Ableton Live som kreativt verktøy for trommeslagere
(2024)
author(s): Solveig Nyhus
published in: University of Agder, Faculty of Fine Arts
I dette kunstneriske utviklingsarbeidet har jeg eksperimentert med ulike måter å bruke Ableton Live som et kreativt verktøy. Dette med utgangspunkt i mitt hovedinstrument - trommer. Jeg har som en del av masteroppgaven komponert og produsert tre låter. Beskrivelsen av og refleksjonen rundt komposisjonsprosessen presenteres i kontekst av vitenskapelig teori og metode. I løpet av refleksjonen setter jeg ord på en ny bevisstgjøring rundt min kombinerte rolle som utøver, komponist og produsent gjennom solo-komprovisasjon og hvordan dette har gitt meg ny innsikt i egne estetiske preferanser. Jeg reflekterer også over hvordan teknologien jeg benyttet meg av påvirket komposisjonene, hovedsakelig hvordan trommespillet, sound, lydvalg og formen på låtene ble direkte påvirket av hvordan jeg samhandlet med teknologien.
Cripping Virtuosity: Cultivating Virtuosity from Disability through Music Technology
(2024)
author(s): Molly Joyce
published in: HUB - Journal of Research in Art, Design and Society
What is the sound of disability? What is the sound of a body that defies and resists normative standards? And further, is disability an instrument and, ultimately, virtuosity itself? For me, these have been everlasting questions. I acquired a disability at the age of seven from a car accident that impaired my left hand. Following the accident, I transitioned from various musical instruments to find one I could adapt to. More recently, this has led to engaging with various music technologies that fit my body. Specifically, I am searching for an instrument that fits rather than resists my body and signals my disability as an asset rather than a deficit in searching for my own virtuosity. Therefore, this article details my interest in reimagining virtuosity through the intersection of disability and digital music technology. I will describe my experience with the MUGIC gestural device (developed by Mari Kimura) and preliminary results from experimenting with the MUGIC. I will include background on the crux of virtuosity and the usefulness of mapping for reimagining virtuosity, as well as musical results and concluding thoughts regarding virtuosity, music technology, and disability. Lastly, I will argue that “cripping” virtuosity involves a widening understanding of what virtuosity can signify, realize, and magnify, cultivating what is curious, authentic, and at the core of art-making -- a fundamental self-expression beyond comparison and not easily replicated and a virtuosity true to oneself.
MAGPICK
(2024)
author(s): Andrea Guidi
published in: Research Catalogue
Magpick is an augmented pick for electric guitar created by Fabio Morreale, Andrew McPherson and Andrea Guidi at the Augmented Instruments Lab, Queen Mary University of London. The pick allows nuanced control on the guitar sound as well as new performing techniques with a minimal latency.
Morten Qvenild – The HyPer(sonal) Piano Project
(last edited: 2024)
author(s): Morten Qvenild
This exposition is in progress and its share status is: visible to all.
Towards a (per)sonal topography of
grand piano and electronics
How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics?
The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about.
I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms.
Credits:
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.
Grieg Academy Composition Research Group
(last edited: 2024)
author(s): DÁNIEL PÉTER BIRÓ
This exposition is in progress and its share status is: visible to all.
The Grieg Academy Composition Research Group serves to investigate the field of music composition, integrating various research methodologies and points of view. Meetings are held several times a semester. Both faculty and students from the Grieg Academy present their work in this forum alongside international guest composers and artists.
Sounding Philosophy
(last edited: 2024)
author(s): DÁNIEL PÉTER BIRÓ, Halvorsen Erik Håkon
This exposition is in progress and its share status is: visible to all.
Sounding Philosophy
Grieg Academy Composition Research Group
Research Group Leader: Dániel Péter Biró
This project integrates the fields of music composition, philosophy and science to understand how theories of reason and the mind can be approached from creative, metaphysical and scientific perspectives. This project will build on research-creation initiated by a Guggenheim Fellowship in 2017-2018, presentations at the interdisciplinary annual conference of the Swiss Philosophical Society in September 2018 and discussions undertaken in the context of the Grieg Academy Composition Research Group in 2019-2020.
POWER AMBISONICS
(last edited: 2023)
author(s): Giuseppe Pisano
This exposition is in progress and its share status is: visible to all.
This page has the purpose of collecting in one place all the educational material about ambisonics and spatial audio that I have gathered through the years, and to demonstrate specific personal workflow solutions that I have developed in my artistic practice.
It was started as an educational tool for my workshop in ambisonics at EMS - Stockholm and is constantly updated.
I dette kunstneriske utviklingsarbeidet har jeg eksperimentert med ulike måter å bruke Ableton Live som et kreativt verktøy. Dette med utgangspunkt i mitt hovedinstrument - trommer. Jeg har som en del av masteroppgaven komponert og produsert tre låter. Beskrivelsen av og refleksjonen rundt komposisjonsprosessen presenteres i kontekst av vitenskapelig teori og metode. I løpet av refleksjonen setter jeg ord på en ny bevisstgjøring rundt min kombinerte rolle som utøver, komponist og produsent gjennom solo-komprovisasjon og hvordan dette har gitt meg ny innsikt i egne estetiske preferanser. Jeg reflekterer også over hvordan teknologien jeg benyttet meg av påvirket komposisjonene, hovedsakelig hvordan trommespillet, sound, lydvalg og formen på låtene ble direkte påvirket av hvordan jeg samhandlet med teknologien.open exposition comments (1)
This page has the purpose of collecting in one place all the educational material about ambisonics and spatial audio that I have gathered through the years, and to demonstrate specific personal workflow solutions that I have developed in my artistic practice. It was started as an educational tool for my workshop in ambisonics at EMS - Stockholm and is constantly updated.open exposition comments (0)