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Redesigning a Performance Practice: Synergising Woodwind Improvisation with Bespoke Software Technology

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Redesigning a Performance Practice: Synergising Woodwind Improvisation with Bespoke Software Technology Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 Redesigning a Performance Practice: Synergising Woodwind Improvisation with Bespoke Software Technology. Seán Mac Erlaine Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Music Education Commons, Musicology Commons, and the Music Performance Commons Recommended Citation MacErlaine, S. (2013) Redesigning a Performance Practice: Synergising Woodwind Improvisation with Bespoke Software Technology. Doctoral Thesis, Technological University Dublin. doi:10.21427/D7PS3G This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Redesigning a Performance Practice: Synergising Woodwind Improvisation with Bespoke Software Technology. Submitted to the Dublin Institute of Technology in candidature for the Degree of Doctor of Philosophy Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr. Mark Fitzgerald August 2013 Seán Mac Erlaine I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD, is entirely my own work and has not been submitted for assessment for any academic purpose other than in partial fulfillment for that stated above. Signature ______________________________________ Date ______________________________________ ii Contents List of Figures ........................................................................................................ v Acknowledgements ............................................................................................. vi Guide to Notation ............................................................................................... vii Abstract ............................................................................................................. viii Introduction ......................................................................................................... ix Methodology ....................................................................................................................... x Chapter One: New Tools in Improvised Music Performance. ................................. 1 Introduction ......................................................................................................................... 1 Shaping Technology ............................................................................................................. 3 The Studio ........................................................................................................................... 9 The Digital Revolution ....................................................................................................... 11 Aesthetics of Change ......................................................................................................... 12 Performing Electronics ...................................................................................................... 15 Chapter Two: Autoethnography .......................................................................... 19 Introduction ....................................................................................................................... 19 Examining a Practice: Moving Beyond Jazz ....................................................................... 21 Folk Influences ................................................................................................................... 24 Free Improvisation ............................................................................................................ 27 Electrifying The Acoustic – Extending The Instrument ...................................................... 28 Aesthetic Conceptions, A Personal Voice .......................................................................... 31 The Vocal in Instrumental Music ....................................................................................... 34 Microtonality and the Melodic Line .................................................................................. 36 Immersive Music ............................................................................................................... 38 Rhythmic Aesthetics .......................................................................................................... 43 Improvisation .................................................................................................................... 44 Solo Performance .............................................................................................................. 52 Contemporary Electronica ................................................................................................. 54 Chapter Three: Designing a New Performance Practice ....................................... 56 Introduction ....................................................................................................................... 56 Leveraging Technology ...................................................................................................... 58 Max: A New Computer Music Paradigm ........................................................................... 61 Redesigning a Performance Practice: Hardware ............................................................... 63 Redesigning a Performance Practice: Software ................................................................ 68 Interactivity ....................................................................................................................... 70 Chapter Four: Capturing Outputs ........................................................................ 75 Introduction ....................................................................................................................... 75 The Problems of Notation ................................................................................................. 77 The Recorded Artefact ...................................................................................................... 80 Documenting Performance ............................................................................................... 83 A Useful Analysis ............................................................................................................... 87 Listening, Looking .............................................................................................................. 92 Methodology ..................................................................................................................... 94 iii Chapter Five: Commentary on Performances ...................................................... 96 Introduction ....................................................................................................................... 96 Texture .............................................................................................................................. 96 Time ................................................................................................................................. 103 Movement ....................................................................................................................... 111 Pitch ................................................................................................................................. 116 Space ............................................................................................................................... 122 Performance Recordings ................................................................................................. 131 Conclusion ........................................................................................................ 136 Bibliography ..................................................................................................... 140 Webography: .................................................................................................... 150 Discography: ..................................................................................................... 152 Appendix A: Technical Details for Software and Hardware ................................ 154 Appendix B: Details of Performances ................................................................ 164 Appendix C: Compact Disc One - Software ........................................................ 168 Appendix D: Compact Discs Two, Three & Four - Audio Examples ..................... 169 iv List of Figures Figure G.1 Overview of non-standard notation used in dissertation .................................... vii Figure 3.1 Full DSP set-up ...................................................................................................... 56 Figure 3.2 Front view of Livid Code controller. ...................................................................... 65 Figure 3.3 Softstep foot controller ........................................................................................ 65 Figure 3.4 Outline schematic of hardware workflow ............................................................ 66 Figure 3.5 Isobel Audio’s baritone hemispherical speaker. ..................................................
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