This research project proposes multiple paths towards the development of a performance practice in computer music. It starts with the author’s transition from traditional instrumentalist to electronic musician, assessing the roles of composer, performer and instrument builder as integrated in computer music practice. Three of the case studies presented in this thesis suggest approaches to understand the notion of interpretation with electronic instruments, introducing the methods of reconstruction, reinterpretation and re-appropriation as applied to the performance of music by Cage, Feldman and Nono. The remaining five case studies deal with the author’s own creations, developed on the basis of concepts such as mapping, sonification, historical contextualisation and spatialisation, and informed by the multithreaded role of the computer music practitioner. The situation of the performer of electronic instruments in relation to traditional instrumentalists is a topic of consideration throughout this thesis, informing the final conclusions as well as refuelling the questioning for future work.
Thesis information (in Dutch):
ter verkrijging van de graad van Doctor aan de Universiteit Leiden op gezag van Rector Magnificus prof. mr. C.J.J.M. Stolker, volgens besluit van het College voor Promoties
te verdedigen op dinsdag 2 december 2014 klokke 16.15 uur
Juan Parra Cancino
geboren te Osorno (CL)
Prof. Frans de Ruiter 1e promotor
Prof. Richard Barrett 2e promotor
Dr. Marcel Cobussen co-promotor
Prof. Clarence Barlow
Prof. Dr. Nicolas Collins School of the Art Institute of Chicago
Prof. Dr. Simon Emmerson Leicester Media School, De Montfort University
Dr. Vincent Meelberg
Prof. Dr. Larry Polansky University of California, Santa Cruz
Dit proefschrift is geschreven als een gedeeltelijke vervulling van de vereisten voor het doctoraatsprogramma docARTES. De overblijvende vereiste bestaat uit een demonstratie van de onderzoeksresultaten in de vorm van een artistieke presentatie. Het docARTES programma is georganiseerd door het Orpheus Instituut te Gent. In samenwerking met de Universiteit Leiden, de Hogeschool der Kunsten Den Haag, het Conservatorium van Amsterdam, de Katholieke Universiteit Leuven en het Lemmensinstituut.
Using Karlheinz Stockhausen’s Solo für Melodieinstrument und Rückkoppelung (1965 - 66) as starting point for investigating the affect and effect of technological transference when reproducing historical repertoire with live electronics, we aim to shed light on the misconception of “transparency” of sound reinforcement and current digital media, and how this colouring can (and perhaps should) be used to inject new life and ask new questions to the works it aims to preserve. On the footprint of a rendition that will aim to reflect as close as possible the original performance tradition of the piece, we will later allow the possibilities of current Network, signal processing and reinforcement technology shape and colour a radical interpretation of simultaneous Solo(s).
A series of works designed within the framework of MTT, aimed to:
Play with different notions of "Network": as algorithm, as descriptor for telematics, as compositional tool (like in "Timbre Networks")
Use each iteration/performance to inform/affect/define/enrich the "following" performance. This will be achieved by preserving one aspect of the performance that can be perceived as "highly volatile" (a dancer reacting to the highly improvised music. like in the first version) and convert it into a digital stream of data, mapped to control (and therefore, automatise) an aspect of the following performance.
Hans-Jörg Rheinberger’s notion of “experimental systems” has been central to the work of MusicExperiment21 since the beginning of the project. While the wider epistemological consequences of such systems have been investigated within the project by Michael Schwab, this exposition — specifically made for the SAR conference in Helsinki, 2017 — explores their practical use for the design of artistic-research experiments, providing an overview on the context and rationale of MusicExperiment21's concrete use of experimental systems. The exposition is organised in five sections: "Modes of Research" situates MusicExperiment21 in terms of existing typologies of research and knowledge production; "Rheinberger’s Experimental Systems" offers a brief overview on the notion of experimental systems, making some terminological specifications in relation to their use for artistic research; "MusicExperiment21" presents the project as a “thought collective” and as an ensemble of experimental systems; "Epistemic Complexity in Music" briefly introduces an innovative understanding of musical entities as complex assemblages of innumerable material things, preparing the reader for the project’s specific use of the notion of experimental systems; and "Series of Experiments and Modules of Research" displays the diversity of research practices, especially achieved through the use of “series” of aesthetic-epistemic experiments, and of “modules” of research. Diverse materials for further reading, as well as hyperlinks to several case studies from MusicExperiment21 complement the text.
Event: Performance, Maynooth, artist(s)/author(s): Paulo de Assis, Juan Parra Rasch 12 – For Maynooth
[Section 1 of Rasch-11 + one-hour discussion with students and faculty]
[National University of Ireland, Maynooth | 24.10.2014]
Event: Performance, artist(s)/author(s): Paulo de Assis, Juan Parra, Lucia D'Errico Rasch 10 – for lydia for piano, tape, live-electronics and video projector. [ORCiM study-day Lydia Goehr, April 4 2014].
Event: Performance, artist(s)/author(s): Paulo de Assis, Juan Parra, Lucia D'Errico Rasch 9 – barthe-s-chumann assemblage for piano, tape, live-electronics and video projector. [docARTES Focus Session, with Ton Koopman, March 28 2014].
Event: Performance, Porto Alegre, artist(s)/author(s): Paulo de Assis, Juan Parra Rasch 7 – Scar3No+Sch3 for piano, 6-channels tape and video projector. [Performa Conference, Porto Alegre, Brazil, 31 May 2013].