Amir Thesis Final

Total Page:16

File Type:pdf, Size:1020Kb

Amir Thesis Final Composing Circuits, Systems and Interaction Amir Bolzman 1 Masterʼs Thesis - Institute of Sonology - May 2017 Table of Contents INTRODUCTION .................................................................................................................... 4 From instrument design towards composed systems and interaction .......................................... 4 System and Interaction ................................................................................................................. 5 1. Sonic Art Union as a Case Study ....................................................................................... 8 1.1. Background motivation .......................................................................................................... 8 1.2. Origins oF the union ................................................................................................................ 8 1.3. From an Object to a Collaborator ......................................................................................... 10 1.4. Life in the Machine ............................................................................................................... 11 1.5. Acoustic Feedback – Conductive PerFormer.......................................................................... 12 1.6. Collaborating – Cybersonic approach ................................................................................... 14 1.7. Community oF Devices .......................................................................................................... 15 1.8. Democratic Musical Society .................................................................................................. 16 1.9. Large Body Orchestras .......................................................................................................... 17 1.10. String Quartet Describing the Motions oF Large Real Bodies .............................................. 18 1.12. In Sara, Mencken, Christ and Beethoven There Were Men and Women ............................ 21 1.13. SAU - Comparison and Conclusions .................................................................................... 23 1.14. Performer in the system ..................................................................................................... 23 2. ShuShu Etude Series ....................................................................................................... 25 2.2. Background ........................................................................................................................... 25 2.3. ShuShu – Introduction .......................................................................................................... 26 2.4. System .................................................................................................................................. 27 2.4.1. Circuit - DSP Model ......................................................................................................... 28 2.4.2. Interaction ...................................................................................................................... 29 2.4.3. Performer ....................................................................................................................... 29 2.5. System and Form .................................................................................................................. 30 3. ShuShu I .......................................................................................................................... 31 3.1. Background ........................................................................................................................... 31 3.2. Overview .............................................................................................................................. 31 3.3. Circuit ................................................................................................................................... 32 3.4. ‘Bird-Synth' ........................................................................................................................... 33 3.5. Granular processes ............................................................................................................... 34 3.6. Amplification and Spatialisation ........................................................................................... 34 3.7. PerFormance and Conclusion ................................................................................................ 35 4. ShuShu II For two ampliFied string instruments, accordion and computer .................... 37 4.1. Background ........................................................................................................................... 37 4.2. Overview .............................................................................................................................. 37 4.3. Main ideas ............................................................................................................................ 38 4.3.1. Cellos .............................................................................................................................. 38 4.3.2. Part A .............................................................................................................................. 38 4.3.3. Part B .............................................................................................................................. 39 4.3.4. Accordion........................................................................................................................ 40 4.4. Score and Structure .............................................................................................................. 41 4.4.1 Part A ............................................................................................................................... 42 2 4.4.2. Part B .............................................................................................................................. 42 4.4.3. Ending - Part A’ ............................................................................................................... 43 4.5. Electronic System - The Matrix ............................................................................................. 43 4.6. Amplification and Spatialisation ........................................................................................... 44 4.7. Conclusions ........................................................................................................................... 45 4.8. Concert notes ....................................................................................................................... 45 5. I’m a M.F Singing Bird ..................................................................................................... 46 5.1. Background ........................................................................................................................... 46 5.2. Overview .............................................................................................................................. 46 5.3. Rhythmical Feedback ............................................................................................................ 46 5.4. Electronic system .................................................................................................................. 47 5.5. Compositional process .......................................................................................................... 48 5.6. Conclusions ........................................................................................................................... 49 6. SchlagerGabber .............................................................................................................. 50 6.1. Background ........................................................................................................................... 50 6.2. Background ........................................................................................................................... 50 6.3. Electronic system .................................................................................................................. 51 6.4. PerFormance and Structure .................................................................................................. 42 6.5. Conclusion ............................................................................................................................ 53 6.6. Program Notes (Original Version) ......................................................................................... 53 7. The Visit oF the Iraqi Delegation (work in progress) ....................................................... 54 7.1. Overview .............................................................................................................................. 54 7.2. Background ........................................................................................................................... 56 7.2. Maqamat .............................................................................................................................. 56 7.3. The Visit oF the Iraqi Delegation - Sketches .......................................................................... 57 Conclusions ........................................................................................................................ 59 Future work .......................................................................................................................
