Living Scores - European Music Council€¦ · Philippe Hurel Loops-process “Ce qui m’importe,...

Living Scores Learn

Tom De Cock

Vincent Caers

info@living-scores.com

www.living-scores.com/learn

• Introduction

• Living Scores Learn

• Phd Tom De Cock

• LS Learn

• Practical Example

• Philippe Hurel

• Future

Living Scores

Living Scores

• improving study of contemporary

music

• theoretical and practical solutions

• sharing experience

• preceded by doctoral research by

Tom De Cock

• Introduction

• Living Scores Learn

• Phd Tom De Cock

• LS Learn

• Practical Example

• Philippe Hurel

• Future

Improving the efficiency of practice and

performance of contemporary percussion

repertoire

Research Tom De Cock

Necessity for Research

• lowering the threshold for percussionists to tackle

major repertoire contemporary pieces by cataloguing

practical experience and knowledge into a new

working method

• lack of study-material and documented know-how

• problematic scores and electronics in the existing

repertoire

State of the Art • thorough analysis of a selection of repertoire pieces

• “technical” recordings

• click tracks, also multi layered and “play along”

tracks

• annotated scores

• practical playing solutions

• collaborations with composers

Living Scores Learn

• web platform

• sharing research

• theoretical

• practical

• tools

• interaction

• Introduction

• Living Scores Learn

• phd Tom De Cock

• LS Learn

• Practical Example

• Philippe Hurel

• Future

Philippe Hurel Loops-process

“Ce qui m’importe, c’est ce qu’il y a entre deux [formules], c’est à dire la

façon dont on y arrive et dont on en repart. Le résultat du processus ...

m’importe peu” - Philippe Hurel over Loops I

Philippe Hurel

• French composer (Ircam)

• spectralism + classical variation

• loops: repetition within

continuous transformation

• focus on process and

transparency

Gérer l’Héterogène

title instrument characteristics structure

Loops I flute solo Introduction of the transformations linear

3 parts

Loops II vibraphone

solo

Transformations return to a main motif

Introduction of the main motif

Influenced by specific instrumental techniques

loops

Loops

III

flute duo Transformations return to - parts of - a previous period

Instrumental characteristics on the foreground of the composition

network

Loops

IV

marimba solo Transformations are mirrored

The process is subordinated to the instrumental timbre at specific

moments in the composition

circle

Loops V carillon The process as an underlying principle for a continuous composition linear

continuous

Overview of the Transformations

parameter constructive regressive

melody addition diminution

melodic curve fluent capricious

rhythm diminution / density raised augmentation / density lowered

tempo accelerando / fast ritardando / slow

range ascend descend

ambitus larger smaller

dynamic crescendo diminuendo

Loops (II / IV)

• Introduction of a main motive

• 3 general loops with interior smaller loops

• each measure (group) is a step within the

transformation

• parameters change in two directions

• different structures

Practice Solutions

• annotated scores

• clicktrack

• temporelations

• complex meter structures

• sequencer

• auditive harmonic reference image

• play-along recording

• Introduction

• Living Scores Learn

• phd Tom De Cock

• LS Learn

• Practical Example

• Philippe Hurel

• Future

LS Learn Future

• Expanding content and participation

• integration into curricula at conservatories

• further practice-based R&D

• collaboration with different conservatories

(Brussel, Leuven, Oslo, Lissabon, Porto,

Weimar, Detmold, Barcelona, Tilburg)

• collaboration with performers and ensembles

• online archive and exchange