Re: Virtual Concerto


Subject: Re: Virtual Concerto
From: Richard Zvonar (zvonar@zvonar.com)
Date: Sun May 09 2004 - 02:32:33 EDT


At 12:47 PM -0400 5/8/04, Eliot Handelman wrote:

>Voyager seems to be from the 80s...I gather that it responded in
>some way to pitch and intensity. Anything else?

There was a greater degree of analysis going on, including such
things as melodic tendencies, attack densities, and so on. Different
algorithms would analyze and respond in different ways. George
thought of them as having various musical personalities.

The first time I ever heard one of George Lewis's interactive pieces
I was mixing the performance! The occasion was the Claxon Sound
Festival in Utrecht at Theatre t'Hoogt in 1983. I was there with
Diamanda Galas and George asked me to mix his set as well. The human
performers were George himself, Derek Bailey, and Joelle Leandre. The
computer system ran on an Apple II with a single audio input that
could scan one player at a time. The computer controlled three DX7s.

The human input and computer output were too complex to say simply
"oh, yes, this musical input resulted in that musical output." All I
can say is that it seemed to work in a way that was satisfying within
the free music aesthetic. I mixed another George Lewis gig at Mills
College a year or so later, and I've heard several others and my
general reaction has always been similar. There's something musically
satisfying going on that is beyond simple Mickey-Mousing. George's
explanation of his process is that he is doing more elaborate levels
of analysis and response and that these would be different for
different pieces.

-- 

______________________________________________________________ Richard Zvonar, PhD (818) 788-2202 http://www.zvonar.com http://RZCybernetics.com



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