Recommended publications
  • 'Semiconducting – Making Music After the Transistor'1 Nicolas Collins
    ‘Semiconducting – Making Music After the Transistor’1 Nicolas Collins Abstract Why does ‘Computer Music’ sound different from ‘Electronic Music’? The author examines several traits that distinguish hardware from software in terms of their application in music composition and performance. He discusses the often subtle influence of these differences on various aspects of the creative process, and presents a number of inferences as to the ‘intrinsic’ suitability of hardware and software for different musical tasks. His observations are based on several decades of experience as a composer and performer, and in close engagement with the music of his mentors and peers. Introduction At some point in the late 1980s the composer Ron Kuivila proclaimed, ‘we have to make computer music that sounds like electronic music.’2 This might appear a mere semantic distinction. At that time the average listener would dismiss any music produced with electronic technology – be it a Moog or Macintosh – as ‘boops and beeps.’ But Kuivila presciently drew attention to a looming fork in the musical road: boops and beeps were splitting into boops and bits. Over the coming decades, as the computer evolved into an unimaginably powerful and versatile musical tool, this distinction would exert a subtle but significant influence on music. Kuivila and I had met in 1973 at Wesleyan University, where we both were undergraduates studying with Alvin Lucier. Under the guidance of mentors such as David Tudor and David Behrman, we began building circuits in the early 1970s, and finished out the decade programming pre-Apple microcomputers like the Kim 1. The music that emerged from our shambolic arrays of unreliable homemade circuits fit well into the experimental aesthetic that pervaded the times (the fact that we were bad engineers probably made our music better by the standards of our community).
    [Show full text]
  • Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier
    Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier Peter John Blamey Doctor of Philosophy University of Western Sydney 2008 Acknowledgements I would like to thank my principal supervisor Dr Chris Fleming for his generosity, guidance, good humour and invaluable assistance in researching and writing this thesis (and also for his willingness to participate in productive digressions on just about any subject). I would also like to thank the other members of my supervisory panel - Dr Caleb Kelly and Professor Julian Knowles - for all of their encouragement and advice. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .......................................................... (Signature) Table of Contents Abstract..................................................................................................................iii Introduction: Simple sounds, simple shapes, complex notions.............................1 Signs of sines....................................................................................................................4 Acoustics, aesthetics, and transduction........................................................................6 The acoustic and the auditory......................................................................................10
    [Show full text]
  • Experimental Music | Grove Music
    Experimental music Cecilia Sun https://doi.org/10.1093/gmo/9781561592630.article.A2224296 Published in print: 26 November 2013 Published online: 10 July 2012 A diverse set of musical practices that gained momentum in the middle of the 20th century, characterized by its radical opposition to and questioning of institutionalized modes of composition, performance, and aesthetics. 1. Definitions. Initially a predominantly American phenomenon, the varied music styles that have been called experimental do not share one defining compositional characteristic. On the contrary, the experimental label has encompassed a wide array of music: from the indeterminacy of John Cage to the completely determined music of early minimalism, from the singular event pieces of George Brecht to La Monte Young’s eternal music, and from the anarchic theatricality of a Fluxus “happening” to the focused collective serenity of Pauline Oliveros’s Sonic Meditations. Sharing a rejection of musical institutions and institutionalized musical values, experimental composers worked outside the European art music mainstream, finding an alternate path to the then-sanctioned choice between neo-classicism and serialism. Although there have been fruitful interactions between experimentalism and modernism (most notably in Cage’s seminal appearance at Darmstadt in 1958), experimental music has frequently been defined in opposition to the values and aesthetics of the modernist avant-garde. David Nicholls, for one, has drawn the line between the “experimental” and the “avant-garde”
    [Show full text]
  • AMERICAN OPERA: ROBERT ASHLEY a Celebration PREFACE
    The Department of Music, Wesleyan University Movement House and Performing Artservices present AMERICAN OPERA: ROBERT ASHLEY A Celebration PREFACE Throughout a long career Robert Ashley did an astonishing thing. He turned speech into music. The origins of speech and music are mysterious. One cannot be sure which came first. One can imagine that the first human utterances were intoned, chanted, if not melodic. Song may have been the precursor of speech. Or they both may have developed simultaneously. It is lovely to imagine early humans singing to each other. Ashley’s speech-song seems to me to be a combination of both. It is fascinating to hear the characters in Bob’s operas singing and talking at the same time. The listener’s attention moves to three places: the meaning of the words, the melody they create and a combination of both. Basically, Ashley regarded speech as music. I remember standing with him at gatherings after concerts in the Midwest, simply listening to people talking. He once remarked that, to his ears, the dull roar of many people talking was symphonic. Once as an accompaniment to a Merce Cunningham event in New York, Bob simply assembled a group of friends to sit on stage and have a conversation. There was no text, no instructions, no enhancements, no musical accompaniment. It was amazing just how riveting this experience was. One left the event wondering how Bob could have made this happen. – Alvin Lucier, March 12, 2014 (for Frieze) Cover photo © Paula Court 1985 WEEKEND PROGRAM Organized by Alvin Lucier, Mimi Johnson, Paula Matthusen Friday, March 2, 2018 at 8:00 p.m.
