Collaborative computer music composition and the emergence of the computer music designer

This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University London.This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with composers and others to create original tools and music for artistic creations. A selection of works is presented to exemplify archetypes found within the relational structures of collaborative work. The relatively recent development of this activity as an independent metier is located within its historical context, a context in which my work has played a significant role. The submission evidences the innovative aspects of that work and, more generally, of the role of the Computer Music Designer through consideration of a number of Max patches and program examples especially created for the works under discussion. Finally, the validation of the role of the Computer Music Designer as a new entity within the world of music creation is explored in a range of contexts, demonstrating the ways in which Computer Music Designers not only collaborate in the creation of new work but also generate new resources for computer-based music and new creative paradigms

The aesthetics of Pierre Boulez

To enable the reader to find references as quickly and easily as possible, I have grouped all references together in the bibliography in alphabetical order. Texts by the same author are distinguished first by year and second, if there are several texts from the same year, by letter. Interviews and writing collaborations (including published correspondence) involving Boulez are also ordered alphabetically. The year given at the beginning of each bibliographical entry is, in the majority of cases, the year in which the text was first published (not necessarily the year of the edition cited). For all writings written by Boulez, I have provided the original title under which the text in question was first published (usually in French). Many articles have subsequently been translated into English and therefore I have decided to provide page references for both versions. For all texts by writers other than Boulez, I have cited the version of the text I have used. Wherever possible, I have cited the existing English translations of texts originally written in French. However, on many occasions I have considered it necessary to make alterations to the published translations. This is particularly applicable to Boulez on Music Today (1971) and Orientations (1986), both of which display an often heavy-handed and rather inaccurate approach to the task of translating specific concepts employed by Boulez. In contrast. Stocktakings of an Apprenticeship (1991) has required only occasional minor amendments. All changes to the published English translations are acknowledged in the corresponding footnote. None of the material m this thesis has previously been submitted for a degree in this or any other University. The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent and information from it should be acknowledged. I have received permission to exceed the word limit from the Graduate School Committee at the University of Durham

Mobile-Based Interactive Music for Public Spaces

With the emergence of modern mobile devices equipped with various types of built-in sensors, interactive art has become easily accessible to everyone, musicians and non-musicians alike. These efficient computers are able to analyze human activity, location, gesture, etc., and based on this information dynamically change, or create an artwork in realtime. This thesis presents an interactive mobile system that solely uses the standard embedded sensors available in current typical smart devices such as phones, and tablets to create an audio-only augmented reality for a singled out public space in order to explore the potential for social-musical interaction, without the need for any significant external infrastructure

Како звучи квантна музика и шта би Пјер Булез мислио о томе? Супер позиција (много светова) Kима Хелвега (2017)

Pierre Boulez (1925–2016) devoted a great deal of time and consideration to the relationship between the composer’s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez’s famous essay “Technology and the Composer“ (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez’s “vintage“ insights are here juxtaposed with a contemporary Quantum Music project (2015–2018), and with one particular piece written within this project: Super Position (Many Worlds) by Kim Helweg (2017), commissioned by the Institute of Musicology SASA and supported by the Danish Arts Foundation (Statens Kunstfond). At least two lines of thinking relevant for the present discussion can be drawn from Boulez’s text: the frst dealing with the possible development of new musical instruments, and the other inviting a merger between music composition and science.Француски авангардни композитор Пјер Булез (1925–2016) посветио је пуно пажње спрези између композиторске инвенције и извођачког медија, посебно у вези са применом најновијих (у то време) технолошких достигнућа и нових (превасходно електроакустичких) инструмената. У чувеном есеју из 1977. године „Технологија и композитор“ Булез је прокламовао своју жељу за проширењем опсега изражајних средстава уметничке музике путем освајања нових медија. У овом раду Булезова запажања сагледавамо у паралели са резултатима савременог пројекта Квантна музика (Quantum Music), реализованог у оквиру програма Креативна Европа (2015–2018). Након разматрања Булезових теоријских поставки, превасходно оних које се односе на развој нових инструмената и на спој музике и науке, као и њихових савремених реперкусија, анализирамо композицију Супер позиција (Много светова) за два хибридна (квантна) клавира данског композитора Кима Хелвега, насталу 2017. године у оквиру пројекта Квантна музика. Ова композиција представља тек први покушај – свакако не и једини могући – повезивања квантне механике и савремене уметничке музике. У поређењу са ранијим Хелвеговим остварењима, композиција Супер позиција (Много светова) не одступа превише од његовог уобичајеног израза, који се креће у координатама постмодернизма и постминимализма. Међутим, Хелвег проналази начин да свој препознатљив музички рукопис неусиљено и логично доведе у везу са новим извором инспирације – квантним светом. Поред тога, трансформација клавирског звука, премда остварена употребом иновативне технологије (хибридних клавира и пратећег компјутерског интерфејса и банке звукова, специјално развијених за овај пројекат) такође не представља апсолутну новину у домену електроакустичке музике – мада де факто мења начин преноса акустичких информација у дигитални свет. Оно што је заиста ново и оригинално у Хелвеговом остварењу, поред чињенице да је у питању прва композиција за хибридне клавире, јесте продор уметничке музике у свет експерименталне физике, као резултат сусрета композитора у потрази за новим изворима инспирације и физичара који су желели да свет мајушних квантних честица приближе људском уху. Као заједничке црте Булезовог есеја “Технологија и композитор“ и пројекта Квантна музика издвојиле смо: тесну сарадњу између научника, инжењера и музичара; развој и производњу нових инструмената; напор музичара (како композитора, тако и извођача) да овладају најсавременијим технологијама; најзад, проналажење заједничког језика за музику и нове технолошке продоре. Пројекат Квантна музика отвара ново поглавље у односу између науке, технологије и музике, које има потенцијала да доведе до открића нових звучних светова – док је, у исто време, музици дата прилика да допринесе науци путем учествовања у експериментима на пољу квантне механике. Сигурне смо да би Булез одушевљено прихватио да компонује музику за квантне инструменте, јер ови “клавири будућности“ отелотворују симбиозу науке, технологије и музике о којој је овај великан авангарде сањао и коју је и сам желео да оствари

