California State University Fullerton Composer-Performer ... fileCalifornia State University...
Transcript of California State University Fullerton Composer-Performer ... fileCalifornia State University...
California State University Fullerton Composer-Performer Symposium:
Models of Interactionin Works for Piano and Live
Electronics
Xenia PestovaInput Devices and Music Interaction LaboratoryMcGill University, Montreal, Quebec, Canada
http://xeniapestova.comhttp://www.idmil.org
Outline• Introduction• Works for piano and live electronics
– Bryan Jacobs (b. 1979)– Silvio Ferraz (b. 1959)– Hans Tutschku (b. 1966)
• Synchronization– Chamber music analogies– Models of Interaction
• Conclusions– Existing and new skills
Introduction• “Live” electronics
– Live transformation of instrumental sound– Offline transformation– Gestural control of sound synthesis
• Max/MSP• “Interactive Music Systems” (Rowe 1993:1)• “Fixed media” model
– Pre-composed soundtrack– Strict or flexible synchronization (Ding 2006)
• Synchronization with the computer– Triggering– Computer “listening”
Synchronization:Song from the Moment by
Bryan Jacobs• MIDI Pedal
– Performer sends cues to computer– Rhythmic freedom– Coordination challenges
• Different nature of the pedal: “on/off”• Rules out left pedal use• Difficult to avoid accents in piano part• Second instrument
Synchronization:Song from the Moment by
Bryan Jacobs• Click Track
– Played through headphone, notated– Helps performer coordinate with the
computer– Performer unable to modify tempo– Comparable to being conducted– Level has to be set in rehearsal
Synchronization: Cortazar…by Silvio Ferraz
• Duo partner / accompanist• Duo relationship• Computer performer on stage• Parameters modified in real time in reaction to
performance tempi and hall acoustics• Performer in turn reacts to electronic sound• Requires rehearsal time with pianist
Synchronization: Zellen-Linienby Hans Tutschku
• Flexible Synchronization– MIDI pedal cues from the performer– Computer listening
• Attack detection– Precise coordination with computer and
freedom for performer– Comparable to conducting orchestra from
keyboard in concerto
Conclusions
• Extension of existing skills– Playing with click track: following conductor– Playing with an assistant: duo partner– Flexible synchronization with MIDI pedal and
computer listening: ensemble roles– Sound balance issues
• New skills– Physical coordination with sensors/ devices– Awareness of computer part for interpretation– Basic awareness of technology
Further information
• Performance Videos– http://xeniapestova.com/Cortazar.html– http://xeniapestova.com/SongFromTheMoment.html– http://xeniapestova.com/ZellenLinien.html
• Dissertation, Bibliography, Repertoire List– http://xeniapestova.com/thesis.html
• Performance Tomorrow!– Works for piano, toy piano and live electronics– Sunday 8 p.m., the wulf, 1026 South Santa Fe
Avenue #203, free entry, http://www.thewulf.org