    [Show full text]
  • Wire No.234 Revised
    THE WIRE WWW.THEWIRE.CO.UK ISSUE 234 AUGUST 2003 Robert Ashley Meet the electronic pioneer who took opera into the multimedia age. By Thom Holmes Built for Speed Textually hyperdense and accellerated for the televisual age, the multimedia music theatre of composer Robert Ashley has been called the future of opera, as well as the first to exploit the unique rhythms of the American voice. Following this year’s premiere of his new work Celestial Excursions, Thom Holmes meets the composer to discuss his founding role in the Sonic Arts Union, his love of TV, and his celebration of life on the margins. Photos: Chris Buck other for their living space. Today, the windows are open due to the warm weather. Ashley’s computers, keyboards and recording equipment are clustered in the centre of the space underneath a marquee-like canopy. The tent is there to protect the equipment from falling crumbs of concrete and ceiling plaster while the roof undergoes repairs. Despite the disruption, Ashley never loses his train of thought.’“That’s why so much popular music has to do with love,” he continues. “It puts a label on it and when it’s good, that label really works. It can’t do anything but that, no matter how hard people try. No matter how hard Bob Dylan tried or John Lennon tried, you can’t make popular music into anything except a labelling of your own experience that you never realised needed a label.” He sits up straight and places the palms of his hands firmly on the table in front of him.
    [Show full text]
  • 3 Live Electronic Music
    P1: SFK/SFV P2: SFK 9780521868617c03.xml CUUK1005B-Collins July 24, 2007 14:52 3 Live electronic music nicolas collins It is perhaps a general human habit to view the technological and the organic as opposites. It is certainly the case that the phrase ‘live electronic music’ strikes many a music fan as oxymoronic. Isn’t the purpose of electronics to do things for us so we don’t have to do them ‘live’ ourselves? To record, per- fect and play back performances so we can listen while cycling stationarily? To facilitate the creation of inhumanely intricate compositions that spew themselves out of speakers at the touch of a button, instead of all that messy sliding about on strings? While there is no question that composers of tape music and computer music (and a fair number of pop music producers as well) have employed electronics to exactly these ends, electronic technology has another, and possibly more profound power: enabling new and volatile connections. Don’t think Edison, think Alexander Graham Bell. Since the 1930s (well before the advent of tape) composers have been using this prop- erty of electronics to produce not just new sounds but fundamentally new approaches to organising the sonic world. Pre-history Electronic music has its pre-history in the age of steam. In 1897 Thaddeus Cahill patented the Telharmonium, a machine that weighed in at over two hundred tons and resembled a power station more than a musical instru- ment. It generated sine tones with dynamos, played from an organ-like keyboard. Cahill understood that electricity could provide not only sound but a means of distribution as well: the Telharmonium’s sounds were car- ried over the telephone lines that were beginning to be laid in major cities, intended for playback through speaker systems in restaurants, hotel lobbies and homes of the rich.
    [Show full text]
  • Press Release
    MoMA EXHIBITION LOOKS AT MUSIC’S WIDE-RANGING INFLUENCE ON ARTISTS, ACROSS MEDIA, BEGINNING IN THE 1960s The Work of David Bowie, Laurie Anderson, Nam June Paik, and The Residents, Among Others, Brought Together in Looking at Music Looking at Music August 13, 2008—January 5, 2009 The Yoshiko and Akio Morita Gallery, second floor August 18—December 21, 2008 The Roy and Niuta Titus Theaters Press Preview: August 13, 2008, 9:30 a.m. to 10:30 a.m.; Screening at 10:30 a.m. NEW YORK, August 13, 2008—The Museum of Modern Art presents Looking at Music, an exhibition that explores music’s role in the interdisciplinary experimentation of the 1960s, when a dynamic cross-fertilization was taking place among music, video, installation, and what was known as “mixed media” art. In the decade between 1965 and 1975, an era of technological innovation fostered this radical experimentation, and artists responded with works that pushed boundaries across media. Comprising over 40 works from the Museum’s collection, the exhibition includes video, audio, books, lithographs, collage, and prints, by artists such as Laurie Anderson, Nam June Paik, Bruce Nauman, and John Cage. Their work in the exhibition is accompanied by related experimental magazines such as West Coast poet Wallace Berman’s Semina, along with drawings, prints, and photographs by John Cage, Jack Smith, and other radical thinkers. The exhibition, organized by Barbara London, Associate Curator, Department of Media, The Museum of Modern Art, is on view from August 13, 2008, to January 5, 2009; the accompanying film and video series in The Roy and Niuta Titus Theaters, which includes 12 programs of nearly 50 works of documentary and experimental films along with music videos, will be on view August 18 to December 21, 2008.
