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The Hyper(Sonal) Piano Project

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The Hyper(Sonal) Piano Project Morten Qvenild The HyPer(sonal) Piano Project towards a (per)sonal topography of grand piano and electronics The HyPer(sonal) Piano Project towards a (per)sonal topography of grand piano and electronics [interactive pdf] Morten Qvenild This text, the albums Personal Piano and the Karman Line the HyPer(sonal) Piano and the final concerts at NMH 16-17 August 2016, materialize the artistic research project . The project has been conducted at the Norwegian Academy of Music (NMH) with support from the Norwegian Artistic Research Programme, from 2012 to 2016. Accessing audio and video material: Printed version: Find the artistic results, video and audio examples and other documentation lined up through this link. Follow the examples on a computer or tablet while reading. Interactivewww.mortyq.com/hpp/ PDF version: Click theView icons / Page throughout Display the/ Enable text. An Scrolling. internet connection is needed. Interactive Pdf must be read in Adobe Reader to ensure multimedial functionality. It is recommended to Credits:enable scrolling through clicking First supervisor: Henrik Hellstenius Second Supervisors: Øyvind Brandtsegg and Eivind Buene Cover photo by Jørn Stenersen, www.anamorphiclofi.com All other photo, audio and video recording/editing by Morten Qvenild, unless stated. © Morten Qvenild E-post: [email protected] Sats: 07 Media. Oslo, 2016 Contents I INTRO ....................................................................................................................6 ........................................................................................................................................................................................... ..........................................................................................................................................................................8 memory #1 ........................................................................................................................ 7 key questions ....................................................................................................................................................................... instrument setup (as of April 2016): .................................................................................................................10 me (and you).................................................................................................................................................................................11 what could artistic research ........................................................................................................................................................... be (to me)? 12 methods .....................................................................................................................................................................................13 hyper(sonal) piano 19 II ARTISTICterrain RESULTS ...............................................................................................2021 .................................................................................................................................................................... ................................................................................................................................................................... duetspersonal ........................................................................................................................................................................................ piano 22 the karman line ........................................................................................................................................................................................ 26 28 memory #2 III TRAILS ..................................................................................................................3130 ......................................................................................................................................................................... ........................................................................................................................................................................................ flow-friction 34 Trailsmemory on sounds #3 and sound-layers ................................................................................ 3937 ............................................................................................................................................. .............................................................................................. tonic – dystonic – complex ..................................................................................................................................................39 soft – loud / idiomatic ................................................................................................................................................................ – non idiomatic dynamics 41 one layer – many ........................................................................................................................................................................ layers 45 tuned – detuned ......................................................................................................................................................................... 48 bright – dark ........................................................................................................................................................................49 fine – coarse ......................................................................................................................................................................50 rest – motion ................................................................................................................................51 close – distant .......................................................................................................................................................52 far from source – close to source 53 ideaTrails – representationon composition .................................................................................................... 5554 .......................................................................................................................................... .............................................................................................................................................................. improvised – pre-conceived ...............................................................................................................................................................55 hiding – revealing .......................................................................................................................................................58 pattern – random 59 comfortableTrails on performance – uneasy ....................................................................................................6061 ...................................................................................................................................... .............................................................................................................................................................. playing – tweaking ........................................................................................................................................................................................ – listening 61 analytic – mindful 63 Trailsmemory on instrument #5 construction ................................................................................. 6564 ..................................................................................................................................................................... ................................................................................................................................................. safe – insecure ...............................................................................................................................................................65 interplay – internal play ..........................................................................................................................................................66 weight – function ........................................................................................................................................................68 function – flexibility .........................................................................................................................................................69 software – hardware ............................................................................................................................................................................71 acoustic – amplified 72 other trails 73 Morten Qvenild: The HyPer(sonal) Piano Project iii IV POETICS .............................................................................................................. 74 On artistic core ...............................................................................................................75 ........................................................................................................................................................................... ........................................................................................................................................................................
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