[PD] Re:[OT] How do your performance environments looks like?
jose manuel berenguer
jmbeal at telefonica.net
Sat Apr 19 04:11:49 CEST 2003
hello, Maurizio Umberto
>This is was also my point in a previous mail. Anyway in this specific
>case (instrument), as far as I heard the technique is highly developed
>in the sense of playing traditional music or music that is in fact not
>very different from traditional music. I never listened to John Zorn
>playing theremin but since he made several works on cinema, recreating
>sound tracks for immaginary movies he may have used theremin in a
>This is specifically true for the original theremin which is an
>instrument designed to play music of pitches (in fact the theremin is
>associated to a specific timbre, it's a real traditional instrument).
>With MIDIfied theremin, that is theremin used as control device (like
>radio baton etc), this is not true but I think you can use a theremin to
>exploit something like PD.
>When I talk about reaching an instrumental technique on electronic
>devices, I am not necessarily referring to music written as traditional
>instrumental music but a music that can possibly exploits the essence of
>the specific device. In this sense the use of haptic devices "just" for
>the feeling of an acoustic istrument is not a priority for me (nor it is
>Maurizio Umberto Puxeddu.
i share your opinions
when i was speaking about the "highly developed" technique of
Theremine, i only was thinking on the accuracy of movements. in the
past, they produced, indeed, pitches, but it could be possible using
all this gestural knowledge to control other less idiomatic musical
to play a Helmut Lachenmann's quartet, performers perhaps have spent
a lot of years working on control of pitches and levels in time,
despite of the fact that his music has more to do with other
qualities of sound...
coming back to Theremine again, even if not using the new MIDI
features, the frequency of audio signal could be analyzed by means of
fiddle~ and mapped to any other set of sonic dimensions. it is not
matter of feeling of acoustic instruments in my case. it is only a
need to control the life of sounds in real time with the same level
of accuracy that was reached by musical works in the past. not
always, but sometimes i need that audience communicates, directly
with performers, that it follows them, and this is not possible
without a high level of control of sound matter.
perhaps this is a mirage...
Jose Manuel Berenguer
jmbeal at telefonica.net +34932857046 +34696538403
jmberenguer at cccb.org +34933064128
Sonoscop/Orquesta del Caos. CCCB. Montalegre, 5. 08001 Barcelona. Spain
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