Digital Music Project Slides

8/12/2019 Digital Music Project Slides

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How has Digital Technologychanged our perception of musical

performance and progress?Performance:1) a musical, dramatic, or other entertainmentpresented before an audience...

) the manner in which or the efficiency withwhich something reacts or fulfils its intendedpurpose.!) "inguistics: the actual use of language inreal situations, which may or may not fullyreflect a spea#er$s competence, being sub%ectto such nonlinguistic factors as inattention,distraction, memory lapses, fatigue, oremotional state.


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Human &lement of Performance 'nstrument construction as performance (from production to coding to engineering) ny D * software that uses at least + -it floating point calculations will be capable of

processing audio without introducing unwanted distortions, fre uency responsealterations or any other unwanted effect that would be $clearly audible$ so as to swayopinion (D * *ars / udio 0yths)

0eyer and 0oran$s study2 was designed to show whether real people, with good ears,can hear any differences between 3high4resolution5 audio and the 66.1#H781 4bit 9Dstandard. nd the answer 0oran and 0eyer came up with, after hundreds of trials withdo7ens of sub%ects using four different top4tier systems playing a wide ariety of music,is, 3;o, they can$t.5 (&mperorate "ehrman)


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Human &lement of Performance 39omposers ha e been seduced into an intimate

in ol ement with electronic hardware and software by theneed to grapple with the genie of this medium thatcontinually changes its shape5 Chris Brown

Descartes mind4body di ision was wrong @ mind4body mapthat see#s to maintain an optimal grip on the world,'ntercorporeality. Merleau-Ponty

Telepresence s presence Hubert Dreyfus 3' #ind of ha e an unusual attitude about that issue. ' don$t

#now that ha ing more physical gestures in it is really theway to direct people more to the essence of it.5 JohnBischoff


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The Hub (and Post4structuralism) Hub>enga

http:88crossfade.wal#erart.org8brownbischoff8hubAteBts8hubrengaAf.html 0essages from the audience used as oice editing messages that

trigger musical e ents in the system

3the non4hierarchical structure of the networ# encourages multiplicityof iewpoints, and allows separate parts in the system to function ina ariety of musical modes5 Bischoff

3The musical system can be thought of as multiple stations, eachplaying it$s own sub4composition, which recei e and generate

information rele ant to the real4time impro isation. ;o one stationhas an o erall score.5 Jim Horton 3The players can be iewed as eBtensions of the networ#5 Bischoff
http://crossfade.walkerart.org/brownbischoff/hub_texts/hubrenga_f.htmlhttp://crossfade.walkerart.org/brownbischoff/hub_texts/hubrenga_f.html


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The Hub as a =ystem 3The HC- is an eBample of musicians wor#ing in an open social system,

using computer networ# as a meeting ground. Performing long4distance,they are a band of interacti e computer music systems.5

(Eds. Paper en!a" 3*e are really trying to let the systematic nature of the electronic systems

we are wor#ing with suggest what$s going to happen musically5#im Per$ins

3*e$re the spo#es and The HC- is the centre5

%cot &resham-'ancaster

3't stops you trying to emote5#hom or$e


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9rutch s Tool

Da e rolsh: 9rutch s Tool


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9onclusion

The concepts of musical performance andtechnical performance are in collision ashumans find new ways of ma#ing robots and

systems perform uni uely and musicalproficiency of humans becomes less importantfor the realisation of music.

>obots impro ising? http:88www.youtube.com8watch? E'=FhPGcctw
http://www.youtube.com/watch?v=ISVhPJcctw8http://www.youtube.com/watch?v=ISVhPJcctw8


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Digital Music Project Slides