Light Music was written in in 2004 and is the fifth piece in a series of works ‘which explore the state of tension at the border between gesture and sound, visual and sound, [and] choreographic writing and music’.  Thierry De Mey wrote the piece in collaboration with two computer scientists, Laurent Pottier (GMEM) and Christophe Lebreton (GRAME), and the original performer, percussionist Jean Geoffroy. At the time, they employed ‘emerging technologies of movement capture’  to allow the solo-conductor to use only his/her hands to ‘trigger sounds and musical sequences, make them resonate, tear them apart and manipulate them in space’.  Since its creation the piece has undergone continued updates and small revisions up to and including 2014, when the composer and his original team reentered the studio to replace a fair amount of the electronic samples with recorded acoustic percussion sounds (all played by Geoffroy).
Light Music remained unrevised until 2020, when the computer scientists at Centre Henri Pousseur (CHP), De Mey and I decided to update, revise, and reimagine the piece with the aim of performing it in front of new audiences. There were several reasons we decided to update and revise Light Music. First of all, the 2014 technical revision was based on the original 2004 Max/MSP patch. Under current circumstances, use of this patch was no longer possible due to advancements in both soft- and hardware. That meant that, in order to perform the piece, we needed to work from the ground up and write a brand-new piece of performance software. Xavier Meeus and Patrick Delges of CHP decided to continue to use Max as the platform but spread the computer’s workload out between two patches instead of the original one patch version. (This does not lessen the workload for Max, but it was simpler for the team to work in this way.) According to CHP’s computer scientists, the major software update they enacted entailed using Max’s (Jitter) openGL (i.e. deploying the GPU instead of the CPU based matrix computing). 
Secondly, motion capturing is no longer an ‘emerging technology’. In 2004  they employed a Finger User Information Protocol (FUIP) motion tracking tool and the video capturing was made via an analog camera. We decided to replace the FUIPs with the more reliable Bitalino RIoT motion trackers that run over a dedicated wifi-network. And in order to be more flexible and expand the capabilities of the projection, we updated the camera to a 4K digital model. The aim of introducing more advanced and reliable hardware was to expand our capacity to perform a greater portion of the piece live. In other words, our aim was to put more control of the electronics in the performer’s hands. 
And lastly, the piece had only been interpreted by one musician since its creation, Geoffroy. De Mey notes that Geoffroy influenced him greatly in both the musical and visual aspects of the piece. This is logical, especially when a piece has only been performed by one person and all the updates and revisions were aimed to improve his performance and the audience’s appreciation thereof. By profession, Geoffroy is a percussionist and the trained and acquired movement repertoire of a percussionist is very much prevalent in his interpretation of Light Music. However, the piece is for ‘solo-chef’. This is what first drew my attention to the piece in the first place. I will discuss this more in the next paper, but for now I wanted to share my motivation for revising the piece in a manner that would more reflect a conductor and thus purposefully approached it with conductors’ movement repertoire as the preferred medium. I wanted to know what it was to perform this piece as a solo-conductor, but to be able to do that we first needed to rethink, with the assistance of De Mey, how each notated gesture could be conducted instead of beaten or struck. My timing needed to be exact, however the audience would need to discern my movements ‘not as generating sound, but as directing an external sound source’. 
I would like to take this opportunity to thank Xavier Meeus and Patrick Delges from CHP for their incredible work rewriting and revising the electronics. A lot of the work was archeological in nature as not all of the documentation was consistent across the mediums (spreadsheets, videos, and text files) provided. Without their patience and persistence, we would not have been able to bring this piece to fruition.
Full documentation of the 2021-revised version of Light Music will be available by the end of 2022.
 “Light Music, Thierry De Mey,” accessed June 11, 2021, http://brahms.ircam.fr/works/work/22063/.
 “Light Music, Thierry De Mey.”
 “Light Music, Thierry De Mey.”
 Email conversation with Patrick Delges, 03/08/21
 Early on, GRAME used LatKitchen’s kroonde system, however decided in the end to use FUIP.
 One drawback we noticed to using the digital technology instead of the analog was the introduction of a noticeable latency in the video re-production.
 Email conversation with Prof. Dr. Mark Delaere.