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Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance

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Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance • Julieanne Klein F acuIty of Music McGill University, Montreal January 2007 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Music. r © Julieanne Klein 2007 • Abstract This thesis deals with technological, compositional and performance-practice aspects of computer-based live and interactive electronic vocal music. Live performance-based electronic music indicates a composition by which the vocal, instrumental and/or electronic sounds are processed in real time. By surveying historical developments, technological advances, aesthetics, and important figures, this document intends to assist singers in gaining a global perspective of the field in hopes of facilitating interest in the performing and commissioning of live electronic vocal compositions. An important element of this thesis is an annotated appendix of computer-based live and interactive electronic vocal music detailing instrumentation, technical requirements, texts, performance notes and publisher contact information. In order to assist in the study and performance of these works, relevant performance issues are explored, and a methodology and step-by-step checklist for learning contemporary and electronic vocal music is included. An analysis of three vocal works in this genre is presented: En Écho by Philippe Manoury, Erba nera che cresci segno nero tu l!il!i by Mauro Lanza, and a new work commissioned especially for this study, Avant la lawe by David Adamcyk. Cette thèse traite des aspects technologiques et compositionnels ainsi que de l'interprétation d'oeuvres pour voix et traitement électronique interactif en temps réel. Le traitement en temps réel fait référence à une oeuvre impliquant une transformation de la voix, des • instruments et/ou du matériel électronique en direct. En s'appuyant sur les développements historiques, l'avancement technologique, l'esthétique, l'apport de différents protagonistes d'importance, ce document cherche à aider les chanteurs à acquérir une vision globale de ce champ d'intérêt dans le but d'encourager un intérêt pour la commande et l'interprétation d'oeuvres pour voix et traitement électronique en temps réel. Une partie importante de cette thèse a été consacrée à l'appendice recueillant les détails d'instrumentation, les prérequis techniques, les textes, les notes de programme et les coordonnés des éditeurs pour nombre d'oeuvres ayant été écrites pour voix et traitement électronique interactif. Afin de contribuer à la recherche et l'interprétation de ces oeuvres, ci-joint se trouve un document traitant des problématiques d'interprétation ainsi qu'un guide étape par étape aidant à l'apprentissage du répertoire contemporain en général et spécifique avec traitement électronique. Une analyse de trois oeuvres appartenant à ce genre est aussi présentée: « En Écho » de Philippe Manoury, « Erba nera che cresci segno nero tu vivi » de Mauro Lanza, ainsi qu'une oeuvre commandée spécialement pour cette étude, « Avant la larme» de David Adamcyk. • • Acknowledgements I have spent the past three years working and studying at McGill University, and it has been an enormously fulfilling academic experience. I wish to express my deepest gratitude to the many people who have helped me during the preparation of this thesis. My thesis advisor, Sean Ferguson is a fantastic editor. He has met with me countless times over the past year, and has been a great inspiration to me on this tremendous academic quest. My voice teacher, Joanne Koloyjmec, has continued to believe in me, and has brought my voice to a level I didn't know possible. Thanks to Helene Drouin for patiently answering all of my questions, Joe Malloch for being the greatest technician one can work with, and Dean McLean for always showing enthusiasm towards my studies. I would also like to acknowledge the staff of the McGill Digital Composition Studio, the Marvin Duchow Music Library and the McGill Conservatory of Music for consistently supporting my musical and academic ventures. Several people have helped proofread this paper, including David Birnbaum, Irene Feher, Kojiro Umezaki, and Eleanor Stubley, Director of Graduate Studies. Thank you all for your extremely valid comments. I would also like to warmly acknowledge the assistance I received from the composers included in the index. Their detailed responses were invaluable to my research. Special thanks to Morton Subotnick, Joan La Barbara, and Mauro Lanza for taking the time to speak with me at great length about their work. I'd also like to specially mention David Adamcyk, who composed a fantastic piece for me, and has been a tremendous resource during my research. • I would like to give a big hug to my sister Kate for being a great listener, and a beautiful person. I'd also like to give a special thanks to Steph for helping me get through my degree, and for being a faithful friend, confidant, and partner in crime. Finally, I would like to thank my parents, Marianne and Emanuel Klein. My mom spent countless hours driving me to voice lessons, piano lessons and horseback riding lessons, and teaching me to Lindy Hop. She always has a smile, a hug, and a home-cooked meal waiting for me when I come home. And most of all, an enormous thanks to my dad, my editor, my technical support, my friend, and my mentor. He has been there for me through a thousand phone calls, never tires of my endless questions, and is truly the smartest man I know. Without their love, unending support, boundless energy and steadfast advice, I would not be where I am today. This thesis is dedicated to my amazing parents. • • Table of Contents Chapter 1: Introduction ...................................................................................................................... 3 Chapter 2: History of voice and electronics ..................................................................................... 6 2.1 Early electronics ........................................................................................................................ 6 2.1.1 Influence of Futurism....................................................................................................... 6 2.2 Early electronic instruments coupled with voice ................................................................. 7 2.3 Post-war technological advances ............................................................................................ 8 2.4 Early live electronics and voice ............................................................................................... 9 2.4.1 Overview ............................................................................................................................ 9 2.4.2 Luigi Nono ....................................................................................................................... 10 2.4.3 Morton Subotnick ........................................................................................................... 11 2.4.4 Joan La Barbara ............................................................................................................... 12 Chapter 3: Development of computer-based live electronics (1967-1990) ............................. 14 3.1 Early technological developments ....................................................................................... 14 3.2 Technological advancements of the 1980s .......................................................................... 15 3.2.1 Overview .......................................................................................................................... 15 3.2.2IRCAM 4X Synthesizer.................................................................................................. 16 3.2.3 MIDI ................................................................................................................................. 16 3.2.4 Score following ................................................................................................................ 17 • 3.3 Developments in interactive environments ........................................................................ 18 3.3.1 HMSL................................................................................................................................ 18 3.3.2 David Zicarelli ................................................................................................................. 19 3.3.3 Interactor .......................................................................................................................... 19 3.3.4 I<Cvma ................................................................................................................................. 20 3.3.5 Cypher............................................................................................................................... 20 3.3.6 .tv1ax .................................................................................................................................... 21 Chapter 4: Current trends in computer-based live electronics (1990-present) ......................... 23 4.1 Live versus interactive: deftning terms ................................................................................ 23 4.1.1 Live electronics ................................................................................................................ 23 4.1.2 Interactive electronics ....................................................................................................
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