Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt

The analysis of the creative processes involved in electroacoustic music may to a large extent rely on the thorough study of the technological tools used for the realisation of a musical work, both on the composition and on the performance sides. Understanding the behaviour and potential range of aesthetic results of such tools enables the musicologist to approach the studied work much beyond its final form, as presented on tape or as performed on a particular occasion: gaining knowledge on a wider technological context leads to considering the actual artistic decisions in the perspective of the potential outcomes that the composer and performer could face but not necessarily adopt. Hence, analysing an electroacoustic work on the basis of the study of its creative context, technological tools and compositional methods may constitute a useful approach to a better understanding of its related creative processes. However, the implementation of such an approach, mainly based on the hardware or software elements used during the creation of a given work, is not straightforward. First, it implies that the considered technologies are still in use and have not be come irreversibly obsolete. In this matter, new performances of a work are good opportunities for such investigations, as they often provide a technical update and require a deep understanding of the composer’s intentions. The musicologist also needs to have access to the resources, which may not be available without a direct contact with the composer. Assuming these conditions are reached,the musicological and organological studies can encounter another issue, particularly in the digital domain: the sources are not always presented under forms that are directly readable by the analyst, for instance with a specific programming language. Despite all these possible difficulties, many cases of technological tools lean themselves to an in-depth investigation, leading to relevant conclusions on some of the creative processes appearing in the field of electroacoustic music. In the context of a common session of several analytical approaches to a same electroacoustic piece, Hans Tutschku’s Entwurzelt for six singers and electronics (2012), this article focuses on the investigation and modelling of tools and methods of the compositional stage of the realisation of the work. During a performance of Entwurzelt, the electronic materials are simply triggered as events by one of the singers, without further interactivity–thus, the essential part of the research on the electroacoustic realisation aims at exploring the processes used during the compositional stage itself. As the electronics are used as an extension of the live vocal expression by the means of harmonic amplification and complex texturing, the tools for generation and processing of both symbolic representations and audio explored. Since the software tools that constitute the primary sources for our research were not directly designed to be used beyond their creative purposes, this talk presents software modelling implemented by the two authors to demonstrate the technological context in which Tutschku could compose Entwurzelt, emphasizing his creative methods and the decisions he could make upon a wider range of possible materials and processing techniques

Barry Truax Riverrun (1986/2004), a case study from the TaCEM project, exploring new approaches to techniques of analysis and re-synthesis in the study of concert electroacoustic works

At last year’s EMS in Lisbon we introduced the TaCEM project (Technology and Creativity in Electroacoustic Music), a 30-month project funded by the UK’s Arts and Humanities Research Council, and demonstrated the generic TIAALS software being produced as part of this project. This year we present an update on the project, focusing particularly on the first of our case studies, Barry Truax’s Riverrun. Eight works have been selected for the project, taking into account criteria such as historical context, the nature of the synthesis techniques employed, and the aesthetics that have underpinned their realisation. Key considerations have included the accessibility of the technical resources and composing materials used in their production, and opportunities to pursue particular lines of enquiry with the composer concerned. In selecting the eight works for detailed study, a further consideration has been the extent to which the composers explored techniques that were already available at the time in ways that are unique and distinctive, or alternatively developed entirely new methods of synthesis in pursuit of their creative goals. The pioneering work of Barry Truax in terms of developing techniques of granular synthesis assign his achievements almost exclusively to the latter classification, and the composition of Riverrun (1986/2004) is a landmark achievement in this regard. Truax’s composing environment evolved from the early study of interactive real-time synthesis techniques at the Institute of Sonology, Utrecht 1971-73, exploring the possibilities of using Poisson-ordered distributions in the generation of microsound, to the emergence of entirely granular techniques at Simon Fraser University, British Columbia a decade later, culminating in the development of his program GSX designed specifically for waveform-based synthesis and first used to compose Riverrun, and its later extension, GSAMX, that extended these granular techniques to include the manipulation of previously sampled sound material. At the time of composition conventional minicomputers still lacked the capacity to generate multiple voices of granulated sound material in real time, but for Truax the acquisition in 1982 of a high speed bit slice array processor, the DMX-1000, provided the enhancedprocessing power necessary for achieving such a goal. The unique characteristics of its special hardware and associated programming environment, managed in turn via a host PDP 11/23 computer, both empowered his creative objectives and also materially shaped and influenced the ways in which they could be practically achieved. The significance of such causal relationships in the evolution of the electroacoustic music repertory has yet to be widely understood, and this study of Riverrun corroborates the importance of such a line of investigation. In this case it has been possible to carry out a detailed study of the original system, still maintained in working order by Truax, leading to a reconstruction of key elements of Riverrun using a Max-based simulation of GSX, the authenticity of the results being assessed both subjectively by means of a direct aural comparison and also measured objectively using software. Our presentation at this year’s EMS in Berlin included a demonstration of examples of the software we have developed to enable readers to engage with Riverrun interactively, both by analysing the original recordings and by using our emulation of the GSX system to be able to recreate passages of the work and manipulate the techniques employed in order to learn more about them. We also gave examples of other materials we have collected in relation to this case study, including videos of the composer himself working with the GSX system and discussing the composition of Riverrun

