The Hyper(Sonal) Piano Project

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

View Full Text

Details

  • File Type
    pdf
  • Upload Time
    -
  • Content Languages
    English
  • Upload User
    Anonymous/Not logged-in
  • File Pages
    161 Page
  • File Size
    -

Download

Channel Download Status
Express Download Enable

Copyright

We respect the copyrights and intellectual property rights of all users. All uploaded documents are either original works of the uploader or authorized works of the rightful owners.

  • Not to be reproduced or distributed without explicit permission.
  • Not used for commercial purposes outside of approved use cases.
  • Not used to infringe on the rights of the original creators.
  • If you believe any content infringes your copyright, please contact us immediately.

Support

For help with questions, suggestions, or problems, please contact us