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When playing an acoustic instrument, the musician applies force from his body to the instrument’s exciter, which is amplified by the resonator. Except for vocal music and electronic music, the hands of the musician are the main vectors of sonic generation. Directly in touch with the instrument, they delve into its expressive possibilities through modulations of sonic parameters (pitch, dynamic, length, tone). The relationship between playing techniques’ evolution (gestures) and instrumental displays (the shape of the instrument’s body) leads to the organological conception of musical instruments.
Electronic music refers to many different genres, all of which are defined by the technological means used to produce it. Those means can be summed up in three categories: sampling, sound synthesis and sound or data processing. Various device configurations are required to record, edit and perform sounds in an instrument-oriented way. Since those often include basic controllers, they have to be programmed for the musician to be able to perform his/her music. When controllers are embedded, on dancers’ bodies for instance, movement and the sonic reaction could even be contrary to the prosaic signification of sonic bodies in motion and our cognition of everyday sounds – distance, azimut, zenith, objects’ mass and hits related to their frequency and volume range – could be disrupted. Body movements are then not necessarily related to generated or controlled sounds anymore, nor to daily sonic environment [3]. That paradigm, which removes “executive human gesture [4]” from the sonic result itself, is most of the time what makes the distinctiveness of electronic music. Its performance analysis requires both a thorough examination of controllers and gestural strategies, an approach that has thus far been only superficially explored [5]. Major questions remain unexamined: how does one analyse this electronic music’s controller-practice in terms of organology? To what extent can controllers be, from the musician’s point of view, a renewed approach to creating electronic music?
This contribution based on an ethnographical study, which began in 2014, aims at analysing the gestural appropriation of instrument-like devices used in electronic music, especially the mixing console. Two solo musicians using consoles in their performances are part of this comparative paper.
Robert Henke’s Lumière, is an audio-visual work in which he uses four music- synchronized laser beams. A total of three interviews (one featuring a set up walkthrough and a demonstration) about Henke’s work have been made last year and this year, during the 16th and 20th performances of Lumière. The second musician, Brain Damage (a.k.a. Martin Nathan), digitally records and arranges music sequences. On stage, he sends these scenes through channels of his Yamaha 01V mixing console, which provides motorized faders (their last position is recorded and can be recalled at any time). He thus manipulates through faders and buttons the type, amount, duration of effects and level of each track. Two interviews with demonstrations have been conducted and filmed as part of this research.
This approach, based on carefully documented professional musical practices, questions the evolution of creative process through controllers, and more widely, stresses the possibility of a wider organology, which could encompass electronic devices alongside traditional musical instruments. The control gesture becomes an instrumental parameter, vital to the creative process in electronic music. According to the performer, the aesthetics of the piece or the device used to achieve it, performing music via a mixing console produces singular hand playing techniques related to the prior music production strategies in the studio. This analysis facilitates a new framework for conceiving performance and technological appropriation in electronic music creativity.
Often it may seem that electroacoustic music provides fewer resources and less evidence for musicologists to work on when investigating creative processes. Electroacoustic works are produced in the studio, often composed directly onto disc
9 octobre 2015 26 min
Sustainability, a computer music work’s chance of surviving far into the future, even if the composer and the performer at the première are no longer supporting the work and the implementation technology has long become obsolete and/or una
9 octobre 2015 30 min
1. Introduction L’analyse des processus de création musicale ne cesse d’élargir son domaine d’action vers les musiques faisant appel aux moyens électroniques et informatiques. Les contributions récentes sont nombreuses, notamment dans
9 octobre 2015 27 min
The musical composition process has been studied so far mostly from an individual perspective (e.g. Donin07). Alternatively some studies have addressed the issue of collaborative composition (Donin06). In this study, we are interested in a
9 octobre 2015 31 min
In an autonomous field such as that of contemporary music, or new music as it is commonly called in the American context, it is the creators themselves who are called on to evaluate the work of their peers. This evaluative work is familiar
9 octobre 2015 29 min
La dimension créative de l'interprétation musicale constitue l'un des postulats fondateurs des performance studies : constater la variété des interprétations d'une même œuvre, y mettre de l'ordre, considérer ce qu'elles signifient et
9 octobre 2015 27 min
Since the beginning of recording, there have been debates about the balance of and interaction between the technological and artistic processes at play in the recording studio. It would seem that in classical music, recording has not achiev
9 octobre 2015 30 min
En psychologie cognitive, plusieurs recherches auprès de musiciens experts ont permis de définir ce qui constitue des répétitions efficaces (Parncuttt and McPherson, 2002; Jørgensen and Lehmann 1997), d’identifier le rôle de l'expressi
9 octobre 2015 28 min
This paper presents some key results from a doctoral study undertaken by the author into elite performers’ decision making. Professional concert soloists spend many hours developing and refining their performances via a complex process of d
9 octobre 2015 27 min
