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Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic

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Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and “Tape” A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Keyboard Studies of College-Conservatory of Music 2007 by Shiau-uen Ding B.F.A National Taiwan Normal University, 1998 M.M. University of Cincinnati, 2001 Committee Chair: Mara Helmuth, D.M.A. ABSTRACT Music reflects the society and technology of its age. For 21st century pianists, in addition to mastering traditional solo piano and chamber repertoire, cultivating skills in performing new music and electro-acoustic music is necessary to adapt a centuries-old instrument to contemporary musical languages, aesthetics and technologies. Numerous well-known pianists have specialized in acoustic new music. The electro- acoustic music world, though, has not attracted equally prominent pianists/composers, and in general not enough pianists have specialized in electro-acoustic music. Within the field of electro-acoustic music, the genre of music for acoustic instrument(s) and tape has generated less interest recently than that using real-time sound processing. One reason for this neglect may be the mistaken belief that a fixed “tape” part does not allow for enough performance interaction and hence reduces musicality. This document investigates a number of pieces for piano and tape with respect to their performance practice, to serve a pedagogical function for both pianists and composers in both technical and aesthetic terms, and ultimately argues that music for acoustic instrument(s) and tape remains a flexible and musically valid genre. The repertoire examined includes Christopher Bailey’s Balladei, Luigi Nono’s …sofferte onde serene…, Mario Davidovsky’s Synchronisms No. 6, Jonathan Harvey’s Tombeau de Messiaen, James Mobberley’s Caution to the Winds and Into the Maelstrom, and Katharine Norman’s Trying to Translate. These works are chosen as examples of four distinct types of music for instrument(s) and tape, categorized by the kind of interaction evident between the tape and acoustic parts. The research method includes interviews with pianists specializing in electro-acoustic music, critical reflection on my own experience of performing, and interviews with living composers whose pieces are included in this document. © 2007 Shiau-uen Ding. All rights reserved. ACKNOWLEDGMENTS First of all, thanks to my committee, who have also been my mentors over the past years, Dr. Mara Helmuth, Mr. Eugene Pridonoff, and Dr. Steven Cahn, for your patience and valuable guidance on my thesis. Thanks to Dr. Helmuth for encouraging me to write and publish outside of course work and for supporting me in the computer music society. Thanks to Mr. and Mrs. Pridonoff for directing me to understand music with true life, heart and appreciation, and for making me believe in myself as a pianist. Also, huge thanks to Alan Bern for being my wizard on music, writing, directorship, creation, and life. Last but not the least, special thanks to my family for unconditional backing and love, and for always being proud of me, even though it took me so many years to finish my degree and especially because of the fact that I started digging into contemporary music, which they don’t quite know how to swallow. PREFACE Music reflects the society and technology of its age. For 21st century pianists, in addition to mastering traditional solo piano and chamber repertoire, cultivating skills in performing new music and electro-acoustic music is necessary to adapt a centuries-old instrument to contemporary musical languages, aesthetics and technologies. Numerous pianists have specialized in acoustic new music, including Emanuel Ax and Paul Jacobs, as well as pianists/composers, such as Frederic Rzewski, Moritz Eggert, and Gao Ping. The electro-acoustic music world, though, has not attracted equally prominent pianists/composers, and not enough pianists have specialized in electro-acoustic music. Possibly the best-known pianist of electro-acoustic music is Philip Mead in the United Kingdom, who has commissioned works from Katharine Norman (Trying to Translate), Russell Pinkston (TaleSpin), Jonathan Harvey (Tombeau de Messiaen), Denis Smalley (Piano Nets), and others. Additionally, several well-known pianists have premiered electro-acoustic pieces or for whom composers have written pieces, for example, Maurizio Pollini, for whom Luigi Nono wrote …sofferte onde serene… However, except Mead, their careers have not focused significantly on electro-acoustic music. In contrast, flutists Elizabeth McNutt and Margaret Lancaster, clarinetists Gerald Errante and Esther Lamneck, and the