This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collabor... more This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library
Composition for Flute, Bass Clarinet, Piano and Electronics Public Concert at Department of Music... more Composition for Flute, Bass Clarinet, Piano and Electronics Public Concert at Department of Music Durham University Part of DurhamKLANG14 Festival Richard Craig: Flute Dov Goldberg: Bass Clarinet John Snijders: Piano Marc Estibeiro: Composer and Electronic
This paper presents a software environment which encourages classical guitarists to improvise wit... more This paper presents a software environment which encourages classical guitarists to improvise with electronics. The differences between digital and acoustic instruments are considered, together with their contrasting traditions and performance practices. Issues of interface design are presented and factors which may encourage or inhibit classical guitarists from engaging which digital instrument are discussed. Various affordances and constraints which have an impact on engagement are considered. The paper proposes that models which exploit the existing skillsets and performance practices of classical guitarists are most likely to be successful, whereas models which rely too heavily on external controllers and interfaces can discourage engagement and improvisation. Furthermore, digital instruments which process live inputs in real time and which frame the natural sound of the instrument with the electronics can engage both performers and audiences. The nature of improvisation and interactivity when using the classical guitar with electronics is considered. Systems which encourage guitarists to explore the full potential of the instrument by adopting a textural/timbral approach are recommended. Mapping existing playing techniques onto the digital environment is an effective way of manipulating and exploring causal and mimetic relationships. The guitarist interacts with the electronics to enhance, contrast or subvert the acoustic, which acts as a point of familiarity in an electroacoustic soundscape. The paper concludes with a demonstration of the software environment to show improvisation through real time control of the digital instrument using the natural sound of the guitar as both the source material for electronic processing and to control the electronics
This project seeks to extend, through a portfolio of compositions, the use of microsound to mixed... more This project seeks to extend, through a portfolio of compositions, the use of microsound to mixed works incorporating acoustic instrument and electronics. Issues relating to the notation of microsound when used with acoustic instruments are explored and the adoption of a clear and intuitive system of graphical notation is proposed. The design of the performance environment for the electroacoustic part is discussed and different models for the control of the electronics are considered. Issues relating to structure and form when applied to compositions that mix note-based material with texture-based material are also considered. A framework based on a pure sound/noise continuum, used in conjunction with a hierarchy of gestural archetypes, is adopted as a possible solution to the challenges of structuring mixed compositions. Gestural and textural relationships between different parts of the compositions are also explored and the use of extended instrumental techniques to create continu...
The reproduction of sound through the use of recording technologies would appear to be a clear ex... more The reproduction of sound through the use of recording technologies would appear to be a clear example of repetition in music. The recording and reproduction of sonic events, however, inevitably involves the reframing of those events, often in ways which were not imagined by the original producers of the sounds. Reproducing sounds in new contexts changes the reception of those sounds, often subtly but also often in ways which may significantly alter any meaning the sounds may have had, possibly without the consent of the original authors. This paper examines these issues and explores parallels with repetition and reproduction in architecture and the visual arts, specifically with regard to attribution, ownership and meaning. The importance of environment, place and context in architecture has resonance when considering the recontextualization of recorded sound. Recorded sounds, when reproduced, can become divorced from their original contexts and take on new meanings suggested by their new environments. Their original contexts, however, cannot be erased fully. Ways in which musicians have repeated the work of other musicians, as well as ideas from the wider culture also have parallels with the visual arts. This paper considers repetition in music through recorded sound in a broad context to explore any similarities with borrowing and copying in other forms of music, and with other arts. Different categories of appropriation are examined and illustrated with examples from music, architecture and photography. The paper concludes by considering ethical implications in the deliberate or accidental appropriation of authorship in the arts
Composition for Flute, Bass Clarinet, Piano and Electronics Winner of the William Mathias Composi... more Composition for Flute, Bass Clarinet, Piano and Electronics Winner of the William Mathias Composition Prize 2015 Public performance as part of the Bangor Music Festival 2015 Bangor University Carla Rees: Flute Heather Roche: Bass Clarinet Xenia Pestova: Piano Marc Estibeiro: Composer and Electronics
Displaced Light, for six instruments and live electronics is an exercise in the use of microsound... more Displaced Light, for six instruments and live electronics is an exercise in the use of microsound in a live context, realised through an environment for real time granulation built in Max. The electroacoustic part and the acoustic part have been integrated from the beginning of the composition process through structural frameworks informed by the application of microsound. The electroacoustic part has been notated and related to the acoustic part through the application of a system of graphical notation created specifically for the composition. The sound of the acoustic instruments is always to some degree perceivable, however remotely, in the electroacoustic material.
This paper considers various elements that influence the decisions taken when designing performan... more This paper considers various elements that influence the decisions taken when designing performance environments for compositions featuring acoustic instruments with electronics. The implications of choosing different models for the control of the electronics are discussed. Models lying along a continuum between fully automated systems at one end and passive environments controlled by a human performer at the other are considered. The ways in which choices made when mapping control parameters to the sound engine affect the affordances available to the human performer are explored, and the advantages of using a score to define parameters for improvisation are discussed. Following from this, different models for notating the electronic part in mixed compositions are presented and the implication of using the computer as the principal agent for controlling the electronic part are considered. This leads into a discussion as to what constitutes a score for the electronic part. Different ...
