Jamie Forth, Royal College of Music Email: jforth@rcm.ac.uk
Hosted by Birmingham Conservatoire in collaboration with SEMPRE, this one-day conference drew together a range of musical practices, with computer technology providing the common point of contact. Three sessions were scheduled, each consisting of three presentations, and encompassed a live performance, practical demonstrations, and papers covering issues of technology in performance, composition, pedagogy and clinical practice. The local organiser of the conference was Peter Johnson, working alongside SEMPRE conference secretary Elaine King. Individual sessions were chaired by Peter Johnson, Jane Davidson and Raymond MacDonald.
The morning session, entitled 'Playing with Technology', began with a demonstration of an interactive music system currently in development at Birmingham Conservatoire. The project, a collaboration between Jonathan Green, composer and researcher, and David Purser, trombonist and Head of Brass, places emphasis on the need for performer accessible technology. The aim of the system is to provide a musician, a trombonist in this case, with tools that can be integrated with existing playing techniques, in order to extend the sonic possibilities of the instrument. Effects currently available include: harmonisation, granular synthesis, delay, spatialisation and reverberation. It was noted that promoting the autonomy of the technologically enhanced performer would be encouraging for composers, particularly those that may be apprehensive about utilising technology in their work. Practicalities of the system fall into two categories: hardware and software. This division was proposed as a sensible precaution against the problem of technological obsolescence, which can be a significant hindrance to the longevity of technologically reliant music – a recurrent theme throughout the conference. The Max/MSP system is not dependent on any particular external hardware, thus minimising the impact of inevitable hardware upgrades. Demonstrated hardware controllers included a wireless bend sensor, together with floor and tabletop MIDI controllers. The foot switch was primarily used to select preset processing configurations and to enable continuous foot control of specified parameters (e.g. amplitude). The tabletop unit contained a range of physical knobs and switches that could be freely reassigned on-the-fly. Attaching the bend sensor to the player's elbow enabled idiomatic trombone gestures to be incorporated into the system. This approach was acknowledged to not be the most general or accurate solution, but it proved a workable prototype and clearly demonstrated the potential of utilising instrument-specific movements in software control. One could imagine the extension of this approach by employing infra-red or video-tracking technology to maximise the integration of idiomatic gesture control. It would have been interesting to have heard more regarding how this project relates to the extensive literature that exists for the field of meta-/hyper-/infra-instruments. However, the practical demonstration was informative and a good example of how the combined talents of performers and technicians can be brought together to pursue shared musical goals.
The next presentation, by Martin Parker (University of Edinburgh), also dealt with extending the sonic possibilities of the trombone, but alternatively by means inspired by sound library and search engine technology, combined with the aesthetic influence of 'sound-oriented' composers such as Russolo and Varèse. Working in collaboration with the trombonist John Kenny, the initial phase of the project involved producing a sound library of Kenny's extended playing techniques. In creating such an archive, one is naturally faced with issues of data classification and means of access, such as the ability to sort data by sonically relevant criteria or to retrieve sounds through query-by-example methods. Inspired by the organising potential of search engines, and the often rhizomatic characteristics they exhibit, Parker is in the process of developing an interactive sound library application within Max/MSP. A partial demonstration was given, in which a pitch contour profile (in principle extracted from a live source) was used to index a database of automatically categorised Kenny samples. Interestingly, the system allowed mappings across musical parameters. For example, input pitch data was used to index samples according to their duration. Again, reference to other research in the field would have been welcomed, particularly as closely related concepts, such as concatenative synthesis or audio mosaicing, and music information retrieval applications, have been the subject of much research in recent years. The viability of an entirely Max/MSP based approach to this problem was also noted in the post-talk discussion, and this would be supported by related projects in the field that often rely on specific low-level algorithmic implementations used within a music programming language (e.g. as a Max/MSP external or SuperCollider UGen). Nevertheless, the system demonstrated was an early prototype and there is much potential for fruitful artistic exploration in its development. The supporting historical, aesthetic and pedagogical context of the research was particularly welcomed, as such issues can sometimes be obscured in technical discussions.
