MAD SCIENTIST MACHINE: A TELEMATIC CONDUCTION EXPERIMENT by Stefan Smulovitz B.S. – Biochemistry, University of Washington 1994 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS In the School for the Contemporary Arts © Stefan Smulovitz 2010 SIMON FRASER UNIVERSITY Summer 2010 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Stefan Smulovitz Degree: Master of Fine Arts Title of Thesis: Mad Scientist Machine: a telematic conduction experiment Examining Committee: Chair: Steven Hill Assistant Professor School for the Contemporary Arts ______________________________________ Owen Underhill Senior Supervisor Professor School for the Contemporary Arts ______________________________________ Barry Truax Supervisor Professor School of Communication ______________________________________ Martin Gotfrit Supervisor Professor School for the Contemporary Arts ______________________________________ Kenneth Newby External Examiner Adjunct Professor – Creative Studies University of British Columbia Kelowna, BC Canada Date Defended/Approved: June 22, 2010 ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author’s written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Last revision: Spring 09 ABSTRACT The Mad Scientist Machine is a software/hardware system allowing a user (conductor/composer) to organize a group of players in a structured improvised performance. A local or remote user can utilize the software to control an LED light that is placed in front of each performer. Each colour indicates a different performance instruction. For instance, white signals long tones, whereas green indicates to play noise. The Mad Scientist Machine is an experiment at creating a balance between freedom and structure and at the same time creates a window for the audience into the process of improvisation in music. Transforming a composer’s ideas into specific light cues for an ensemble of players, the Mad Scientist Machine is a combination of a game structure and compositional system. Keywords: Improvisation, Interactive, Telematic Performance, Game Structure, Compositional System iii DEDICATION The Mad Scientist Machine is dedicated to all the teachers in my life — to those that taught me violin, viola, and bass, to those that opened the door to improvisation, to the conductors I had in middle school and high school, to the record shop owners who exposed me to all kinds of music, to the teachers that taught me computer programming, to all the amazing musicians I have played with through the years, to the faculty at SFU who have inspired me to think in new ways, to the donors that have supported me, to all the amazing creative folk I have worked with in dance, theatre and art, and to my parents who supported and instilled in me such a desire to see the world in a unique way. Most importantly I’d like to dedicate this project to my wife Viviane Houle, who is continually teaching me to see things in a new light. iv ACKNOWLEDGEMENTS Thank you to Owen Underhill, Barry Truax, Martin Gotfrit, Laura Marks, Judy Radul, Jin-me Yoon, Henry Daniel, Colin Browne, and D.D. Kugler for their continual feedback and intellectual stimulation during my MFA program. Thanks to visiting lecturers, John Crawford and Mark Coniglio, who provided many interesting insights. Thank you to Arlene Sullivan, Laura Sparrow, and Noni Fidler for helping me through the administrative jungle. Thank you to Pauline Oliveros, John Oswald, Paul Cram, and Lisle Ellis for being the first set of conductors and for their feedback on the Mad Scientist Machine. Thanks to Pessi Parviainen in Finland for helping me test the system. Thank you to Coat Cooke and Orkestra Futura for believing in the project and performing with such vibrancy and skill. Thank you to the Elsie Jang Award for financial support. Thank you to my parents for their support. Thank you to Viviane Houle for believing in the Mad Scientist in me. v TABLE OF CONTENTS Approval ...............................................................................................................ii Abstract ...............................................................................................................iii Dedication ...........................................................................................................iv Acknowledgements.............................................................................................v Table of Contents ...............................................................................................vi List of Figures...................................................................................................viii Chapter 1: Direction, Content, and structure in improvised music................1 Introduction.........................................................................................................1 Improvised Music ...............................................................................................1 Direction ............................................................................................................3 Content ............................................................................................................7 Structure ..........................................................................................................10 Instant Composition..........................................................................................13 Better Music? ...................................................................................................16 Concluding Comments .....................................................................................19 Chapter 2: Technology, Improvisation, and Conduction...............................23 Introduction.......................................................................................................23 Technology and Improvisation .........................................................................23 Pauline Oliveros – I of IV (1966) ......................................................................24 Max Mathews – GROOVE system (1967) & Radio Baton (1987) ...................25 Joel Chadabe – Solo (1978).............................................................................28 Stefan Smulovitz – Kenaxis (2000 – present) ..................................................30 Conduction .......................................................................................................33 Earle Brown – Available Forms 1 & 2 (1961 – 1962) .......................................33 John Zorn – Cobra (1984) ................................................................................35 Butch Morris – Conduction (1985 – present)....................................................36 Walter Thompson – Soundpainting ..................................................................38 Concluding Comments .....................................................................................39 Chapter 3: The Mad Scientist Machine............................................................40 Introduction.......................................................................................................40 The Performance..............................................................................................41