAMMENOTES .......................................96 APPENDIX2DVDCONTENTS...............................................................................................98

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    6/98

    6

    TableofFigures

    Figure1Monome128.......... .......... .......... ........... .......... .......... ........... .......... ........... .......... .......... .......43

    Figure2PlasticityOverview........... .......... .......... ........... .......... .......... ........... .......... .......... ........... ...70

    Figure3PlasticityOSCtoLivebridge.... .......... ........... .......... .......... ........... .......... .......... ........... ...71

    Figure4PlasticityiPadUI..72

    Figure5LittleMachinesinterface......... ........... .......... .......... ........... .......... .......... ........... .......... .....75

    Figure6LittleMachinesiPhoneUI........... .......... .......... ........... .......... .......... ........... .......... .......... ..76

    Figure7NTWICMpatch.............. ........... .......... .......... ........... .......... .......... ........... .......... .......... .........79

    Figure8mt02patchinpresentationmode......... ........... .......... .......... ........... .......... .......... .........82Figure9HoldThatThoughtpatchinpresentationmode.......... .......... ........... .......... .......... ..83

    Figure10CookingWithKidspatch........... .......... .......... ........... .......... .......... ........... .......... .......... ..86

    Figure11SetinStonepatch................. .......... .......... ........... .......... .......... ........... .......... .......... .........88

    Figure12SetinStoneiPadUI..89

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    7/98

    7

    Part1Whoisdoingwhatwithwhat?

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    8/98

    8

    Introduction

    Artistshavelongbeeninterestedintheapplicationsofnewtechnologyand

    inonewayoranothercomputershavehadsomehandinthecomposition

    processsinceCageandHillersearlyexperimentswiththeIlliacsuite.

    Converselytechnologistshavelonghadaninterestinboththecreationof

    soundandthecaptureofsound.(Roads,C,1996)Morerecentlythough,the

    evolutionofthepersonalcomputer1hasmeantthatdevelopmentsinpower,

    performance,sizeandpricehaveconspiredtocreatetheperfectstormfor

    usingandabusingthistechnologyinaliveperformancecontext.Itis

    unlikelythatanycontemporarycomposersworkisnottouchedby

    technologyatsomepointinitslifecyclefromcreationthroughnotationand

    ontotherecordingorliverealisation.(Dubois,L,2007)Thefurther

    possibilitiesofferedbyactivelyengagingwiththecomputerasacreative

    partnerinthecompositionandperformanceprocessesarepotentially

    limitless.

    Thelaptophasnowbecomeaubiquitoustoolfortheperformanceof

    electroacousticmusicacrossawiderangeofstylesandgenres,fromthe

    relativelysimpletaskofbeingasoundsourceforaperformerviatheuseof

    softsynthsandsamplers,tobeingthesoletoolusedinamultimediaaudio

    visualrealtimeperformancesetandprettymucheverythinginbetween.

    1Whilstusingthetermcomputergenericallyhere,Ithinkinthisinstanceitmakessenseto

    includeperhapsthededicateddigitalsignalprocessing(DSP)chipsfoundinembeddedcomputersystemssuchasFXunits

  • 7/27/2019 Laptop Performance in Electro Acoustic Music

    9/98

    9

    Thefirstpartofthisdissertationtextexploressomeoftheartiststhatare

    currentlyexploitingdevelopmentsintechnologyinthecreationand

    performanceoftheirwork.Thelistisbynomeansmeanttobeexhaustive

    andisreallyanindicativeexplorationofwhatartistsaredoingandperhaps

    howandwhytheyaredoingitwithaparticularsetoftoolsinalive

    environment.

    Itwouldbefutiletoattempttolistallofthepossiblepermutationsof

    creativity,hardwareandsoftwareandallofthevariablestherein,butthis

    sectionaimstoexplorewhytheartistsdecidedtogoinaparticularcreative

    directionandhowandwhytheirchosentoolsetfacilitated,orsometimes

    eveninformedthismovement.Isthecreativeelementbeingdrivenbythe

    technologicalpossibilitiesoristhetechnologyservingthecreativityofthe