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COMPUTER MUSIC INTERPRETATION in PRACTICE Serge Lemouton

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COMPUTER MUSIC INTERPRETATION in PRACTICE Serge Lemouton COMPUTER MUSIC INTERPRETATION IN PRACTICE Serge Lemouton To cite this version: Serge Lemouton. COMPUTER MUSIC INTERPRETATION IN PRACTICE. International Com- puter Music Conference, Sep 2016, Utrecht, Netherlands. hal-01397446 HAL Id: hal-01397446 https://hal.archives-ouvertes.fr/hal-01397446 Submitted on 15 Nov 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License COMPUTER MUSIC INTERPRETATION IN PRACTICE Serge Lemouton IRCAM-CGP [email protected] ABSTRACT More and more frequently, this function is recognized not only as a technical role but also as musicianship. Computer music designer is still a new job, emerging as a professional practice only in the last decades. This func- 2. WHY? tion has many aspects; personally, I consider that one of the most important, and not well-documented parts of our Why is interpretation necessary for electroacoustic job is the concert performance. In this paper, I will dis- works, whether they belong to the “real-time” or the cuss this discipline (performing live electronic music) “tape music” category? from a practical point of view. I will illustrate this idea with short presentations about the interpretation of some 2.1 Live music existing classic pieces of the electroacoustic mixed works repertoire. Most of the time, when we are speaking about “Music” today, we are speaking about recorded music, about mu- 1. INTRODUCTION sic reproduction—dead music. Music, to be alive, should be performed “live”; an audio recording is simply a trace The development of mechanical music technologies (re- of a musical event. But we always speak about it, quite cording, analog and digital techniques, etc.) has had con- improperly, as music. As early as 1937, Bela Bartok was sequences and raised some questions about musical activ- aware of the danger of what he called “mechanical mu- ity and about the category of musical interpretation: can sic” vs. the variability of live music. we speak of “music” without interpretation? What is the But what is the status of purely synthetic music? Is it too status of the recording of a piece (between the score and conservative to consider that music that is not performed the concert)? Now that we have audio recordings of the is not music? entire musical repertoire, why should we still build con- cert halls? 2.2 Interpretation against obsolescence th Since the beginning of the 20 century, composers (such Interpretation is a way to overcome the technological as Stravinsky, Ravel, Bartok, etc.) foresaw the conse- obsolescence that every computer musician knows very quences of sound recording technologies on the musical well. The obsolescence of the technologies used by musi- interpretation of their works. And of course, the influence cians in real-time works can be seen as a danger, as a risk of sound technologies on musical composition continued for the existence of these new forms of musical expres- to increase during the last century, from analog tech- sion [1]. niques to our current digital world. It is possible to compare scores written on paper with a In this paper I will focus on the category of musical in- lifespan that can be measured in centuries – we can still terpretation. First of all, interpretation is different from find music written down in the Middle Ages – with digi- performance. Interpreting is more than performing, play- tal supports whose instability can be measured daily, at ing computer music is not only performing it, but has our expense. But an antique parchment only has value to many more aspects. the person who knows how to read it, that written music At IRCAM, this activity is now taught in a special work- remains virtual if it is not sung. shop “AIRE” (Atelier Interpretation des musiques élec- In the beginning of IRCAM, no one was aware of the troacoustiques), held during IRCAM’s ManiFeste Acad- seriousness of the problem: the works produced in the emy since 2012. 1980s were made with a total lack of concern for this More and more often, the person identified as a “techni- issue or with an optimistic technophily. We realized the cian” or a “sound engineer”, became integrated in, ap- problem later, in the beginning of the 21st century. pointed by, and toured with a number of new music en- IRCAM is now concerned by the conservation of the sembles involved in the performance of mixed music. For works created in its studios. To create its repertoire, the example, we can cite John Whiting in the vocal ensemble institute asked composers to write works interacting with 1 Electric Phoenix or Scott Frazer with the Kronos quartet. the institute’s research departments. This concern for the conservation takes the form of archives on different sup- ports and documentation written by tu- 1 tors/assistants/computer music designers. Valorizing the http://www.allmusic.com/artist/scott-fraser-mn0001479637/credits Copyright: © 2016 S.Lemouton. This is an open-access article distributed under the terms of the Creative Commons Attribution License 3.0 Unpor- ted, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. works by performing them in concert and on tour leads to studio, they don’t necessarily have the same perception of the creation of an original repertoire. The conservation of it as the listeners in the concert hall. And unfortunately, this repertoire is obviously a part of the will to create a composers are human, and consequently mortal. history, a kind of tradition. In the real-time music context, I often have to face this The experience of computer music designers, who must paradoxical situation: real-time should come with the transfer sometimes complex works to perform them again acceptation of the unexpected. But very often, composers (at IRCAM we call this action “porting”) from one sys- are not ready to accept the unexpected in their music. tem to another as technology evolves from one generation “The term “real-time” in musical composition can be to another (from the historical 4X to the IRCAM comput- inaccurate because a part of the musical components is er music station and different versions of MAX soft- often predetermined, and is not subject to variation from ware), has led us to invent, to develop, a specific savoir- an interpretation to the other.” [5] faire of the techniques and practices that have made it possible to save almost the entire catalogue of works cre- ated at IRCAM (more than 700 works) from digital ru- 3. WHAT? in.[2][3] 3.1 What is musical interpretation? 2.3 Interpretation as renovation As mentioned, interpretation is more than performance: it Moreover, porting a musical work to a new technology is is a complex activity. In the classical music context, a not only a way to overcome technological obsolescence, musical interpretation requires the ability to read the mu- but also esthetical aging. It seems especially true for tape sic (knowing the vocabulary) and to understand the text music; we often have this impression while listening to (knowing the syntax). It also means mastering its instru- old recordings that they sound “dated”. ment (it takes years of practice to make a virtuoso), inter- preting the composer’s will (knowing the stylistic con- 2.4 Interpretation and notation text). Finally, the musician should be able to perform the The score is an integral part of our serious art music music in concert, interacting with the audience, the hall, (“musique savante”). Even if all music is ephemeral and and the other performers. immaterial, the act of writing it down inscribes it in histo- ry and in the effort of “the desire to last”. Not all com- 3.2 Can we speak of musical interpretation for com- posers seem particularly worried about the future of their puter music? works; creation is more about renewal, about a flow, than For computer music, things are slightly different because about keeping, storing, archiving. And yet, if composers of the nature of the “instrument”. There is an extra step: write down their music, it is for its survival. The score is constructing the instrument. In this sense the computer both a way to transmit music to the performers and a music performer is also his own instrument-builder support that enables its long-term preservation. In this (luthier). Moreover, there is no school or conservatory to respect, electro-acoustic music, and particularly interac- learn how to become a computer virtuoso today. tive mixed works, creates numerous problems because today there is no universally shared musical notation. 3.3 Interpretation and “real-time” music The conservation of electro-acoustic works seems impos- sible without the performers. The computer music de- To allow the possibility of an interpretation, in every signers are both archeologists of a near past, specialists of sense of the word, there must be a text to be interpreted. obsolete technologies, interpreters of musical texts, and An exegesis is only possible if the following elements are virtuosos of new musical technologies. The responsibility present: a text, a tradition, and an interpreter. of transmitting the composer’s will with authenticity lies What could be the meaning of interpretation in the con- with them.
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