    [Show full text]
  • A Personal Reminiscence on the Roots of Computer Network Music
    A Personal Reminiscence on the Roots of Computer Network Music S C o T G R e S h am -L ancast e R This historical reminiscence details the evolution of a type of electronic music.” I would add the impact of Sonic Arts Union and the music called “computer network music.” Early computer network music ONCE festival in Ann Arbor in the late 1960s, which neces- had a heterogeneous quality, with independent composers forming sarily includes the contributions of Gordon Mumma, Alvin a collective; over time, it has transitioned into the more autonomous ABSTRACT form of university-centered “laptop orchestra.” This transition points to Lucier, Robert Ashley, David Behrman and, of course, David a fundamental shift in the cultural contexts in which this artistic practice Tudor. was and is embedded: The early work derived from the post-hippie, When I browse the ubiquitous music applications (iTunes, neo-punk anarchism of cooperatives whose members dreamed that Spotify, etc.) that are tagging audio files and examine the machines would enable a kind of utopia. The latter is a direct outgrowth choices for “electronic music,” I am mystified. The history of the potential inherent in what networks actually are and of a sense of that I have experienced over the last four decades is not rep- social cohesion based on uniformity and standardization. The discovery that this style of computer music-making can be effectively used as a resented at all. Cage, Xenakis, Stockhausen, etc., and their curricular tool has also deeply affected the evolution and approaches fundamental electronic music contributions are nowhere to of many in the field.
    [Show full text]
  • A Place to Ply Their Wares with Dignity: American Composer-Performers in West Germany, 1972
    The Twentieth Century and Beyond A Place to Ply Their Wares with Dignity: American Composer-Performers in West Germany, 1972 Amy C. Beal Downloaded from Reflecting on their careers at home and abroad, several American com- mq.oxfordjournals.org posers (including Earle Brown, Alvin Curran, Gordon Mumma, Frederic Rzewski, David Tudor, and Christian Wolff) cite German support that rewarded them generously for their work, kept them “in business,” and allowed them to “survive” professionally.1 In fact, West German individ- uals and institutions have played a leading role in the production and dissemination of postwar American experimental music—a tradition at Univ. of California, Santa Cruz on November 22, 2010 rooted in the music of Charles Ives, Henry Cowell, and John Cage. Especially since the 1950s, German engagements helped shape much of the history of that branch of composition and performance. The Ger- man reception of American music was not free of tension: in the 1950s German audiences came to know Cage’s ideas only cautiously, and some- times with great hostility; in the 1960s the West German new-music community polarized in vigorous acceptance or bitter rejection of those ideas. Despite years of official ambivalence about radical new composi- tions from the United States, performances of experimental music in- creased dramatically during the early 1970s.2 West German interaction with American experimental music between the end of World War II in 1945 and reunification in 1990 peaked, in a series of new-music festivals, in 1972. A handful of influential West German cultural administrators, music critics, composers, and performers deserve credit as champions of American experimentalism (see Table 1).
    [Show full text]
  • Program Notes
    Acknowledgements Many thanks to the people and organizations that have made this event possible: ● Conservatory of Music of Brooklyn College, Stephanie Jensen­Moulton, Chair ● The MFA programs in Sonic Arts and Media Scoring, Brooklyn College ● Brooklyn College Center for Computer Music (BC­CCM) ● H. Wiley Hitchcock Institute for Studies in American Music ● Professor Maria Conelli, Dean of the S chool of Visual, Media and Performing Arts, Brooklyn College ● The Wolfe Institute for the Humanities, Brooklyn College ● The CERF fund, Brooklyn College 1 Table of Contents Event Page A Short Biography of Pauline Oliveros 3 Symposium Overview 4 Maps and Directions to Event Locations 8 Organizers 10 Concert One Program 11 Program of Talks, Workshop, Panel 14 Concert Two Program 23 Biographies of Participants 27 2 Pauline Oliveros Photo by Paula Court PAULINE OLIVEROS was a senior figure in contemporary American music. Her career spanned over fifty years of boundary dissolving music making. In the '50s she was part of a circle of iconoclastic composers, artists, poets gathered together in San Francisco. Pauline Oliveros' life as a composer, performer and humanitarian was about opening her own and others' sensibilities to the universe and facets of sounds. Since the 1960's she influenced American music profoundly through her work with improvisation, meditation, electronic music, myth and ritual. Pauline Oliveros was the founder of "Deep Listening," which comes from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro­acoustics. Pauline Oliveros described Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing.
