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UC San Diego UC San Diego Electronic Theses and Dissertations Title A computer music instrumentarium Permalink https://escholarship.org/uc/item/4mf9458n Author Oliver La Rosa, Jaime Eduardo Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO A Computer Music Instrumentarium A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jaime Eduardo Oliver La Rosa Committee in charge: Miller Puckette, Chair Amy Alexander Gerald Balzano Jim Hollan David Wessel 2011 Copyright Jaime Eduardo Oliver La Rosa, 2011 All rights reserved. The dissertation of Jaime Eduardo Oliver La Rosa is approved and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2011 iii DEDICATION A Paloma y Cristobal.´ iv EPIGRAPH *** Krefeld: What do you consider yourself in the first place: an inventor of musical instruments, a composer, or a performer? Waisvisz: ... Your question suggests divisions that don’t exist for me; I cannot see a personal involvement in the technical functionality of the instruments and performance as separate from the work of composing, so simply consider me a composer (Waisvisz in Krefeld(1990)). *** v TABLE OF CONTENTS Signature Page............................................ iii Dedication.............................................. iv Epigraph...............................................v Table of Contents.......................................... vi List of Figures............................................ vii Acknowledgements........................................ viii Vita................................................... ix Abstract of the Dissertation...................................x Chapter 1. Introduction......................................1 Chapter 2. Prelude: Instruments as Media..........................6 Chapter 3. THEREMIN: Taming the Wireless Howl................... 24 Chapter 4. TAPE: The Sounds of Instruments Never Built............... 42 Chapter 5. CIRCUITS: Hard and Soft Wires........................ 60 Chapter 6. COMPUTERS: To Solder or Not to Solder.................. 88 Chapter 7. LIVE: Real Time Interactive Computer Systems.............. 101 Chapter 8. FIXED: Contemporary Fixed Practices and the Fixed-Live Continuum 115 Chapter 9. Total Configuration: Building an Environment............... 128 Chapter 10. Embodiment, Media and the Audience.................... 146 Chapter 11. Music Models : A Computer Music Instrumentarium.......... 192 References.............................................. 201 vi LIST OF FIGURES Figure 2.1. Composer-performer-listener model of music................7 Figure 6.1. Analog Equipment for the GROOVE System................. 96 Figure 6.2. Main diagram for the GROOVE system.................... 97 Figure 9.1. Updating the GROOVE Model......................... 132 Figure 9.2. Sound / Non-Sound and Continuous / Discrete Input Signals...... 134 Figure 9.3. Sound Processes and sound-control parameters .............. 135 Figure 9.4. A Control Model of the Theremin....................... 136 Figure 9.5. Structural Control and Automation....................... 140 Figure 9.6. Structural Control, Automation and Indeterminacy............ 141 Figure 11.1. The Luthier in the Composer-Performer-Listener Model of Music.. 193 Figure 11.2. A Model of Music for the Electronic Music Studio........... 193 Figure 11.3. The Compositional Loop in Interactive Computer Music Systems.. 196 vii ACKNOWLEDGEMENTS I would like to thank Miller Puckette, for giving me the opportunity of working with him over the past 5 years, dedicating time to feed my work and think with me about the ideas set forth this dissertation. His musical work has often served as a point of departure for my own and his work designing and supporting Pd makes him a (perhaps involuntary) co-author of my work. I would also like to thank David Wessel, for his inspirational work and for his interest, guidance and infinite ideas; Jerry Balzano, for his dedication to educate a cu- rious musician in cognitive science and for all the great conversation; Amy Alexander and Jim Hollan, for their comments and insight into this dissertation. I would also like to thank Roger Reynolds, for his advice, teaching and the innu- merable layers of experimentation and craft in our fertile collaboration over the past 3 years. Many of the ideas for this dissertation emerge from our work together designing a performance instrument for the Seasons Cycle, Dream Mirror and Marked Music. I would also like to thank Philippe Manoury, Dick Moore, Shlomo Dubnov and Kevin Larke for their work, teaching, help and interest along the way; as well as Steven Schick and Katharina Rosenberger, the computer music people and the truly unique music community at UCSD for their interest and collaboration. Finally, I would like to thank my parents Jimmy and Polla, and my brothers Diego and Luciana, for their support; and very specially my wife Paloma and son Cristobal´ to whom I owe everything. viii VITA 2003 Composition, National Conservatory of Music, Lima, Peru.´ 2006-08 M.A. Computer Music, UC San Diego. 2008-11 Ph.D. Computer Music, UC San Diego. 2011-13 Mellon Post-Doctoral Fellow in Composition, Columbia University. PUBLICATIONS Oliver, J., and Jenkins, M., 2008: The Silent Drum Controller: A New Percussive Gestu- ral Interface. In Proceedings of the International Computer Music Conference, Belfast. International Computer Music Association. Oliver, J., 2010: The MANO Controller: A Video-based Hand Tracking System. In Proceedings of the International Computer Music Conference, New York. International Computer Music Association. ix ABSTRACT OF THE DISSERTATION A Computer Music Instrumentarium by Jaime Eduardo Oliver La Rosa Doctor of Philosophy in Music University of California, San Diego, 2011 Miller Puckette, Chair This dissertation reviews representative works of the history of electronic and computer music from the point of view of instrument design. It traces the way in which artists conceived of their systems with respect to traditional musical instruments and practices. While making evident the inherent differences between the mechanical media of the past and the new electronic and computer media at their hands, artists have forged a new kind of instrument. This instrument is presented in contrast to the traditional concept of musical instrument as a passive tool; as an object that provides a stable timbre over which pitch and amplitude can be articulated. In contrast, the computer-based instrument has an active role in determining the shape and sound character of a composition. The traditional conception of music, as closed works contained in scores, shifts to open environmental structures that can only be perceived and experienced through interaction. Theories of embodiment in cognitive science are surveyed to understand the nature of this interaction. Concepts from media theory are used to understand the x process whereby new instruments imitate older instruments, while at the same time revealing what is unique to them as new media. The musician then finds himself to be a hybrid between composer, luthier and performer. However, he cannot start from scratch in every new work of music. In the not so brief history, we find archetypical practices that guide us; communities around computer programs that offer a body of knowledge and code that can be analyzed, ap- propriated and modified. Because of its relational nature, code contains part of the instrument (and the composition); its exchange advances music as a cultural practice. An Instrumentarium suggests a set of available instruments from which the com- poser chooses. In the practice of making music with computers however, there are instead, sensors and interfaces, techniques for sound analysis, generation and manipu- lation, recording devices, hardware, software and speakers. An instrument is not con- tained in any one object, but consists of a series of elements that can be combined to form an open configuration. The computer music instrumentarium lies in all possible configurations. xi Chapter 1 Introduction In recent times, interest has resurged in making new musical instruments1, and, with the availability of increasingly powerful new technologies like computers and a growing variety of sensors, designing instruments that use these technologies is an at- tractive idea. However, building instruments based on computers, or what I will call computer- based musical instruments, confronts us with wider questions about our musical prac- tice, like for example, what a musical instrument is in the first place? or, what do we expect a device to be able to do, in order to deserve inclusion in the category of musical instrument? or, going even further, is musical instrument the right term for the devices and resources we use in these new musical practices? Awareness of these wider issues informs our design and guides our exploration. This is the subject of this dissertation. For Kartomi(2008), “musical instrument is a self-explanatory term for an ob- server in his own society.” This dissertation is an intellectual engagement with the work and writings of composers and theorists of electronic and computer music, however; Kartomi’s definition has guided its design. In other words, it is left to our intuition as cultural beings, to recognize an instrument and to intellectual
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