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Live electronics or…live music? Towards a critique of interaction
Abstract
Interactive systems are throughly scrutinized in the lengthy article. Of particular interest to the author are the question of space and sound projection, interpretation of electronic sounds and the relationship between performer and technology.
Supplementary resources (5)
... The terms 'live' and 'interactive' in electronic music are not without contention (e.g. Emmerson 2017;Stroppa 1999) and even the very definitions of what counts as live or interactive are up for debate (Drummond 2009). My concern in this paper is with pieces mixing acoustic instruments (including the voice) with electronic sounds at least some of which are produced live in performance. ...
This article examines works for live, interactive electronics from the perspective of complex dynamic systems, placing the human–computer interaction within a wider set of relationships. From this perspective, composing equates to constructing a complex system with the performer(s) and the computer as key players within a wider network of interdependence. Using the author’s own compositions as examples, this article investigates the utility of a system view on interactive, live electronics.
... Hugill emphasises that the interface is the critical part -the interfaces between the musician and the hardware, the musicians and the software, the musicians and each other, and with the audience. This level of performance control is what forms the success in the performance,where "the musician's ability to handle the interface, or the controller, is a powerful indicator of the level of technological understanding" p.122).Physical controllers utilised-whether hardware effects controllers or MIDI control devices-need to have an effective balance between the performance and operational activities, appropriate levels of sonic manipulation choice, and a physical layout that facilitates a smooth control in addition to standard acoustic performance on the instrument.MarcoStroppa (1999) presents a sobering perspective on the effectiveness and ease of Live Electronics, reminding us that sound recording is a delicate and fragile process, where microphone position, timbral qualities and dynamics significantly affect the final outcome of the processed sound (p. 48). ...
This project investigates the process of creating new works for two jazz trio ensembles, with a particular emphasis on improvisation with acoustic instruments and technology. Utilising a practice-based research model the project documents and outlines the conceptual basis for the work, reflects on a series of public performances and examines studio recording sessions. By analysing the musical content, use of technology, and the musician’s reflections on their decision making, the overall goal is to articulate the musical potential of improvising with technology in a jazz context.
Exploring technology and developing extended techniques towards a hybrid acoustic- electronic “group sound” that is distinct but still recognisable as jazz, is a core focus of this research. Specific software, hardware controllers, and audio effects are identified, and an analysis of the ways in which technologies are engaged by each musician is presented. Artistic reference points identify current and historical practice within this area and a range of case studies give context for how the music created here is relevant to contemporary jazz in Australia. The resulting musical output is documented in audio and video formats and includes multiple performer analyses, enabling detailed examination by the reader of how each musician merges improvisation using acoustic instruments and improvisation with technology.
Ultimately this research has allowed two professional jazz ensembles to forge new musical pathways, creating expanded practical skills for the author and the musicians involved. This research will be of interest to jazz musicians seeking to broaden their practice through improvisation with technology. Additionally, the project is relevant to any reader/musician engaged with improvisation in contemporary music more broadly.
... This approach to the study of mixed-music is usually identifed with the name of 'liveelectronics', which has focus on the category of informatics/electronics and related topics. The relative scholarship is fourished, and the term identifes musical practices that are not strictly connected to acoustic instruments but take a range of subjects ofen broadly related to live-performance (Boutard, 2016), such as interactivity (Eckel, Pirrò & Sharma, 2009;Gehlhaar, 1991), electronic instruments (Rubine & McAvinney, 1991) and aesthetics considerations on interaction (Goto, 1999;Eigenfeldt, 2007;Stroppa, 2009;Deery, 2015). ...
Music theory has to reinvent itself. Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with electronic music. In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within a scenario dominated by the Philosophy of Language. The Philosophy of Language is herein proposed as a possible philosophical asset to counterbalance some limits of Phenomenology, which has dominated the field of electroacoustic music since its appearance. Within this scenario, the work suggests the notions of "mimesis" and "cadence" as two valid terms to help creating a common ground between the two genres, discussing them in detail and proposing new interpretations for both concepts.
... Principally, it is common to carry out activities that require human participants to play along to a metronome. For example: timekeeping ability may be under investigation from a psychology or neuroscientiIic perspective [1][2][3][4]; music students may be learning about the importance of time and rhythm in their studies [5][6]; or musicians may play along to a click track during a live performance or in the recording studio [7][8][9][10]. As such, the activity of playing to a clock, with Iixed distance epochs, is a fundamental element within the practice of music. ...
Musical timekeeping is an important and evolving area of research with applications in a variety of music education and performance situations. Studies in this Iield are of ten concerned with being able to measure the accuracy or consistency of human participants, for whatever purpose is being investigated. Our initial explorations suggest that little has been done to consider the role that auditory masking, speciIically the precedence effect, plays in the study of human timekeeping tasks. In this paper, we highlight the importance of integrating masking into studies of timekeeping and suggest areas for discussion and future research, to address shortfalls in the literature.
... This paper uses the trajectory of my own creative work in the area of live, interactive electronics as a basis for discussions about computers as creative partners in this domain. Both 'live' [1], [2] and 'interactive' [3] are somewhat contentious terms. Nevertheless, for the purpose of this paper I will use these to mean music where signal from a performer on an acoustic instrument is routed to a computer. ...
This paper describes several compositions of live, interactive electronics where mutual listening between the performer and the computer form the basis for the interaction. The electronics combines algorithmically defined musical-logic with inputs from the performer. These become a musical partner to the performer mixing system creativity with the composer's and the performer's. The paper places this approach within the context of computational creativity on the one hand and live electronics on the other.
