Live electronics - muligheter og begrensinger
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Transcript of Live electronics - muligheter og begrensinger
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• Hva er Live Electronics?
• Instrumentet
• Musikeren
• Publikum
• Oppsummering
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HVA ER LIVE ELECTRONICS?
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Hva er Live Electronics?
• Musikkutøvelse i sanntid som inkluderer bruk av elektronikk
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Eks. 1: Bernhoft: Bernhoft - C'mon Talk (Live @ Lydverket)
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Hva er Live Electronics?
• Musikkutøvelse i sanntid som inkluderer bruk av elektronikk
• Lyd skapes og/eller bearbeides i sanntid ved hjelp av elektronikk.
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Eks. 2: Tone Åse
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Hva er Live Electronics?
• Musikkutøvelse i sanntid som inkluderer bruk av elektronikk
• Lyd skapes og/eller bearbeides i sanntid ved hjelp av elektronikk.
• Nytt og moderne (?)
• Utforskning av teknologiens uttrykkspotensial
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Eks. 3: Variations V
Johan Cage, David Tudor and Gordon Mumma: with theMerce CunninghamDance Company: Variations V at theLincoln Center, New York. 1965
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Hva er Live Electronics?
• Musikkutøvelse i sanntid som inkluderer bruk av elektronikk
• Lyd skapes og/eller bearbeides i sanntid ved hjelp av elektronikk.
• ”Nytt”
• Utforskning av teknologiens uttrykkspotensial
• Fornyet interesse pga. den digitale teknologiens utvikling
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INSTRUMENTET
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Sampling og looping
• Vedvarende lyd og repetisjon
• Flere lag
• Lydbibliotek / Samplebank
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Signalprosessering
Variable delay time effects: Chorus, Flanger, Phaser
Modulation techniques: AM, RM, FM, adFM
Distortion techniques: Clip, Mirror, Wrap, tanh(), Modified
tanh(), Waveshaping, Slope based delay, Intermodulation
Equalizing & Filtering techniques: Low-, high- & bandpass, shelving,
resonators
Wavegudies: Physical modelling
Reverb effects:Plate, Hall, Room, Gate, Convolution
Convolution:Reverb, Morphing, Filtering,
Pitchshift & timestretching
Compression & ExpandingRMS, Peak, Softknee, Tube/transistor
Granular synthesis
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Syntese
Subtractive
Additive
AM, FM (”analog”),Ring modulasjon, Formant syntese
FM (”digital”)
Physical modelling
Analysis -synthesis
Granular synthesis
Waveshapers
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Grensesnitt
Controllers
Analyse av lyd Motion capture
Hyperinstrumenter
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Mapping
• Hvilke input fra musikeren styrer hvilke lydgenererende og lydprosesserende parametre.
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Mapping
Hunt & Wanderley: Mapping performer parameters to synthesis
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Begrensningens kunst
• En uendelighet av muligheter kreativ lammelse, ”musikeren som ble tekniker”
• BegrensningerEn balanse mellom kompleksitet og spillbarhet.
• [F]ar from being the antithesis of creativity, constraintson thinking are what make it (creativity) possible. . . . Constraints map out a territory of structuralpossibilities which can then be explored, and perhapstransformed to give another one.(Boden 1990, p. 95).
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MUSIKEREN
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• Å lære å spille på sitt instrument er å bygge en mental forestilling av dets begrensninger.
• Et instrument i stadig endring som følge av teknologiutviklingen
• Klangkarakter som parameter
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Transformert
Endret
Naturlig
Noe annet
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• Roller i samspillsituasjonen
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PUBLIKUM
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The McGurke Effect
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Hva vi ser påvirker hva vi hører
Igor Stravinsky: The sight of the gestures and movements of the various parts of the body producing the music is fundamentally necessaryif it is to be grasped in all its fullness
Leonard B Meyer, Emotions and Meanings in Music (Chicago: University of Chicago Press, 1956, 80)
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Akustiske kontra digitale instrumenter
• Akustisk instrumenter: menneskelig mekanisk arbeid overføres til lydenergi
• Gester: bevegelse og mening
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Robert Henke aka Monolake: The minimum difference between pianissimo and a wall of noise? One pixel, 0.03mm.
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Akustiske kontra digitale instrumenter
• Kontroll på makronivå
• Intellektuelle ferdigheter
• Ornamentering
• Dialog
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Oppfattelse av interaksjon
• En vurdering av om spillet på instrumentet er korrekt eller ikke har betydning for vurderingen av musikernes prestasjon
• Oppmerksomhet flyttes til ansiktsuttykk og gester
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• Men: Forståelse er ikke alltid nødvendig for opplevelse
• ”Siden jeg ikke forstår det må jeg forholde meg til lyden”
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Akusmatisk musikk
• Musikk hvor man ikke ser lydkilden
• Pythagoras
• Acousmatique, 1955, Jerome Peignot og Pierre Schaffer. Musique concrete
• Torpederer musikerne det akusmatiske i en Live Electronics-setting?
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OPPSUMMERING
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Live Electronics
• Tilbyr nye uttrykksmuligheter
• Kan berede grunnen for å videreutvikle musikken
• Mulighetene ligger i begrensningene, og alle mulighetene er begrensningen
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Referanser
• Kruse, Bjørn (2011) Den tenkende kunstner. Fagbokforlaget. • Fyans, M Gurevich (2011) Perceptions of Skill in Performances with
Acoustic and Electronic Instruments. NIME 2011. • Green, Owen (2011) Agility and Playfulness Technology and skill.
Organized Sound. • Gurevich, Cavan Fyans (2011) Digital Musical Interactions Performer -
system relationships and their perception by spectators. Organized Sound.• Murray-Browne at al (2011) The medium is the message Composing
instruments and performing mappings. NIME 2011. • Magnusson, Thor (2010) Designing constraints: composing and performing
with digital musical systems Computer Music Journal, 34 (4). pp. 62-73. ISSN 0148-9267
• Åse, Tone (2012) The voice and the machine - and the voice in themachine. www.toneaase.no
• Wanderley & Hunt (2002) Mapping Performer Parameters. OrganizedSound.