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Opening bars of Bach's Choral BWV639

Opening bars of Bach's Choral BWV639

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Performing music together over a public network while being located at a distance from each other necessarily means performing under a particular set of technical and performative constraints. These constraints are antithetical to-and make cumbersome-the performance of tightly synchronised music, which traditionally depends on the conditions of tra...

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Context 1
... 29 introduces an electronic glissando of the piano, which responds to the natural glissando of the voice. The glissando is effectively a pitch bend effect that is triggered using the notational instruction seen in Fig. 20. The glissando effect on the pianos is particularly successful because as listeners, we cognitively know that a piano cannot pitch bend, which leads to the perception that the received signal is not a faithful representation of the instrument. The electronic glissando grounds the work as digitally mediated and networked. In composite ...
Context 2
... the sustained harmony created by the tremolos, each piano harmonically blurs with the other at the moment of the chord change (Fig. 21). The notated tremolos are heard as multiple iterations of the chord shown in Fig. 22: i.e., an overlapping of the chord change occurs depending on the network latency. In correlation with the discussion on post-vertical harmony in chapter 2, this shows that harmonic blurring is not disruptive to musical performance in practice. Once the chord change has occurred in both parts, the musicians experience a harmonic ...
Context 3
... to manipulate acoustic feedback and latency. Feedback is controlled by having two monitor systems on each side, with each monitor positioned at the optimum place in each space to avoid acoustic feedback. A second monitor is placed near the microphone and carefully used to generate feedback effects on demand with both local and remote signals (Fig. 23). ...
Context 4
... section E, a subtle latency effect is applied to the received transmitted source, which is indicated in the score as a DELAY instruction to the electronics system (Fig. 24). The system has captured the amount of network latency by monitoring latency over the network. A delay process can be applied on the signal to increase the distance between the locations, which in effect creates a rallentando effect without the need to convey a change in timing to musicians and adding performance ...
Context 5
... conditions) and develop the natural resonance of timbres while introducing a vertical triplet motif that undulates between instruments and spaces. Section J extends the material and instrument timbres by introducing the electronic manipulation of acoustic feedback through the secondary monitor system. The feedback level is notated in the score (Fig. 25) as being between level 0 and 10. The levels must be calibrated before the performance. Echo Not Echo embraces participant autonomy on a rhythmic level. Participant autonomy means taking an aleatoric approach. In Echo Not Echo, this means that note alignment is determined by the participant's response to the technical conditions imposed ...
Context 6
... and phrases are presented as rhythmic elements to be woven in and out of synchronisation. How motifs align depends on the performance conditions and the electronic manipulations of the signal. Concrete phrase-level structures can be moulded more easily by providing audible vital information as anchor points. This is illustrated in section Q (Fig. 26), where notes overlap and interweave to arrive at piano arpeggios that signify the end of each phrase. By making use of the arpeggio anchors, the material exploits phrase articulation as a musical instruction to encourage asynchronicity and create rhythmic density. Layered gestures result in a jumbled pile of notes, which are heard with ...

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