22nd
commisions anyone?
Performance Instructions: “Mimic” the model in the headphones.
That’s probably the most succint instructions I can give once the model is made. All the information needed for the performance is sought from the studio version and the effectivities of the instrument. The spectromorphology of the audio signal, coupled with the boundaries of the cello is the primary instruction. One reason I had originally thought to only give the cellist a signal schematic as the performance instructions was to avoid any further ‘contamination’ of the intended signal. I gave it to the concert techs and they understood it immediately, but it only sparked questions from the instrumentalists.
That level of ‘unmediated’ behavior in a social situation defined as ‘music’ is (still!) alien and off-putting, mostly to the performer. The audience is already outside, so it doesn’t really make much difference to them except in concept. In reality you have to say things tot he instrumentalists like “Integrate the idea of spectromorpholgy in the act of ‘ensemble’. and then ‘not just between the model and yourself, but also with the fixed sounds (and your fellow players)’ and it keeps going on. Maybe if i keep insisting that it is NOT improvisation. I’ve also referred to Ferneyhough as doing something similar with New Complexity” but then Stravinsky did that same thing a long time ago. (I’m rambling now).
Most of the finished commentary on this line of thought is in my PhD. It’s in the sections on Analogies of Control, K, and Parables.(use the Research link to the right—>)
I’ve got cello and trumpet peices, but I need to understand better the relationship of scale and mutually resonant behaviour in the acoustic realm. I’ve got a double bassist and maybe a violinist and violist interested in the models.
What I really need is money to pay them for rehearsals and recording.
