/ Unruhige Räume - Spatial Electro-Acoustic Composition Through A Collaborative Artistic Research Process
ï~~UNRUHIGE RAUME - SPATIAL ELECTROACOUSTIC COMPOSITION THROUGH A COLLABORATIVE ARTISTIC RESEARCH PROCESS Pascal Baltazar GMEA 4, rue Sainte Claire 81000 Albi, France pb @gmea.net ABSTRACT This paper presents the creative process behind the collaborative work Unruhige Rdume and the tools used to realize it. Set as a piece for three computer instrumentalists and a 12-channel speaker system, Unruhige Rdume is an electroacoustic work employing synthesis, sampling, processing and spatial projection in live performance. The piece is developed continuously until its premiere in March 2011. Connecting their process to ideas and concepts found in philosophy, soundscape studies and music theory, composers and performers Habbestad and Baltazar present key challenges and choices made during the first periods of development, as well as instrumental design and composition aspects. They also address their approach towards defining a shared language to describe materials and compositional methods in use before sketching future work directions, and perspectives on the collaborative nature of the process. 1. INTRODUCTION BjOrnar Habbestad BEK C. Sundtsgt. 55 5004 Bergen, Norway bjornar@bek.no task in the commission to explore spatial perception, formed the basis of the project. 1.3. Early experiences After the first meeting, a concert of improvised music in early 2009, it became clear that maintaining a high degree of performative action and live control of the sonic material was not compatible with the desired amount of spatial realization. This led to the inclusion of sound engineer B. Maumus who has since been a vital element in the project. 2. INSTRUMENT DEVELOPMENT Both composers are developing live software and hardware systems to support their performance practice. Both also consider electroacoustic instrumental design as an important part of their compositional process. 2.1. Respirator Respirator 1is an electroacoustic performance environment combining custom made software and hardware to facilitate real time synthesis and processing interaction between SuperCollider and Bjornar Habbestad's electroacoustic flute. The aim of the Respirator environment is to fuse a microphonic approach to flute playing with digital sound processing and synthesis. More precisely, it is is a multimodal performance environment for real time synthesis and processing interaction between SuperCollider[3] and microphonic flute playing, where the flute is used as an acoustic sound generator, a gesture controller and a mechano-acoustic controller of acoustic feedback. It has a dedicated routing and control system for multiple microphone sources, and a modally changeable set of controllers, pedals, knobs and switches. 'http://respira2or.wordpress.com/ 1.1. Context of the work The authors were commissioned in 2009 to collaborately compose and develop a work, fusing live electroacoustic music with realtime spatialization in a creative process, drawing both on compositional and improvisational strategies. The work is conceived as a collaborative artistic research process with a series of 6 residencies over a period of two years. Public presentations are being made as milestones in the development process from the start of the project until the presentation of the completed work in 2011. 1.2. Musical background Some shared points of interest mark the starting point for this collaboration. The authors have both worked extensively on fusing composition and improvisation in different ways, through solo and collective projects. Electroacoustic instrumental design is also an important part of their musical statement, along with the development of adapted composition techniques. These concerns, along with the specified 538
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