Paulo de Assis (piano) and Juan Parra C. recording at Handelsbeurs (Ghent).

Module 5 contains two recordings of …..sofferte onde serene… with two different degrees of tape ‘presence’. The fourteen examples expose five particular moments of the piece, focusing on concrete possible aural differences, if (a) the balance between piano and tape is altered, and (b) if the synchronicity between piano and tape is changed.

Module 1 | Historiography

I. Bars 1–11 [0:00–1:00]

M   O   D   U   L   E   5   |   R   E   N   D   E   R   I   N   G   (   S   )

One-Minute Examples of Performative Variability

1. Synchronic beginning

2. With ‘upbeat’

Module 2 | Archeology

II. Bars 1–11 [0:00–1:00]

3. Tape in the background [-12dB]

4. Tape equal to piano [-3dB]

5. Tape in the foreground [+3dB]

Module 3 | Analysis

III. Bars 21–25 [1:56–3:00]

6. Piano starts after 1.5 seconds

7. Piano starts after 3 seconds

8. Piano starts after 4 seconds

…..sofferte onde serene…, Recording A

…..sofferte onde serene…, Recording B (tape in the background)

Module 4 | Interaction

IV. Bars 60–85 [5:49–7:29]

12. Tape in the foreground [+ 3dB]

9. Tape  in the background [-12dB]

10. Tape in the background [-6dB]

11. Tape equal to piano [-0dB]

Luigi Nono

.....sofferte onde serene...


Piano: Paulo de Assis

Tape projection: Juan Parra C.

Replica of the original stereo tape: Paulo de Assis & João Rafael (2013)

Recorded at: Handelsbeurs, Ghent

Date: 24 September 2013

Editing: Juan Parra C.

13. Piano starts after 2 seconds

14. Piano starts after 3.5 seconds

V. Bars 152–156 [13:17–13:52]

Module 6 | Becoming

Module 7 | Transcoding