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Sensation and control: indeterminate approaches in popular music.

WAITE, Si (2014) Sensation and control: indeterminate approaches in popular music. Leonardo Music Journal, 24. pp. 78-79. ISSN 0961-1215 (In Press)

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Abstract or description

This paper discusses how indeterminate techniques borrowed from experimental music can be applied to the composition and performance of popular, song-based material. The author makes the case for treating computer-based systems as collaborators in creating works that are both sensuous and cerebral.

Item Type: Article
Additional Information: Kafka-Esque explores how the computer keyboard can be implemented into an interactive system for the performing music with lyrics by replacing sung lyrics with visually-projected typed text. Composing the piece was central to the research process (Candy and Edmonds, 2018) and involved a cyclical, iterative process of literature review, system-building/composing and reflection. The system builds on previous work in the New Interfaces for Musical Expression (NIME) community that explores the use of QWERTY keyboards for live performance (Fiebrink et al, 2007; Lee et al, 2016) and builds on other works that use typing gestures in live performance, such as Anderson’s The Typewriter (1953) and Reich and Korot’s The Cave (1994). Unlike these works, Kafka-Esque reveals connections between the act of singing and that of typing, while demonstrating how typing gestures can be captured and processed in several ways to create a multi-timbral audio-visual work. The practice also suggests techniques and strategies for implementation in popular music contexts, which are typically under-represented in work with interactive systems (Marchini et al, 2017). These findings are disseminated in the related NIME paper (Waite, 2015). Furthermore, live performances of Kafka-Esque demonstrate high levels of several aspects of liveness (Sanden, 2013). Findings have been shared with international academic and professional audiences at Innovations in Music 2017 (London); Tracking the Creative Process in Music 2017 (Huddersfield) and Loop 2017 (Berlin). The piece was the subject of a NIME 2015 paper and demonstration (Baton Rouge, USA) and was discussed in an Artist Statement in the Leonardo Music Journal (2014). Recordings of the piece and accompanying commentary have been published online and the piece has been performed at Sonorities 2015 (Queen’s University), MTI concerts (De Montfort University) and NoiseFloor (Staffordshire University). The software created for the piece is available for free download.
Uncontrolled Keywords: INCL
Faculty: Previous Faculty of Arts and Creative Technologies > Film, Sound and Vision
Depositing User: Si WAITE
Date Deposited: 12 May 2015 13:09
Last Modified: 24 Feb 2023 13:42

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