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Networks of Liveness in Singer-Songwriting

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Networks of Liveness in Singer-Songwriting Networks of Liveness in Singer-Songwriting: A practice-based enquiry into developing audio-visual interactive systems and creative strategies for composition and performance. Figure 1: Performance of Church Belles at Leeds International Festival of Artistic Innovation, 2016. Photo by George Yonge. Used with permission. Simon Waite P11037253 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy October 2018 Abstract This enquiry explores the creation and use of computer-based, real-time interactive audio- visual systems for the composition and performance of popular music by solo artists. Using a practice-based methodology, research questions are identified that relate to the impact of incorporating interactive systems into the songwriting process and the liveness of the performances with them. Four approaches to the creation of interactive systems are identified: creating explorative-generative tools, multiple tools for guitar/vocal pieces, typing systems and audio-visual metaphors. A portfolio of ten pieces that use these approaches was developed for live performance. A model of the songwriting process is presented that incorporates system-building and strategies are identified for reconciling the indeterminate, electronic audio output of the system with composed popular music features and instrumental/vocal output. The four system approaches and ten pieces are compared in terms of four aspects of liveness, derived from current theories. It was found that, in terms of overall liveness, a unity to system design facilitated both technological and aesthetic connections between the composition, the system processes and the audio and visual outputs. However, there was considerable variation between the four system approaches in terms of the different aspects of liveness. The enquiry concludes by identifying strategies for maximising liveness in the different system approaches and discussing the connections between liveness and the songwriting process. 2 Acknowledgements Thank you: Joshua Banks Mailman, Carl Barton, Nic Collins, Nuno Correia, Aaron Dolton, Diego Garro, Arne Eigenfeldt, Robby Elson, Marc Estibeiro, Matt Evans, Dave Hickman, Paul Hodson, Andrew Johnston, Ben Mahoney, Jo Mahoney, Sally Martin, Nick McCabe, Ben McManus, Arthur Money, John Mullaney, Dave Newman, Garth Paine, Justin Paterson, Dave Payling, Carl Plant, Ben Ramsay, Scott Ralph, Matt Robinson, Paul Rogers, Doug Rouxel, Miroslav Spasov, Simon Waters, Jon Wilkinson, Victor Zappi, The MTI community and the DMU Graduate School, the guys down south, the wOnK massive, kindred spirits at InMusic, Loop, NIME, Noisefloor and Sonorities, and my colleagues, collaborators, students and teachers. Particular thanks to: Alex Hough for his assistance in filming the portfolio; Pete and Roxana Vilk for their contributions to I Begin Where You End; Darren Washington and Toby Tomlins for the images in Kafka-Esque; John and Mary Waite for their stories in Church Belles; Kerrie Frances for the perspective on Leave My Room; Sebastian Cipolla and the Cottage Laundry for the samples in Broken Starling; Martin Backes, Ben Bengler, chaonatic, Marco Marchini, Ben Neill, Davide Quayola and George Yonge for the photographs; Bret Battey, Pete Batchelor and Simon Emmerson for their guidance; and Staffordshire University for the financial and logistical support. Special thanks to John Richards. Extra special thanks to Kerrie and Jude. Dedicated to the memories of Jean Miller (1925-2018) and Paul Murfin (1973-2011). 3 Contents Portfolio contents ....................................................................................................................... 11 1. Introduction ........................................................................................................................ 12 1.1. Overview, definitions and rationale ....................................................................... 12 1.1.1. Overview ............................................................................................................................. 12 1.1.2. Interactive systems ............................................................................................................. 12 1.1.3. Songwriting and the use of interactive systems ................................................................ 15 1.1.4. Liveness .............................................................................................................................. 16 1.1.5. Previous work ..................................................................................................................... 19 1.2. Research aims and artistic goals ............................................................................ 20 1.2.1. Research aim ...................................................................................................................... 20 1.2.2. Research questions ............................................................................................................ 21 1.2.2.1. How does the use of interactive systems impact on the songwriting process? .......... 21 1.2.2.2. How does the use of interactive systems in songwriting impact on liveness? ............ 22 1.3. Method ................................................................................................................... 23 1.3.1. Practice-based research methodology .............................................................................. 23 1.3.2. Technical and theoretical constraints ................................................................................ 24 1.3.2.1. Software development tools ......................................................................................... 24 1.3.2.2. System hardware ........................................................................................................... 25 1.3.2.3. Audio and visual outputs ............................................................................................... 26 1.3.2.4. System design ................................................................................................................ 26 2. Background ......................................................................................................................... 28 2.1. Interactive systems and the songwriting process ................................................. 28 2.1.1. System building as composition ......................................................................................... 28 2.1.2. Overview of the songwriting process ................................................................................ 29 2.1.3. Implementing interactive systems at different stages of the process .............................. 31 4 2.1.4. Combining interactive system output with popular music features ................................. 32 2.1.5. Combining electronic system output with human instrumental/vocal sounds ................ 34 2.2. Interactive systems and liveness ........................................................................... 36 2.2.1. Spatio-temporal liveness .................................................................................................... 36 2.2.2. Corporeal liveness .............................................................................................................. 38 2.2.3. Interactive liveness ............................................................................................................. 41 2.2.4. Aesthetic liveness ............................................................................................................... 44 3. The portfolio ....................................................................................................................... 47 3.1. Portfolio narrative and summary ........................................................................... 47 3.2. ‘Explorative-generative’ pieces .............................................................................. 49 3.2.1. Introduction and background ............................................................................................ 49 3.2.1.1. Grid-based systems in live electronic music ................................................................. 49 3.2.1.2. Emergence through intermodulation ............................................................................ 50 3.2.2. System architecture ........................................................................................................... 51 3.2.2.1. A complex sequencing tool ............................................................................................ 51 3.2.2.2. System visuals ................................................................................................................ 53 3.2.3. Rows, Columns, Collisions .................................................................................................. 54 3.2.3.1. Overview and description .............................................................................................. 54 3.2.3.2. Composition process ..................................................................................................... 54 3.2.3.3. Conclusions .................................................................................................................... 55 3.2.4. I Begin Where You End ....................................................................................................... 56 3.2.4.1. Overview and description .............................................................................................
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