Downloaded from the Interface Manufacturer’S Website
Total Page：16
File Type：pdf, Size：1020Kb
A PERFORMER’S PERSPECTIVE ON THREE WORKS FOR PIANIST AND MOVING IMAGES: ANALYSIS WITH PERFORMANCE AND PRACTICE STRATEGIES FOR MICHEL VAN DER AA’S TRANSIT, NICOLE LIZÉE’S HITCHCOCK ÉTUDES, AND SURFACE TENSION BY EVE EGOYAN AND DAVID ROKEBY by Christopher Morano B. Mus., Western University, 2003 M. M., Northwestern University, 2004 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2016 © Christopher Morano, 2016 1 Abstract Interest in audio-visual works of art that are performed by a live pianist while integrating projected moving visual images has waxed and waned over a period of almost 300 years. The past twenty years or so has seen a re-emergence of this genre of classical music composition which places extra demands on the pianist performing these works. This dissertation explores the history of this genre, proposes a framework for analysis of these pieces, and examines from both analytical and performance perspectives three contrasting works for this medium: Michel van der Aa’s Transit, Nicole Lizée’s Hitchcock Études, and Surface Tension by Eve Egoyan and David Rokeby. This research was conducted by examining sources on the history of this genre, investigating analytical methods for discussing works of multimedia (including the texts of film sound theorists), and through live, phone, and/or e-mail interviews with the composers of the works studied, performers of these works, sound and video technicians, and a concert producer. It is the goal of this research to provide a comprehensive overview of this genre for pianists who are interested in exploring works for this medium, while highlighting the difficulties in preparing and mounting these works in performance. ii Preface This dissertation is the original, unpublished intellectual property of its author, Christopher Morano, and was written under the supervision of Dr. Corey Hamm. Interviews were conducted in accordance with the UBC Behavioural Research Ethics Board, Certificate Number H15-02404. iii Table of Contents Abstract ............................................................................................................................................ ii Preface ............................................................................................................................................. iii Table of Contents ............................................................................................................................ iv List of Figures ................................................................................................................................ vii List of Musical Examples ............................................................................................................. viii Acknowledgements .......................................................................................................................... ix Dedication ........................................................................................................................................ ix Chapter 1: Introduction .................................................................................................................. 1 Chapter 2: The Early History of Keyboard with Projected Images ............................................ 5 2.1 Early Multimedia Keyboard Instruments ............................................................................ 5 2.2 Silent Film Pianists and Organists ..................................................................................... 12 Chapter 3: A Multimedia Analytical Framework ....................................................................... 16 Chapter 4: Transit .......................................................................................................................... 19 4.1 Michel van der Aa ............................................................................................................. 19 4.2 Transit Overview ............................................................................................................... 20 4.3 Technical Setup ................................................................................................................. 20 4.4 Synchronization and Analysis ........................................................................................... 21 4.5 Practice and Performance Suggestions .............................................................................. 23 4.6 Concluding Thoughts ........................................................................................................ 30 Chapter 5: Hitchcock Études ......................................................................................................... 31 5.1 Nicole Lizée ....................................................................................................................... 31 iv 5.2 Hitchcock Études Overview .............................................................................................. 32 5.3 Technical Setup ................................................................................................................. 33 5.4 Synchronization and Analysis ........................................................................................... 34 5.4.1 “Psycho – Saul Bass Étude” ...................................................................................... 34 5.4.2 “The Man Who Knew Too Much – Doris Day Étude” ............................................... 35 5.4.3 “Psycho – Stutter Étude” ............................................................................................ 36 5.4.4 “Rope – The Party Étude” .......................................................................................... 37 5.4.6 “The Man Who Knew Too Much – Phonograph Étude”............................................. 40 5.4.7 “Psycho – Shower Étude” .......................................................................................... 40 5.4.8 The Balance of Audience Attention ........................................................................... 41 5.5 Practice and Performance Suggestions .............................................................................. 42 5.5.1 “Psycho – Saul Bass Étude” ....................................................................................... 43 5.5.2 “The Man Who Knew Too Much – Doris Day Étude” ............................................... 45 5.5.3 “Psycho – Stutter Étude” ............................................................................................ 45 5.5.4 “Rope – The Party Étude” .......................................................................................... 46 5.5.5 “The Birds – Schoolhouse Étude” .............................................................................. 48 5.5.6 “The Man Who Knew Too Much – Phonograph Étude”............................................. 48 5.5.7 “Psycho – Shower Étude” .......................................................................................... 49 5.6 Concluding Thoughts ........................................................................................................ 50 Chapter 6: Surface Tension ........................................................................................................... 51 6.1 Eve Egoyan and David Rokeby, ........................................................................................ 51 6.2 Surface Tension Overview ................................................................................................ 52 6.3 Technical Setup ................................................................................................................. 53 6.4 Synchronization and Analysis ........................................................................................... 53 6.4.1 “The Pool” .................................................................................................................. 54 v 6.4.2 “Harmonic Orbits” ..................................................................................................... 55 6.4.3 “The Tower” ............................................................................................................... 56 6.4.4 “Tendrils” ................................................................................................................... 57 6.4.5 “Flurry” ...................................................................................................................... 58 6.4.6 Analysis ...................................................................................................................... 59 6.5 Practice and Performance Considerations ......................................................................... 59 6.6 Concluding Thoughts ........................................................................................................ 60 Chapter 7: Technology in Performance ....................................................................................... 61 7.1 The Challenges of Technical Setups ................................................................................. 61 7.2 The Unreliability of Technology ....................................................................................... 63 Chapter 8: Conclusion ................................................................................................................... 65 Bibliography