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Createworld 2011 CreateWorld 2011 Pre-publication Proceedings CreateWorld11 Conference 28 November - 30 November 2011 Griffith University, Brisbane Queensland Australia Editors Michael Docherty :: Queensland University of Technology Matt Hitchcock :: Griffith University, Qld Conservatorium CreateWorld 2011 Pre-Publication Proceedings of the CreateWorld11 Conference Griffith University, Brisbane Queensland Australia Editor Michael Docherty :: Queensland University of Technology Matt HItchcock :: Griffith University Web Content Editor Andrew Jeffrey http://www.auc.edu.au/Create+World+2011 © Copyright 2011, Apple University Consortium Australia, and individual authors. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without the written permission of the copyright holders. CreateWorld 2010 Pre-Publication Proceedings of the CreateWorld10 Conference Griffith University, Brisbane Queensland Australia Contents Submitted Papers Robert Burrell, Queensland Conservatorium, Griffith University 1 Zoomusicology, Live Performance and DAW [email protected] Presentation Date 12:15 pm to 1:00 pm Tuesday 29th Session: Technology in the Performing Arts S07 1.23 (Graduate Centre) Dean Chircop, Griffith Film School (Film and Screen Media Productions) 9 The Digital Cinematography Revolution & 35mm Sensors: Arriflex Alexa, Sony PMW-F3, Panasonic AF100, Sony HDCAM HDW-750 and the Cannon 5D DSLR. [email protected] Presentation Date 12:35 pm to 1:20 pm Wednesday 30th Session : Film and Animation Grifith Film School Cinema. Kim Cunio, Queensland Conservatorium Griffith University 16 ISHQ: A collaborative film and music project – art music and image as an installation, joint art as boundary crossing. [email protected]; Louise Harvey, [email protected] Presentation Date 12:35 pm to 1:20 pm Wednesday 30th Session : Film and Animation Grifith Film School Cinema. Helen Farley, Australian Digital Futures Institute, USQ 24 From ‘hands up’ to ‘hands on’: harnessing the kinesthetic potential of educational gaming with Adrian Stagg [email protected] Presentation Date 12:15 pm to 1:00 pm Tuesday 29th Session: Gamiication S07 2.16 (Graduate Centre) Sue Gregory, UNE 34 Do virtual worlds have a role in increasing student engagement as measured by their higher academic grades? with Brent Gregory [email protected] and [email protected] Presentation Date 11:15 am to 12:00 pm Tuesday 29th Session: The Virtual World S07 2.16 (Graduate Centre) Marshall Heiser Qld Conservatorium of Music, Gold Coast campus 45 Digital Audio Workstations: Master or Slave? [email protected] Presentation Date 12:15 pm to 1:00 pm Tuesday 29th Session: Technology in the Performing Arts S07 1.23 (Graduate Centre) Matt Hitchcock 46 Radio IMESD Queensland Conservatorium Griffith University [email protected] Presentation Date 12:35 pm to 1:20 pm Wednesday 30th Session: Technology in the Performing Arts Auditorium S05 2.04 Kerry Kilner, UQ Research Fellow 56 Define <Colon> Pedagogy: The use of digital research environments in undergraduate teaching [email protected] Presentation Date 11:45 am to 12:30 pm Wednesday 30th Session: Teaching and Learning Auditorium S05 2.04 Aengus Martin, UTS 58 Windtraces: Accessible Sonic Art With Kirsty Beilharz [email protected] Presentation Date 11:15 am to 12:00 pm Tuesday 29th Session: Technology in the Performing Arts S07 1.23 (Graduate Centre) Malcolm Riddoch, Western Australian Academy of Performing Arts (WAAPA) 66 Spatializing Music at the Academy [email protected] Presentation Date 12:15 pm to 1:00 pm Tuesday 29th Session: Auditorium S05 2.04 Julia Wren, Edith Cowan University, Western Australia 67 Using iPad2 to assess students’ live performances and actively engage students with tutor and peer feedback With Alistair Campbell, John Heyworth, Christine Lovering [email protected] Presentation Date 10:05 am to 10:50 am Tuesday 29th Session: Technology in the Performing Arts S07 1.23 (Graduate Centre) Dr Jason Zagami 78 Dynamic EEG Mapping as artistic expression School of Education and Professional Studies, Griffith University [email protected] Presentation Date 11:15 am to 12:00 pm Tuesday 29th Session: Technology in the Performing Arts S07 1.23 (Graduate Centre) Createworld11 Pre-Publication Papers - 1 CreateWorld Conference paper 2011 Zoomusicology, Live Performance and DAW Robert Burrell Queensland Conservatorium, Griffith University Keywords Live Performance, Zoo-musicology, Composition, Birdsong, Live Electronic Performance, Digital Signal Processing (DSP), Digital Audio Workstation (DAW). Abstract Title: Zoo-musicology, live Performance and the Digital Audio Workstation The field of practice-led research in music is diverse, encompassing creation, performance, and production. In my case, it