Composing Music for Acoustic Instruments and Electronics Mediated Through the Application of Microsound

This project seeks to extend, through a portfolio of compositions, the use of microsound to mixed works incorporating acoustic instrument and electronics. Issues relating to the notation of microsound when used with acoustic instruments are explored and the adoption of a clear and intuitive system of graphical notation is proposed. The design of the performance environment for the electroacoustic part is discussed and different models for the control of the electronics are considered. Issues relating to structure and form when applied to compositions that mix note-based material with texture-based material are also considered. A framework based on a pure sound/noise continuum, used in conjunction with a hierarchy of gestural archetypes, is adopted as a possible solution to the challenges of structuring mixed compositions. Gestural and textural relationships between different parts of the compositions are also explored and the use of extended instrumental techniques to create continua between the acoustic and the electroacoustic is adopted. The role of aleatoric techniques and improvisation in both the acoustic and the electroacoustic parts are explored through adoption of an interactive performance environment incorporating a pitch-tracking algorithm. Finally, the advantages and disadvantages of real time recording and processing of the electronic part when compared with live processing of pre-existing sound-files are discussed

An investigation into the spectral music idiom and its association with visual imagery, particularly that of film and video

The exploration of timbre became increasingly significant throughout the 20th century, with some composers making it the essence of their music. This artistic development occurred in conjunction with a technological advancement that together would contribute to the birth of what is now called `spectral music\u27 . Using computers, composers have been able to discover the spectra of frequencies that exist at different strengths for various sounds. The information realised then became the spectral musician\u27 s primary ingredients for composing some extraordinary works. Despite its innovative quality, spectral music is yet to gain widespread interest amongst ensembles, orchestras and ultimately the public. The first two chapters of this thesis are dedicated to the emergence of this largely unknown compositional discipline, its principal composers and the direction spectral music has taken since its inception

MMixte: a software architecture for Live Electronics with acoustic instruments : exemplary application cases

MMixte is a middleware based on Max for mixed music with live electronics. It enables programming for a “patcher concerto”, a platform, that is, for the management of live electronics in just a few minutes and with extreme simplicity. Dedicated to average and expert users, MMixte enables true programming of live electronics in very little time while also enabling easy adapting of previously developed modules, depending on the case and its needs. The architecture behind MMixte is based on a variation of so-called “pipeline architecture"; the analysis of the most widely used software architectures in the market and design patterns to program graphic interfaces has led to the conception of ways of organizing communication between various modules, the way they are being used and their graphic appearence. Analysis of other, “state of the art” module collections and other software programs dedicated to mixed music shows the absence of another work on software architecture for mixed music. Application of MMixte to some of my personal works shows demonstrates its flexibility and ease of adaptation. Computer programming for a piece of mixed music requires much that goes beyond just programming of audio signal processing. The present work seeks to provide an example of a solution to such needs

The integrated sound, space and movement environment : The uses of analogue and digital technologies to correlate topographical and gestural movement with sound

This thesis investigates correlations between auditory parameters and parameters associated with movement in a sensitised space. The research examines those aspects of sound that form correspondences with movement, force or position of a body or bodies in a space sensitised by devices for acquiring gestural or topographical data. A wide range of digital technologies are scrutinised to establish what the most effective technologies are in order to achieve detailed and accurate information about movement in a given space, and the methods and procedures for analysis, transposition and synthesis into sound. The thesis describes pertinent work in the field from the last 20 years, the issues that have been raised in those works and issues raised by my work in the area. The thesis draws conclusions that point to further development of an integrated model of a space that is sensitised to movement, and responds in sound in such a way that it can be appreciated by performers and audiences. The artistic and research practices that are cited, are principally from the areas of danceand- technology, sound installation and alternative gestural controllers for musical applications

On the Creative Use of Score Following and Its Impact on Research

(Abstract to follow

'The Significance of Techné in Understanding the Art and Practice of Electroacoustic Composition'

The birth of electroacoustic music is associated with an era of creativity which is now firmly embedded in the past. As the years advance so the opportunities for evaluating the pioneering years of the medium become increasingly remote. Few can now claim first-hand experience of working with the technologies that shaped and influenced the evolution of the early repertory, and many commentators are content to see them consigned to the museum. Others are less sure, having become aware of a number of features that appear to have no parallels in the modern all-digital domain. This article is predicated on the proposition that the functional characteristics of the equipment available during the formative years materially influenced the ways in which composers developed their compositional aesthetic. By studying the characteristics of the resulting interactions, important clues emerge as to the true nature of this engagement. Central to this study is the nature of the techné involved in these processes of creativity, and the significance of this is evaluated in the context of establishing a case for further research in this area. Particular attention is paid to the role of the tape recorder in this context, in particular its influence on the development of spatialisation techniques