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2017 | OriginalPaper | Chapter

Interplay Between Composition, Instrument Design and Performance

Author : M. A. J. Baalman

Published in: Musical Instruments in the 21st Century

Publisher: Springer Singapore

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Abstract

With electronics and code as an essential part of new musical instruments, the boundaries between composition, instrument design and performance are blurring. With code that can be changed and compiled on the fly, the design of an instrument becomes a fluid process, which can even be a performance in itself. Starting with an example from my own artistic practice, I explore the concepts of composition, instrument and performance and what role the design of electronics and software plays in these. What influences design decisions when developing instrument? How does the materiality of electronics and code inform these decisions? How do the knowledge and skills of the makers play their role in this?

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Footnotes
1
“Wezen—Gewording” can roughly be translated to Being—Becoming.
 
2
API stands for application programming interface; it defines which functions can be called from a library. In the context of livecoding it defines the set of commands that can be called during the performance, thus determining the vocabulary that is available.
 
3
During his talk during the Musical Organics Symposium, STEIM, Amsterdam; May 5, 2016.
 
Literature
Baalman, M. A. J. (2016) Sense/Stage—A low cost, open source wireless sensor infrastructure for live performance and interactive, real-time environment. https://​docs.​sensestage.​eu. Accessed August 16, 2016.
Hayles, N. K. (2012). How we think: Digital media and contemporary technogenesis. University of Chicago Press. ISBN 9780226321424.
Kuivila, R. (2004). Open sources: Words, circuits and the notation-realization relation in the music of david tudor. Leonardo Music Journal, 14, 17–23.
Lewis, G. E. (2007). Live algorithms and the future of music. CT Watch Quarterly, 30(2), 19–24.
Maxfield, R. (1963). An anthology of chance. La Monte Young and Jackson Mac Low: 965 Hoe Avenue, Bronx 59, New York, USA.
McLean, A. (2008). Live coding for free. In A. Mansoux & M. de Valk (Eds.), FLOSS + Art (pp. 224–231). Goto10 and OpenMute. ISBN 978-1-906496-18-0.
McLean, A. (2011). Artist-programmers and programming languages for the arts. PhD thesis, Department of Computing, Goldsmiths, University of London.
Miranda E., & Wanderley, M. (2006). New digital musical instruments: Control and interaction beyond the keyboard (A-R ed.).
Nilsson, P. A. (2011). A field of possibilities: Designing and playing digital musical instruments. PhD thesis, Göteborgs Universitet.
Rohrhuber, J., Hall, T., & De Campo, A. (2011). Dialects, constraints, and systems within systems. Cambridge, MA: MIT Press.
Schnell, N., & Battier, M. (2002). Introducing composed instruments, technical and musicological implications. In Proceedings of the 2002 Conference on New Instruments for Musical Expression (NIME-02), Dublin, Ireland, May 24–26, 2002 NIME02-01.
Varela, F. J., Thompson, E., & Rosch, E. (1991) The embodied mind: Cognitive science and human experience. MIT Press.
Metadata
Title
Interplay Between Composition, Instrument Design and Performance
Author
M. A. J. Baalman
Copyright Year
2017
Publisher
Springer Singapore
Book
Musical Instruments in the 21st Century

Print ISBN: 978-981-10-2950-9

Electronic ISBN: 978-981-10-2951-6

Copyright Year: 2017

DOI
https://doi.org/10.1007/978-981-10-2951-6_15

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