forms part of my PhD research at Griffith University, Queensland Conservatorium of Music. This project attempts to bring together traditional notated music composition practice with electro-acoustic techniques. In this project I attempt to create an interaction between the motifs of a particular bird’s call and the responses of a live performer. Recordings collected in the field are applied through various computer programs to create a sound file against which the performer interacts in imitation and polyphony as well as in a metaphysical and abstract metamorphosis. The process contains field recordings, music transcriptions, audio manipulation and Digital Signal Processing (DSP) within a Digital Audio Workstation (DAW), new music compositions and a series of works for solo performers and electronics. This project address the notions of composition across multiple media and the effect that technological workflow can have on the compositional process. This paper positions the research and responds reflectively on the progress to date. Introduction to the Research This paper documents an evolving project of composition with birdsong. It describes a development of styles and techniques and evaluates the composers’ response to these processes. As part of my auto- ethnographical research towards a PhD at the Queensland Conservatorium of Music, I have been crafting a series of works that derive their motifs from Birdsong. In much of Australia the Pied Butcherbird (Cracticus Nigrogularis) is known for a distinctive ‘beautiful, flute like song’ (Day, 1993). It is one of the three Australian birds included in the National Audubon Society and Cornell Laboratory of Ornithology’s record Beautiful Bird Songs of the World. (Pollock, 1979) Sometimes this species will sing in duet or antiphony with others, one bird’s call being complimented and added to by another, often without a break or even overlapping, resulting in harmonies and counterpoints. Andrew Skeoch has written in his ‘Listening Earth’ blog, “Pied Butcherbirds have the most sublime song; a series of fluted musical tones, woven into a repertoire of short melodic phrases that are often sung in duet” (Andrew, 1996 - 2011). Photo courtesy (Unknown, 2011) Createworld11 Pre-Publication Papers - 2 I would be more comfortable with the birdsong being the subject instead of you but leave it for now. I am using birdsong as a stimulus to extend myself to create new works, which are greater in scope than my previous works. I began by recording birdsong and transcribing it into traditional music notation, analyzing the recordings for their motivic, harmonic, rhythmical and structural elements as well as any implied or apparent compositional devices such as motivic development, ornamentation, and repetition with variation. I then selected motifs, rhythms and compositional devices for reinterpretation, which were then realized as traditional works with western common practice notation. In this process I have created a number of multiple movement works for various woodwind and brass quintets and string orchestra. Example 1. Transcription of various birdcalls collected at Diamantina Lakes National Park, far western Queensland, Australia. These transcriptions were used in the work for WW Quintet. Example 2. Copy of score for Wood Wind Quintet which incorporates the motifs notated in example 1. The results have been gratifying; the melodic material in the birdsong has created music with depth and implied form with the impression of going beyond anything that I have previously composed. However, in my desire to explore the possibilities of birdsong in composition, I am also endeavoring to combine the recordings made in the field with traditional compositional methods involving notation (and all the myriad of ideas that come from composing through the written medium –see A, B, C, D, pg 6). This project will result in creation of a mix of electronic and acoustic live performance works, with the electronic component being derived from Digital Signal Processing (DSP) within a Digital Audio Workstation (DAW). Createworld11 Pre-Publication Papers - 3 Auto-Ethnography, the Self and Research In the paper Music, Recording and the Art of Interpretation, Professor Paul Draper and Dr Stephen Emmerson report that: “the Queensland Conservatorium Research Centre (QCRC)hosts a number of research areas and corresponding academic clusters. Perhaps the most ephemeral and misunderstood of these is the Artistic Practice as Research theme, its somewhat contentious nature residing in the use of the adverb ‘as’. (Paul, 2008) This methodology has been selected as the primary mode of exploration for this project. It allows the work of art, the music itself
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