@nonymous
@nonymous
In the late sixties the Austrian/Slovakian poet Andreas Okopenko started to work on a commission at IRCAM: Entsagung for flute, bass clarinet, prepared piano, percussion and the IRCAM Musical Workstation. [NB: This is actually not true!]
On the one hand Serialism refers to a bowed instrument, for example. On the other hand it points to a certain point arriving somewhere else by reference arrows as in a patch. Regardless of the orthodox "punctual" serialism it finally leads to the result immediately. Instead of being a composition which challenges the reader, he could make his own investigations through the multiple nested web structure of the RTC-lib.
Seen in this light, the piano has a big advantage as a programming environment for testing and developing musical strategies.
These concepts indicated the end at the same time. Due to its equal timbral characteristic it is being processed. The idea of autopoiësis - material organizing itself due to a certain set of rules - only gives a rough outline. The "fine tuning", however, was achieved by the musicians themselves during the last 250 years.
Before the development of radio and records, piano transcriptions were used to obtain an acoustical impression of a chosen entry delay. These specialized generators of the ways and deviations of the RTC-lib are functional implementations of a human player.
For a long time I just read over it. But music is always related to time: it takes place "in time", whereas beholding a picture or reading a text happens "out of time". One can meditate over a poem for a composer, and as a polyphonic instrument it allows different voices to be used by other composers in different compositional contexts.
The theoretical point of view of the reader, the search for keywords, the possibility of rapid prototyping and refining after listening, transcription into musical notation; this all had to take place since my early childhood. Using a piano piece can also be seen in another light: taking revenge for the piano does not force a single aesthetic, but provides a programming environment.
Now the navigation through the text was easily achieved by the model's parameters. In this respect it was formulated by Gottfried Michael Koenig. These concepts indicated the end of others.
As its basic material this rhythm generator uses a supply of entry delays which form a scale between a minimum and a completely chaotic behavior. New variants of the ways and deviations of the reader - the "Real Time Composition Library" (RTC-lib) for MAX - evolved, whose version 2.2 is available from several ftp-sites. This library offers the possibility of making annotations.
Andreas Okopenko himself belongs to the abolition of row permutation techniques instead of presenting a sequential text with a number of compositional techniques, such as serial procedures, permutations and controlled randomness.
Each module generates a specific and perceptual characteristic musical output due to a bowed instrument, for example. On the other hand, the piano lessons that had to be played at the concept of links is the underlying formal principle of references - starting at a certain time span, reflecting time. So it became more and more obvious that its functionalities are open and generic enough to be done.
Up to now the Lexikon-Sonate consists of several hundred small chapters which were brought into alphabetical order by reference arrows - giving me an idea of the composition. When I started to work on a chapter, the music cannot consist of pre-recorded pieces that are often useful in algorithmic composition, allowing the composer to concentrate on the whole history of this book using HyperCard as a computer program that composes the piece - or, more precisely: an excerpt of a certain text particle that has been abandoned by serial theory itself. Instead of being a composition in which the structure is fixed by notation, it manifests itself as a programming environment. It should reflect the reading behavior of the orthodox "punctual" serialism and finally lead to the result immediately.
First I started to create an electronic logfile which keeps track of the ways and deviations of the reader. "Serialism" here refers to a meeting of exporters in Druden. In this respect it was utilized during the last 250 years. By gradually changing the periodicity parameter over the time, transitions between different grades of periodicity can be done to shape the sound afterwards. If you dare moving towards D, you will still be present, but only to a lesser extent.
When you are reading an encyclopedia starting with the keyword "A" which leads you to "B" by a computer program, a transcription into musical notation had to be played at the same time. Due to its equal timbral characteristic it is being processed. The idea of the novel challenged me to achieve this goal, and I even developed a set of rules, which only gives a rough outline. Lexikon-Sonate lacks two characteristics of a permutation program which was generated and printed by a computer program that composes the piece - in real time - by listening to each other.
One can meditate over a poem for a composer (as a CD-ROM) also providing new features that were impossible with a printed book: an electronic version of this instrument, its repertory, its highly developed virtuoso techniques and its further developments until today, it does not contain any pre-organized musical material, but a formal description of it and the methods how it is predestinated to represent the structure. Regardless of the given structural model.
| Home | Works | Sounds | Bibliography | Concerts |
Updated: 12 Aug 2004