The final presentation in this group was given by Juhani Räisänen (University of Arts and Design, Helsinki), and introduced the newly invented instrument, the Sormina, which incorporates I-CubeX wireless technology coupled with Native Instruments' Reaktor software. 'Sormina' means 'finger' or 'digit' in Finnish, and is an apt name for this instrument, which is held in front of the body rather like a recorder (though not placed in the mouth) and performed by rotating eight potentiometer dials – one for each finger. The potentiometers possess a degree of physical resistance, requiring sustained effort on behalf of the player to instigate change, as is typical of string instruments, for example. Force-feedback, however, was not integrated into the current design. The possibility of each hand having a distinct role in affecting the sonic outcome (again as in string instruments) was also not explicitly explored in the current system, although it was suggested that this could be an interesting further avenue of research. However, this would imply greater sophistication in the software component of the instrument, which seemed of secondary concern to the design and usability of the physical controller itself. Furthermore, the designer pointed out that such an addition would significantly increase the level of difficulty involved in playing the instrument. Throughout the conference, the role of practise in learning new technological instruments was a recurrent theme. The level spanned a considerable range from the often immediate and direct requirements of music therapy, to the significant level of difficulty and subtlety advantageous for concert performance. The compact and uncomplicated appearance of the instrument proved a positive attribute in performance, as one was not distracted by the usual trappings of technology. Audience engagement was also aided in this case by the clear relationship between performed gestures and resulting sound, although this is of course not a necessary requirement for effective performance with technology, as in the case of live coding laptop performers.
The second session brought together three composers involved with the Crossing Continents project to discuss aspects of their work, and ways in which they have engaged with technology in creative practice. The project itself is a musical collaboration, featuring a series of concerts in both the UK and Australia, coordinated by Jane Davidson (University of Sheffield and University of Western Australia). Nick Farwell (University of Bristol) discussed practical and conceptual developments emerging from recent work that had involved revising and updating software of previous pieces in preparation for new performances. The four works for solo instrument and live electronics were written between 2001 and 2004, giving some indication of the rate of technological change, and the scale of the issue facing composers wishing to ensure that their pieces remain performable. Interesting insight was shared into aspects of the composer's working methods, and in particular how Max/MSP is able to facilitate multilevelled compositional thinking, also making it a useful tool in composition teaching. A principle theoretical outcome of this practice-led research was the formulation of an informal biologically inspired software design pattern for interactive performance systems. Farwell drew analogical links between biological 'organs' and lower level algorithms and sound generating processes, which in a robust performance system must be structured within a protective 'shell'. And finally, the visual interface of the software (the 'skin'), must be intuitive and allow immediate control over the behaviour of the system in a performance situation. The metaphor illuminates several conceptual aspects of object orientated programming, particularly encapsulation and modularity, prevalent in music programming languages. Increasing accessibility to music technology is a worthwhile cause, and for those wishing to explore and develop software systems as part of their musical practice, this talk was particularly instructive.
James Ledger's presentation was centred around the live performance of his recently revised work Swamp Music, originally written in 1997. The piece is scored for French horn and percussion, performed, respectively, by Darryl Poulsen and Eva Hsieh. Technological change necessitated a revision of the work, simply because the original hardware requirements are no longer obtainable – a familiar theme of the conference. However, while recreating the live electronics part with current technology, Ledger also took the opportunity to significantly update the sonic character of the work. This led to an interesting discussion about the high degree of control and reproducibility technology affords the composer, set against the implications of fixing sound concretely in time, and for what this inevitably entails for the future perception of a work. A further alteration to the work was the removal of performer control over the electronics (significantly guitar effects-pedals), replaced instead by computer under the supervision of a sound technician, in this case the composer. It was acknowledged that this was an unfortunate loss of a particularly theatrical element of the work. However, the negative aspect of performance brought to the work by the inclusion of the computer should not be generalised to all live computer-mediated performance. For example, the aesthetics of live laptop performance have engendered a highly dynamic performance tradition and culture of appreciation, based precisely on the lack of overt human physical action. With reference to Messiaen's Turangalîla-Symphonie, Ledger also discussed the potential difficulties of integrating electronically generated sounds with acoustic instruments. This was, however, very well handled in Swamp Music, and both the level of the electronics in relation to the instruments, and the richness of electronic timbres themselves contributed to its success.