L’un des grands défis de la musique mixte est l’articulation entre les structures musicales de la partition et les sons générés électroniquement (générés par ordinateur ou transformés, en temps réel ou différé). Pour cela, nous dépendons à la fois de facteurs humains et technologiques. Ainsi, l’une des principales questions est : quelles stratégies peuvent être employées pour répondre aux besoins expressifs et musicaux du compositeur. Dans cet article, nous en discuterons quelques-unes, ainsi que la reconnaissance de l’interprète informatique et l’implémentation de ce que j’appelle le système Ohne.
Cette recherche vise à étudier l’intégration contemporaine, dans la composition et la performance, des outils technologiques et artistiques correspondant à l’état de l’art en matière d’interaction temps-réel entre production instrumentale, production numérique du son et production de formes spatio-temporelles dans le lieu d’écoute. On souhaite notamment étudier comment cette intégration pourra constituer en retour une nouvelle modalité de l’écriture où fusionnent en cohérence une écriture du son, une écriture du temps et une écriture de l’espace informées par la technologie.Les paradigmes informatiques pour la gestion du temps et de l'interaction, les outils de synchronisation de processus, l'analyse de flux sonores et gestuels, le contrôle des paramètres à partir du son instrumental, la recherche sur la question du timbre instrumental et de ses descripteurs numériques et l’interaction interprète-ordinateur forment les éléments clefs de cette recherche.L’idée principale de ce travail est centrée sur l’interaction en temps réel avec des dispositifs informatiques avancés, dans le cadre d’une écriture particulièrement virtuose, avec des aspects spécifiques de construction temporelle et spatiale, cette situation hybride influençant en retour la nature de l’écriture elle-même. Les différents thèmes relatifs à cette exploration, tels que l’écriture du son, du temps et de l’espace, sont le point de départ pour décliner et développer, selon la nature des diverses productions envisagées, les liens possibles avec d’autres disciplines artistiques.
The present chapter investigates Vidolin’s vision of the role of the computer music designer through a study of his collaboration on two compositions: Luigi Nono’s Prometeo. Tragedia dell’Ascolto (1981–84) and Salvatore Sciarrino’s Perseo e Andromeda (1991). The chapter is based on a series of interviews and discussions I had between 1998 and 2015, complemented by research based on sources and archival documents. knowledge of the collaboration can provide crucially important information about compositional choices within the creative process, structural patterns and aesthetic solutions within the completed work. Much of this information would remain unknown to the analyst, who focuses primarily on the composer’s contribution.
Apresentamos neste artigo uma discussão sobre as principais abordagens à interatividade em artes, com foco em música e arte sonora. Este estudo contempla a análise do processo interativo a partir das abordagens sobre o gesto instrumental e os processos envolvidos na interação entre um intérprete e seu instrumento; sobre a participação do público e a modificação da obra como parte de sua apreciação estética ativa; e sobre o processo criativo da obra e o conjunto de relações que estruturam o desenvolvimento da obra no tempo, mantendo a unidade do projeto artístico. Procuramos aqui contemplar uma amostra dentre a variedade de perspectivas que envolvem o estudo sobre interação em artes e as principais delimitações propostas sobre o que caracterizaria uma obra como interativa. Propomos ao final uma aplicação consciente da interação em diferentes contextos, privilegiando uma abordagem ampla, focada no ponto de vista do espectador.
This is a formal analysis of the role and the need of a notation for music made of synthesized sounds. The choices adopted in the notation of Traiettoria...deviata are described in detail (in French).
This text is the beginning of a formalized reflection on some poetic aspects of my present compositional world. After a brief survey of our historical background, a general conceptual framework, inspired by research in knowledge representation and categorization, is established. Using two complementary representational systems, I develop a microworld paradigm, the paradigm which first sparks my imagination. Higher-level musical structures, considered as evolving societies in morphological spaces, are then examined, including the overall form of a piece. Excerpts from my own work are analyzed in terms of the writing techniques which are adopted. Finally, a few extensions to this compositional approach are succinctly discussed, together with some of the consequences that challenge traditional perception, analysis, performance, and interpretation.
Vers un scenario imaginaire: l'op~ra radiophonique italien
- G Ferrari
Ferrari, G. (1995) Vers un scenario imaginaire: l'op~ra radiophonique italien. In
Les Cahiers de I'IRCAM, n. 6, Musique: Texte, p. 71-80. IRCAM Edition, Paris.
Stroppa, M. (1989) Musical Information Organisms: An Approach to Composition. In Music and the Cognitive sciences, S. Mc Adams and I. Deli~ge eds, Contemporary Music Revue, Vol. 4, Harwood Academic Publishers, London, 1989.
Line Representation de Structures Temporelles par Synchronisation de Pivots
- M Stroppa
- J Duthen
Stroppa, M., Duthen, J. (1990) Line Representation de Structures Temporelles par
Synchronisation de Pivots. Proceedings of the Symposium: Musique et
Assistance Informatique, Marseille, 1990).
Un Orchestre Synth~tique: Remarques sur une Notation Personnelle In Le timbre: Mdtaphores pour la composition
- M Stroppa
Stroppa, M. (1991) Un Orchestre Synth~tique: Remarques sur une Notation Personnelle. In Le timbre: Mdtaphores pour la composition, J.B. Barri~re ed., Ed. C. Bourgois, Paris, 1991, p. 485-538.
49"): excerpt from Proem/o: scene of Medea
- Ex
Ex. 19 (3" 49"): excerpt from Proem/o: scene of Medea (from 18' 16" to 22" 05").
Program notes to the CD published by Wergo
- P-L Aimard
- M Stroppa
Aimard, P-L., Stroppa, M. (1992) Program notes to the CD published by Wergo,
pp. 20-21.