Introducing TaCEM and the TIAALS software.

This paper introduces the TaCEM project (Technology and Creativity in Electroacoustic Music), funded for 30 months by the Arts and Humanities Research Council in the UK, investigating the relationship between technological innovation and creative practice in electroacoustic music of the last 40 years (http://www.hud.ac.uk/research/researchcentres/tacem/). It is a collaborative project between the universities of Huddersfield and Durham in the UK and outputs from the project will include a book and freely available interactive software. This paper explains the context for the project and its goals, and discusses some of the generic software that is being developed as part of the project, intended not only for use in the project itself but also to be freely available for others to use in the study of any electroacoustic work as appropriate

Functionality and history of electronics in regards to the performance practice of the following works: Temazcal (1984), Javier Álvarez, and Memory Palace (2012), Christopher Cerrone

Master's Project (M.Mu.) University of Alaska Fairbanks, 2016The Electroacoustic pieces; Temazcal (1984), by Javier Alvarez (b.1956), and Memory Palace (2012) by Christopher Cerrone (b.1984), each employ different types of electronic technologies in their realization through performance. This paper will discuss the origin and history of the technology applied respectively in the works. I will examine the role of percussion within the works, specifically in regards to learning and problem solving through technological challenges in order to effectively perform the compositions. By looking at Temazcal and Memory Palace through the context of their historical significance as electroacoustic works, the inherent functionality of the technology employed in each, and the resultant performance practices that have subsequently developed, a greater musical appreciation and understanding of electroacoustic works, in general, is possible

A view of computer music from New Zealand: Auckland, Waikato and the Asia/Pacific connection

Dealing predominantly with ‘art music’ aspects of electroacoustic music practice, this paper looks at cultural, aesthetic, environmental and technical influences on current and emerging practices from the upper half of the North Island of New Zealand. It also discusses the influences of Asian and Pacific cultures on the idiom locally. Rather than dwell on the similarities with current international styles, the focus is largely on some of the differences

Contemporary trends in the use of space in electroacoustic music.

This paper describes a survey of contemporary approaches towards the use of spatial design in electroacoustic music, focusing on the type of spatial systems used by a sample of composers and the way they conceive the use of space in their music. Comparing the results with information gathered from seventeen articles by composers written on the topic in 1997, it is shown that composers nowadays are more used to working with different types of spatialisation systems than before. There is also a considerable increase in the use of surround 5.1 as well as four- and eight-channel systems and a decrease in the use of stereo. The compared results also show that, in general, composers nowadays seem to be less concerned with performance and interpretation issues as well as technical aspects of spatialisation. Further studies could consider a more detailed investigation of how the new spatialisation tools have shaped the aesthetical character of the music composed in recent years