violinist Mari Kimura in the United States have focused a significant part of their careers on electro-acoustic music. The purpose of this document is to investigate a number of pieces for piano and tape with respect to their performance practice, to serve a pedagogical function for both pianists and composers in both technical and aesthetic terms. The research method includes interviews with pianists specializing in electro-acoustic music, critical reflection on my own experience of performing, and interviews with living composers whose pieces are included in this document, if applicable, so that performer and composer perspectives may complement each other. CONTENTS INTRODUCTION Defining “Tape” ……………………………………………………………………......... 2 Journals on Computer Music ……………………………………………………………. 2 “Live Element” ………………………………………………………………………...... 3 RHYTHMIC RELATIONSHIPS BETWEEN THE PIANO AND TAPE Choice of Repertoire …………………………………………………………………….. 5 Synchronization with the Tape ………………………………………………………….. 5 Rhythmic Interaction Type 1 – Independent with Sectional Synchronization ………….. 7 Rhythmic Interaction Type 2 – Free Rhythm with Relative Synchronization …………. 15 Rhythmic Interaction Type 3 – Free Time within Strict Synchronization …………....... 19 Rhythmic Interaction Type 4 – Steady Strict Rhythmic Relationship ………………… 31 CONCLUSION ………………………………………………………………………………… 51 BIBLIOGRAPHY…………………………………………………………………………….… 54 1 INTRODUCTION Defining “Tape” Electro-acoustic music is music “in which electronic technology, now primarily computer-based, is used to access, generate, explore and configure sound material, and in which loudspeakers are the prime medium of transmission.”1 The word “tape” here is a general term designating a fixed format originally recorded and played back on magnetic tape, nowadays utilizing CD for stereo works, or DVD2 or digital tape for multichannel formats. The tape part can be made with synthesized sound (historically known as elektronische Musik), recorded sound (musique concrète) with or without sound processing, or both. In contrast to real-time sound processing, the tape part is fixed. Journals on Computer Music The relevant journals for this research include Computer Music Journal (4 issues per year), Organised Sound (3 issues per year), International Computer Music Conference Proceedings (1 issue per year)3, and Array (associated with the International Computer Music Association). Most of the articles in these journals have been written by composers and on the subject of technology, analysis and reviews of music/books, because the computer music world 1 Simon Emmerson and Denis Smalley, “Electro-acoustic music,” Grove Music Online ed. L. Macy; available from http://www.grovemusic.com.proxy.libraries.uc.edu; Internet; accessed 11 November 2003. 2 DVD format may be used for multi-channel works. 3 International Computer Music Conference Proceedings; available from http://ets.umdl.umich.edu/i/icmc/; Internet; accessed 17 October 2006. “The Proceedings is the collection of peer-reviewed papers and studio reports presented at each ICMC.” 2 tends to be rather composer-oriented. Most articles on the subject of performance focus on real- time digital processing of music rather than works for tape and instrument(s), probably because real-time interaction utilizes relatively new, rapidly evolving technologies, and very different, non-traditional performing approaches. “Live Element” Music for instrument(s) and tape has been accused of being mechanical, non-spontaneous and old-fashioned.4 Many people overlook the rich variety of musicality inherent in interactive works for live acoustic instruments and tape. With acoustic instrumental performance as a “live element,” music for instruments and tape may offer a high degree of interaction between players and audience, providing the excitement that Miller Puckette calls “an essential part of ‘real’ music.” 5 As well as categorizing and discussing kinds of interaction in works for instrument(s) and tape, this document suggests practices to both composers and performers that may maximize the interactivity between the live and tape parts and consequently the musicality of a performance, overcoming the apparent inflexibility and limitations of the genre. The suggestions for composers include: • Sufficiently detailed notation of information 4 Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, N.J.: Prentice-Hall, Inc., 1997), 69-70. Elizabeth McNutt, “Performing Electroacoustic Music: A Wider View of Interactivity,” Organised Sound 8 (December 2003): 299; available from http://journals.cambridge.org/action/displayJournal?jid=OSO; Internet; accessed 4 September 2004. 5 Miller Puckette, “Something Digital,”
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