Compositional and Performance Mapping in Computer Chamber Music: A Case Study

The mapping problem is inherent to digital musical instruments (DMIs), which require, at the very least, an association between physical gestures and digital synthesis algorithms to transform human bodily performance into sound. This article considers the DMI mapping problem in the context of the creation and performance of a heterogeneous computer chamber music piece, a trio for violin, biosensors, and computer. Our discussion situates the DMI mapping problem within the broader set of interdependent musical interaction issues that surfaced during the composition and rehearsal of the trio. Through descriptions of the development of the piece, development of the hardware and software interfaces, lessons learned through rehearsal, and self-reporting by the participants, the rich musical possibilities and technical challenges of the integration of digital musical instruments into computer chamber music are demonstrated.

Instrumental Parasites: Interfacing the Fragile and the Robust

The parasitical relationship between the grand piano and the myriad objects used in its preparation as pioneered by John Cage in the late 1940’s is here discussed from a perspective of free improvisation practice. Preparations can be defined as the use of a “non-instrument” object (screws, bolts, rubbers etc…) to alter or modify the behaviour of an instrument or part of an instrument. Although also present in instrumental practices based on the electric guitar or the drum kit, the piano provides a privileged space of exploration given its large‐scale resonant body. It also highlights the transgressive aspect of preparation (the piano to be prepared often belongs to a venue rather than to the pianist herself, hence highlighting relationships of trust, care and respect). Since 2007 I have used a guitar-object (a small wooden board with strings and pick ups) connected to a small amplifier to prepare the grand piano in my free improvisation practice. This paper addresses the different relationships afforded by this type preparation which is characterised by the fact that the object for preparation is in itself an instrument (albeit a simplified one), and the preparation is ephemeral and intrinsic to the performance. The paper also reflects on the process of designing an interface from and for a particular practice and in collaboration with a guitar luthier.

Thomas Moore Music Project:The Genesis of Thomas Moore's Irish Melodies

This is a selection of images from the Gibson-Massie Moore Collection, supplement by a table created by curator Sarah McCleave. The purpose is to identify the numerous creators involved in the Irish Melodies series (music editor, illustrators, engravers, etc.), and to illustrate some characteristics kinds of variants

Free Improvisation in Europe:Lecture and Hands-on Workshop, given at 5 different universities in Brazil during February - June 2014

The lecture traces the beginnings of the free improvisation scene in Europe, commencing in the 1960. I present a multitude of video and audio examples of some of the most prominent improvisers of the time.
I focus specifically on the scene that developed around John Stevens and his SME (Spontaneous Music Ensemble). The work of Derek Bailey, specifically his writings in “Improvisation: its nature and practice in music��� (1980), will feature.

The practical workshop invites improvisers (beginners to advanced with any instruments) to work with me on several listening and improvisation exercises.
Many of the exercises will be based on the innovative methods as developed by John Stevens in his work “Search and Reflect”. Participants will be able to experiment with a few essential ‘sound/listening’ exercises, guided by myself.
It is envisaged that a small ensemble is formed which will explore several improvisatory strategies. This part is open to all skill levels, all ages and any instrumental groupings.

Trio Performance with 'Faint' at "Sounds New Contemporary Music Festival":Graphic Scores and Free improvisation: Canterbury, Kent

The programme contained a performance by the trio FAINT (Pedro Rebelo - Piano and instru- mental parasites, Franziska Schroeder - Saxophone and Steve Davis - Drums). The performance includes short electroacoustic works based on the trio's free improvisation and a performance of Rebelo's Cipher Series graphic scores.

The whole song is greater than the sum of its parts: Local and structural features in music listening

Four experiments reported here demonstrate the importance of structural as well as local features in listening to contemporary popular music. Experiment 1 established that listeners without formal musical training regard as salient the formal structure that links individual sections of songs. When asked to listen to and assemble the individual sections of unfamiliar contemporary songs to form new compositions, participants positioned the sections in ways consistent with the true structure of the music. In Experiment 2, participants were provided with only the song lyrics with which to arrange the individual sections of contemporary songs. It was found that in addition to musical features
studied in Experiment 1, lyrical content of contemporary music also acts as a strong cue to a song’s formal structure. Experiments 3 and 4 revealed that listeners’ enjoyment of music is influenced both by structural features and local features of music, which were carried by the individual song sections.
The influence of structural features on music listening was most apparent over repeated hearings. In Experiment 4, listeners’ liking for contemporary music followed an inverted U-shape trend with repeated exposure, in which liking for music took a downward turn after just four repeated hearings. In contrast, liking for restructured music increased with repeated hearings and almost eliminated an initial negative effect of restructuring by the sixth hearing. In sum, our findings demonstrate that structural features as well as local features of contemporary music are salient and important to
listeners.