    [Show full text]
  • Works by Alvin Lucier + Record/Book Release
    1000 Dean St. #208 Brooklyn, NY 11238 718-330-0313 issueprojectroom.org Press Contact: Nick Scavo ​ [email protected] Works by Alvin Lucier + Record/Book Release: Oren Ambarchi and Gary Schmalzl, Ever Present Orchestra, Alvin Lucier Thursday, November 9th, 2017 - 8pm ISSUE Project Room 22 Boerum Place, Brooklyn, NY 11201 $20 / $15 ISSUE Members + Students Photo: Krisanne Johnson ​ Thursday, November 9th, ISSUE presents the second evening of a two day series observing the work of revolutionist American composer Alvin Lucier in partnership with Zürcher Hochschule Works by Alvin Lucier: Oren Ambarchi and Gary Schmalzl, Ever Present Orchestra, Alvin Lucier | Thursday, November 9th, 2017 | ISSUE Project Room der Kunste in Zurich, Switzerland (ZHDK). The occasion intersects both Lucier’s resonant history with ISSUE as well as ZHDK’s recent festival that celebrated Lucier’s 85th birthday. Held in October of 2016, ZHDK’s festivities were centered around three days of concerts, installations, workshops, and symposiums that featured Lucier and prominent figures such as Joan La Barbara, Charles Curtis, Stephen O’Malley, Oren Ambarchi, Gary Schmalzl, as well as many University students and faculty members spanning the disciplines of composition, music theory, musicology, sound studies, aesthetics, critical theory, and art history. ISSUE presents a crucial New York staging of the 2016 happenings, involving many of its participants, including Oren Ambarchi, Gary Schmalzl, and the University initiated Ever Present Orchestra, an ensemble dedicated to specifically performing Lucier’s work. The series also sees the publication of documents from the festival, including a box set that includes four LPs (12 “/ 180 gram), a CD, as well as a discursive publication of essays, interviews, scientific articles and archival photos edited by Bernhard Rietbrock.
    [Show full text]
  • Eshofar As a Culturally Specific Live Electronic Performance System
    10 eShofar as a Culturally Specific Live Electronic Performance System Robert Gluck University at Albany Email: [email protected] Live Electronic Performance Comes of Age Beginning in the 1980s and 1990s, Morton Subotnick, If John Cage’s landmark composition Imaginary Landscape Peter Beyls, Richard Teitelbaum, Tod Machover, (1939) marks the genesis of live electronic music, that Jon Rose, Pauline Oliveros, Paniaotis and David event initiated a field that is now approaching its 70th Gamper, Perry Cook, Dan Trueman, Curtis Bahn, anniversary. The field began in earnest in the 1960s, and others, began to combine electronics with acoustic with a goal of moving a studio-based discipline “out of instruments. the studios” (Chadabe 1997) and into concert and other performance settings. Pioneers included David Tudor; Electronic Music, Including Live Performance, David Behrman, Alvin Lucier, Gordon Mumma, and as an International Phenomenon Robert Ashley (the Sonic Arts Union); and Richard While the origins of electronic music are largely Western Teitelbaum, Alvin Curran, and Frederic Rzewski (Musica European and North American, the field, in fact, became Elettronica Viva). Live electronic performance restored an international phenomenon as early as the 1960s. to musical expression, and expanded upon, important (Gluck 2005: 4) Most international composers during features that historically characterized performance: the 1960s and 1970s trained in Paris, Cologne, or at spontaneity, performer-audience engagement, and the the Columbia-Princeton Center For Electronic Music association between visual elements (and, at times, cues) in New York. Their work generally reflected Western with sound. (Gluck 2005: 5) Revolutionary work using aesthetics, sonorities and musical structures. Among single-board computers in the late 1970s provided a next notable exceptions are Halim el-Dabh (Egypt), Darius stage in development of live electronic performance.
    [Show full text]