Following Josh’s great idea of collaborating for the end semester show at Tonic, I am keeping the sources that I have found which could be beneficial in terms of think-tank. I was reading Joseph Paradiso’s paper Electronic Music Interfaces, and he is pointing out good ideas approaching how to build a electronic musical interface.
I think the question we have to ask to ourselves is before starting any production, how I am going to approach to it. Is it going to be an extension for a current acoustic instrument,or is it going to be a total new interface? Personally I am kind of curious about two things currently. Using slit-scanning as a real time composition tool and using brainwaves to perform and compose.
I have found couple of good papers around those subjects:
Computer Music Research page of Plymouth University, UK
Interfacing the Brain Directly with Musical Systems: On developing systems for making music with brain signals
Tactile Composition Systems for Collaborative Free Sound
An Informal Catalogue of Slit-Scan Video Artworks by Golan Levin.
Those could be a good start for inspiration.-
Max Mathews and Bill Verplank is teaching a nice class over Stanford for the last couple of years and I am aware of it now. The class is about building/experimenting new musical controllers, videos seem interesting, syllabus might be checked out periodically.
Joseph Paradiso (he is the director of the Responsive Environments Group)has paper dated 1998 where he describes new electronic music interfaces.
Following the discussion on the microSound list, I was introduced to new names, one of them is Trevor Wishart who pursued a challenge of reshaping the sound as we perceive and sculpturing it in a different sense. He played mostly with human voice and created different electroacoustic pieces with it. I was curious about his “voiceprints”, but since the Bob Host didn’t have it, I couldn’t find a chance to listen to it.
Here is a link I have found from Tate Modern, it is Alvier Lucier, a US composer who uses systems as a generative device.
The American composer Alvin Lucier was an early pioneer of sound works which use systems as a generative device. He has since produced innovations in many areas of musical composition and performance, including the notation of physical gestures, the use of brain waves in live performance, and the evocation of room acoustics for musical purposes. His recent works include a series of performances in which, by means of close tunings with pure tones, sound waves are caused to spin through space.
Again one of the nights that I am lost in the infinite world of world wide web jumping from that source to another. Actually I have discovered really interesting stuff.
I am trying to remember how it all started.. I have found this article about Electronic Music In Turkey after I saw the name Bulent Arel who was one the founders of Columbia-Princeton Electronic Music Center and was curious if he was Turkish, which turned out to be he was and tried to do couple of stuff back in the day.
The other thing and maybe the most valuable one is this blog of Trond Lossius who is a sound and installation artist living in Bergen, Norway. It is one of the deepest source that I have come across in a long time. Especially for a newbie like me who wants to educate himself in spatialisation and sound installations. So I am really curious about discovering new concepts in this sense, one of which is Ambisonic Sound I still haven’t quited visualized on my mind. This is Trond’s post about it which he collected from SurSound mailing list.
Also another thing that I was steered through his posts is this software environment called Quintet.net which is if I quote from the site :
Quintet.net is an interactive network performance environment invented and developed by composer and computer musician Georg Hajdu. It enables up to five performers to play music over the Internet under the control of a “conductor.”
I believe it could be a good source for the final project in LIPP, I am thinking about a multi-user video composing environment with sound where different performers perform according to the score they have. I must dig this later, especially I am curious about Cage’s latest works called 5, where he uses time-frame in the same score.
~~~ I haven’t read about this, so I must ~~~
This semester Daniel Palkowski is instructing this class and I am in. Here is the syllabus for the class. In the first class we listened different pieces from different composers. The album was Early Modulations, Vintage Volts . We saw the differences between approach of composers to the electronic music, for example Morton Subotnick was leaning towards sequencing as opposed to what electro-acoustic of the time does with the sound. !!!Art Krieger!!! is one example and he seems like not enjoying what Morton does back in the time. It is interesting I couldn’t find any information mentioning this guy, probably I am writing his name wrong.
Some of the early electronic devices are:
20’s Theramin (live) Bernard Herman
20’s Vacuum tube
30’s Wire(Tape) Recorder – magnetic tape –
60’s Synths like MOOG, ARP, BUCHLA, and
70’s Modular Synth
Actually I have found this nice link about the electronic music timeline through EMF Institute
Then we cover the basics of pitch, octave oscillation and concepts like what is a synth made of. It looks like an oscillator and filter and envelope generator is enough to make a synth. I am going to cover the titles in detail in the upcoming days.
So that is more or less what we cover in the first class.
~~~I am going to double check the names soon.~~~