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 .......................................................................................................................