The final presentation from the Crossing Continents group was given by Adrian Moore (University of Sheffield) on the subject of performance in fixed media composition. The talk was delivered as a more formal paper, and was a good example of documentation for practice-based research, offering clarity of argument and a balance between theoretical engagement and creative aims (in relation to the new work Three Pieces). A distinguished composer of primarily electroacoustic music, Moore has great experience in creating dynamic and gesturally compelling sonic works for fixed media. This recent research seeks to extend the 'intrinsic' sense of play sounds can possess in fixed works, with technological possibilities for enabling degrees of 'extrinsic' human control over sound in real-time. Noting the limited scope for expressive performance practice in fixed electroacoustic music, the art of sound diffusion aside, Moore raises two questions: how might a better balance be achieved between fixed composition and responsive performance? Also, what would constitute an acceptable loss of explicit compositional control in favour of performance flexibility? Regarding the latter, a possible strategy suggested would be to build moments of freer improvisation into the formal design of a work. This was not explored specifically in Three Pieces (a fixed work), which instead incorporated real-time articulation and improvisation elements into the composer's studio practice as a step towards developing a flexible approach to performance. Max/MSP was again the technology of choice, and the composer described a system that enabled control over the playback of a collection of pre-composed sound files by drawing on a graphics tablet. A significant degree of practise was required in order to develop the necessary skill to control the instrument expressively. It was argued that, in a performance context, the sustained effort required of a performer, coupled with an overt element of danger that accompanies live performance, would be valuable additions to traditional fixed media concerts. In the same way as instrumental composition, such a system can be seen as allowing certain musical decisions to be deferred until the exact moment of execution in a performance. However, as more decisions are passed to the performer, the issue of complex control mapping begins to test the limits of human haptic and cognitive abilities. At this point, it may become necessary to shift away from the perception of technology as an instrument to be controlled, towards one that views technology instead as a mutual collaborator in performance. This may take us slightly beyond the aesthetic realm described by Moore, one that seeks to preserve as much as possible the refined sensibilities of fixed electroacoustic music. However, I wait with great interest for the future development of this research.
The theme of the final session of the day was 'Music and the Body', and featured a report on a creative music-biology collaboration and two presentations regarding the application of technology within music therapy. First off, John Matthias, a freelance composer, talked of his involvement in a project to produce a new work for string orchestra based on research conducted into the behaviour of spiking cortical neurons. Nick Ryan was the primary musical collaborator in the work, which also involved the efforts of several researchers from the University of Plymouth. Research has discovered the self organising behaviour of the neurons, observed as variously synchronising rhythmical patterns, which have become known in the literature as 'cortical songs'. The emphasis of the project was towards aesthetic interpretation of scientific data, rather than literal sonification. The latter is an area of increasing research activity, but as demonstrated by Matthias, drawing purely artistic inspiration from scientific results can prove fruitful to creative work, helping a composer to think of new ways of writing music. However, the realisation of the work itself involved a significant degree of technological development, including the implementation of a 'neurogranular sample synthesiser', and the conversion of neuron patterns into MIDI data and the use of lights to relay the patterns to players during performance. As well as providing a stimulus for the creation of new music, this work showed the potential of such art-science collaborations to both widen the dissemination of scientific ideas and diversify participation in contemporary music.
Karen Burland (University of Leeds) presented a study, conducted with Wendy L. Magee (Institute of Neuropalliative Rehabilitation), into the usage of electronic music technologies within music therapy. Technology presents great opportunities to enable clients with complex physical and sensory needs to benefit from engagement with music. Burland identifies a lack of publication in this area, which is a significant factor in inhibiting wider practice. Great care was taken to describe the methodology of the study, the rigour of which was deemed necessary to allay possible scepticism due to the qualitative nature of the investigation. The aims of the study were to identify best practices and to develop guidelines for therapists. Very positive cases were discussed, highlighting the extreme importance of such work, and the real difference it can make to individual clients and their families.
In a related presentation, Liz Johnson (Birmingham Conservatoire) discussed the Soundbeam as an example of the application of a specific music technology in therapeutic situations. The Soundbeam system combines ultra-sonic sensors and physical switches with a software system, that together can be used to create intimately controllable, high quality music. Two pilot studies were conducted, one with children and the other with the elderly, with extremely positive results. The impressiveness of the ease at which the Soundbeam enables a highly creative engagement with music, is second only to the sheer capacity of music to affect changes within the human mind and body. Although the end of an intense day of discussion, accounts and photographs of individuals becoming transformed in their own technologically enabled music making proved to be a fascinating highpoint.
An enjoyable conference with a particularly informal feel. The number of attendees in addition to presenters was relatively small, however, the diversity of musical backgrounds represented, including music therapy, psychology, cognition, performance, composition, technology and probably more, made for a stimulating mix of perspectives. A minor criticism would be the prominence given to Max/MSP as the tool for computer assisted music-making. Without repeating much-rehearsed arguments here, other tools do exist, allowing for different approaches to be adopted and for different problems to be identified and addressed. And as a more personal reflection concerning computer music in general, I would have welcomed more recourse to other literature in what is a fast moving and highly interdisciplinary research field. However, within a single day much ground was covered, and recognising the lead role traditionally played by conservatoires in emphasising high standards of creative music making, this focus on practice seems justified. Indeed, all credit to Birmingham Conservatoire for the initiative displayed in supporting such forward-looking research.