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Live electronics in live performance : a performance practice emerging from the piano+ used in free improvisation

机译：现场表演中的现场电子表演：从钢琴中演出的表演练习+用于自由即兴表演

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摘要

This thesis explores a performance practice within free improvisation. This is not a theory based improvisation – performances do not require specific preparation and the music refrains from repetition of musical structures. It engages in investigative and experimental approaches emerging from holistic considerations of acoustics, interaction and instrument, and also philosophy, psychology, sociopolitics and technology. The performance practice explores modes and approaches to working with the given potentiality of an electronically augmented acoustic instrument and involves the development of a suitably flexible computerised performance system, the piano+, combining extended techniques and real-time electroacoustic processes, which has the acoustic piano at its core. Contingencies of acoustic events and performance gestures – captured by audio analysis and sensors and combined to control the parameter space of computer processes – manipulate the fundamental properties of sound, timbre and time. Spherical abstractions, developed under consideration of Agamben’s potentiality and Sloterdijk’s philosophical theory of spheres, allow a shared metaphor for technical, instrumental, personal, and interpersonal concerns. This facilitates a theoretical approach for heuristic and investigative improvisation where performance is considered ‘Ereignis’ (an event) for sociopolitically aware activities that draw on the situational potentiality and present themselves in fragile and context dependent forms. Ever new relationships can be found and developed, but can equally be lost. Sloterdijk supplied the concept of knowledge resulting from equipping our ‘inner space’, an image suiting non-linearity of thought that transpires from Kuhl’s psychological PSI-theory to explain human motivation and behaviour. The role of technology – diversion and subversion of sound and activity – creates a space between performer and instrument that retains a fundamental pianism but defies expectation and anticipation. Responsibility for one’s actions is required to deal with the unexpected without resorting to preliminary strategies restricting potential discourses, particularly within ensemble situations. This type of performance embraces the ‘Ereignis’.
机译：本文探讨了即兴表演中的表演实践。这不是基于理论的即兴演奏-表演不需要特殊的准备，并且音乐不受音乐结构重复的影响。它从事从声学，相互作用和乐器以及哲学，心理学，社会政治和技术的整体考虑中产生的调查和实验方法。演奏实践探索了在给定的电子增强声学乐器潜力下工作的方式和方法，并涉及开发适当灵活的计算机演奏系统，piano +，结合了扩展技术和实时电声过程，使声学钢琴处于其核心。声音事件和演奏手势的意外事件-由音频分析和传感器捕获，并组合起来控制计算机进程的参数空间-操纵声音，音色和时间的基本属性。球形抽象是在Agamben的潜力和Sloterdijk的球形哲学理论的基础上发展而来的，它为技术，工具，个人和人际关系提供了一个隐喻。这为启发式和调查即兴创作提供了一种理论方法，其中表现被认为是“社会性”活动的“ Ereignis”（事件），这些活动利用了情境潜力并以脆弱和依赖于上下文的形式展示自己。可以找到和发展新的关系，但是同样会失去它们。 Sloterdijk提供了装备“内部空间”所产生的知识概念，这种图像适合于非线性的思想，这种思想是从库尔的心理PSI理论中产生的，用以解释人类的动机和行为。技术的作用-声音和活动的转移和颠覆-在表演者和乐器之间创造了一个空间，该空间保留了基本的钢琴演奏风格，但却不符合期望和预期。必须对自己的行为负责，以应对突发事件，而不能诉诸限制潜在话语的初步策略，尤其是在整体情况下。这种表演包含“ Ereignis”。

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    Lexer Sebastian;

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  • 年度 2012
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