This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collabor... more This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library
Composition for Flute, Bass Clarinet, Piano and Electronics Public Concert at Department of Music... more Composition for Flute, Bass Clarinet, Piano and Electronics Public Concert at Department of Music Durham University Part of DurhamKLANG14 Festival Richard Craig: Flute Dov Goldberg: Bass Clarinet John Snijders: Piano Marc Estibeiro: Composer and Electronic
This paper presents a software environment which encourages classical guitarists to improvise wit... more This paper presents a software environment which encourages classical guitarists to improvise with electronics. The differences between digital and acoustic instruments are considered, together with their contrasting traditions and performance practices. Issues of interface design are presented and factors which may encourage or inhibit classical guitarists from engaging which digital instrument are discussed. Various affordances and constraints which have an impact on engagement are considered. The paper proposes that models which exploit the existing skillsets and performance practices of classical guitarists are most likely to be successful, whereas models which rely too heavily on external controllers and interfaces can discourage engagement and improvisation. Furthermore, digital instruments which process live inputs in real time and which frame the natural sound of the instrument with the electronics can engage both performers and audiences. The nature of improvisation and interactivity when using the classical guitar with electronics is considered. Systems which encourage guitarists to explore the full potential of the instrument by adopting a textural/timbral approach are recommended. Mapping existing playing techniques onto the digital environment is an effective way of manipulating and exploring causal and mimetic relationships. The guitarist interacts with the electronics to enhance, contrast or subvert the acoustic, which acts as a point of familiarity in an electroacoustic soundscape. The paper concludes with a demonstration of the software environment to show improvisation through real time control of the digital instrument using the natural sound of the guitar as both the source material for electronic processing and to control the electronics
This project seeks to extend, through a portfolio of compositions, the use of microsound to mixed... more This project seeks to extend, through a portfolio of compositions, the use of microsound to mixed works incorporating acoustic instrument and electronics. Issues relating to the notation of microsound when used with acoustic instruments are explored and the adoption of a clear and intuitive system of graphical notation is proposed. The design of the performance environment for the electroacoustic part is discussed and different models for the control of the electronics are considered. Issues relating to structure and form when applied to compositions that mix note-based material with texture-based material are also considered. A framework based on a pure sound/noise continuum, used in conjunction with a hierarchy of gestural archetypes, is adopted as a possible solution to the challenges of structuring mixed compositions. Gestural and textural relationships between different parts of the compositions are also explored and the use of extended instrumental techniques to create continu...
The reproduction of sound through the use of recording technologies would appear to be a clear ex... more The reproduction of sound through the use of recording technologies would appear to be a clear example of repetition in music. The recording and reproduction of sonic events, however, inevitably involves the reframing of those events, often in ways which were not imagined by the original producers of the sounds. Reproducing sounds in new contexts changes the reception of those sounds, often subtly but also often in ways which may significantly alter any meaning the sounds may have had, possibly without the consent of the original authors. This paper examines these issues and explores parallels with repetition and reproduction in architecture and the visual arts, specifically with regard to attribution, ownership and meaning. The importance of environment, place and context in architecture has resonance when considering the recontextualization of recorded sound. Recorded sounds, when reproduced, can become divorced from their original contexts and take on new meanings suggested by their new environments. Their original contexts, however, cannot be erased fully. Ways in which musicians have repeated the work of other musicians, as well as ideas from the wider culture also have parallels with the visual arts. This paper considers repetition in music through recorded sound in a broad context to explore any similarities with borrowing and copying in other forms of music, and with other arts. Different categories of appropriation are examined and illustrated with examples from music, architecture and photography. The paper concludes by considering ethical implications in the deliberate or accidental appropriation of authorship in the arts
Composition for Flute, Bass Clarinet, Piano and Electronics Winner of the William Mathias Composi... more Composition for Flute, Bass Clarinet, Piano and Electronics Winner of the William Mathias Composition Prize 2015 Public performance as part of the Bangor Music Festival 2015 Bangor University Carla Rees: Flute Heather Roche: Bass Clarinet Xenia Pestova: Piano Marc Estibeiro: Composer and Electronics
Displaced Light, for six instruments and live electronics is an exercise in the use of microsound... more Displaced Light, for six instruments and live electronics is an exercise in the use of microsound in a live context, realised through an environment for real time granulation built in Max. The electroacoustic part and the acoustic part have been integrated from the beginning of the composition process through structural frameworks informed by the application of microsound. The electroacoustic part has been notated and related to the acoustic part through the application of a system of graphical notation created specifically for the composition. The sound of the acoustic instruments is always to some degree perceivable, however remotely, in the electroacoustic material.
This paper considers various elements that influence the decisions taken when designing performan... more This paper considers various elements that influence the decisions taken when designing performance environments for compositions featuring acoustic instruments with electronics. The implications of choosing different models for the control of the electronics are discussed. Models lying along a continuum between fully automated systems at one end and passive environments controlled by a human performer at the other are considered. The ways in which choices made when mapping control parameters to the sound engine affect the affordances available to the human performer are explored, and the advantages of using a score to define parameters for improvisation are discussed. Following from this, different models for notating the electronic part in mixed compositions are presented and the implication of using the computer as the principal agent for controlling the electronic part are considered. This leads into a discussion as to what constitutes a score for the electronic part. Different ...
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