It has been well argued that ‘the score’ underdetermines performance in significant ways, leaving room for unique performance outcomes (Cook 2004, Clarke 2012), the products of which underpin the current classical music economy. The attribu
9 octobre 2015 33 min
Following a cross-disciplinary approach, we will explore two different musical improvisation cultures, one issuing from the jazz tradition in the United States, the other from Northern Indian classical named Hindustani music. At the crossro
9 octobre 2015 28 min
Since the digitization of the realization tapes of Karlheinz Stockhausen’s Gesang der Jünglinge (Stockhausen, 1955-56) and their availability for research from 2012 it has been possible to gain new insights into the creative process of the
9 octobre 2015 30 min
Simha Arom and Susanne Fürniss (1992) assert that Aka polyphony is fundamentally pentatonic, yet does not operate under any sense of absolute pitch or fixed interval size. Their groundbreaking study of this phenomenon documents various ins
9 octobre 2015 23 min
The goal of this practice-led research is to apply concepts drawn from ecological psychology, namely affordance and effectivity (J. Gibson, 1979), and also the hallmarks of human behaviour (E. Gibson and Pick, 2003), to the author’s composi
9 octobre 2015 28 min
The exchange of ideas and sounds generated from combining Chartwell Dutiro’s mbira music from the Shona tradition of Zimbabwe with a classically trained string quartet results in a creative practice that defines its boundaries through the a
9 octobre 2015 29 min
Bien que la musique d’avant-garde après la Deuxième guerre mondiale ait plus que jamais valorisé la figure de l’« auteur » (le compositeur) au détriment de ses médiations (commanditaires, interprètes, exégètes, etc.), certaines figu
9 octobre 2015 29 min
The study of collaboration between performers and composers is a flourishing area of research, but an aspect of creative work that remains unexplored is contemporary compositions that employ period instruments. These projects add another di
9 octobre 2015 28 min
Serious art music may seem to have lost its relational aspect and to be veering off into modernist oblivion lost in the noise of exponential technological development. Whether or not this is fanciful, there’s no doubt there are challenges —
9 octobre 2015 21 min
The music of Flemish composer Cipriano de Rore (1515/6-1565) was eagerly sought by patrons and printers alike. One of the most coveted of his compositions was the monumental setting of the eleven-stanza canzona in honor of the Virgin Mary b
9 octobre 2015 26 min
9 octobre 2015 01 h 10 min
Prologue Aldous Huxley wrote Brave New World in 1931—the same year that Stravinsky began composing his Duo Concertant. Huxley quoted from The Tempest and other Shakespearean plays in his New World, whereas Stravinsky in his Duo quoted from
9 octobre 2015 27 min
The paper gives an overview of several of the surviving live and studio recordings of the song Fire, as performed by the Jimi Hendrix Experience between 1967 and 1969. The pivotal points consist in two versions of the song dating to January
9 octobre 2015 25 min
Entre 1903 et 1904, le compositeur Déodat de Séverac (1872-1921) écrit une suite pour piano intitulée En Languedoc, dans laquelle un ensemble de procédés compositionnels relevant de ce qu'on peut nommer une "écriture imrpovisatrice"
9 octobre 2015 25 min
La dialectique, bien connue dans la critique génétique, entre la reproduction de modèles pré- composés et la transgression de ces modèles est un angle d’approche qui permet de se demander comment un compositeur produit une œuvre origi
9 octobre 2015 30 min
La dialectique, bien connue dans la critique génétique, entre la reproduction de modèles pré- composés et la transgression de ces modèles est un angle d’approche qui permet de se demander comment un compositeur produit une œuvre origi
9 octobre 2015 30 min
Communément appelés par les journalistes sportifs à « laisser parler [leur] créativité » (Natation Magazine, n° 93, 2008), les entraîneures et le musicien de l’équipe de France sont en réalité contraints à composer avec ce qu’ils
9 octobre 2015 29 min
Communément appelés par les journalistes sportifs à « laisser parler [leur] créativité » (Natation Magazine, n° 93, 2008), les entraîneures et le musicien de l’équipe de France sont en réalité contraints à composer avec ce qu’ils
9 octobre 2015 29 min
Dans le champ des musiques actuelles et de la chanson, coexistent deux types de supports : le disque (ou version phonographique) et le concert (ou version scénique). Si ces supports cohabitent, leur statut ontologique ainsi que leur proces
9 octobre 2015 19 min
Dans le champ des musiques actuelles et de la chanson, coexistent deux types de supports : le disque (ou version phonographique) et le concert (ou version scénique). Si ces supports cohabitent, leur statut ontologique ainsi que leur proces
9 octobre 2015 19 min
Collaboration has been a constant feature of electroacoustic music, due to the complexity of the technology. Since the beginning, all laboratories and electronic music studios have involved the presence of different individuals with diverse
9 octobre 2015 24 min
Collaboration has been a constant feature of electroacoustic music, due to the complexity of the technology. Since the beginning, all laboratories and electronic music studios have involved the presence of different individuals with diverse
9 octobre 2015 24 min
Bien que la musique d’avant-garde après la Deuxième guerre mondiale ait plus que jamais valorisé la figure de l’« auteur » (le compositeur) au détriment de ses médiations (commanditaires, interprètes, exégètes, etc.), certaines figu
9 octobre 2015 29 min
9 octobre 2015 25 min
This paper aims at deepening the relationship between digital technology from the one side and compositional thought and techniques from the other, focusing on Marco Stroppa’s music of the late 1980s and early 1990s. This relationship will
9 octobre 2015 28 min
Friedemann Sallis’ Music Sketches (2015) is the first comprehensive overview of sketch studies research. For all its impact on musicology since its rise in the 1970s, this field has only rarely been considered critically, e.g. Thomas M. Whe
9 octobre 2015 01 h 10 min
9 octobre 2015 01 h 36 min
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