California State University Fullerton Composer-Performer Symposium:

Models of Interactionin Works for Piano and Live

Electronics

Xenia PestovaInput Devices and Music Interaction LaboratoryMcGill University, Montreal, Quebec, Canada

http://xeniapestova.comhttp://www.idmil.org

Outline• Introduction• Works for piano and live electronics

– Bryan Jacobs (b. 1979)– Silvio Ferraz (b. 1959)– Hans Tutschku (b. 1966)

• Synchronization– Chamber music analogies– Models of Interaction

• Conclusions– Existing and new skills

Introduction• “Live” electronics

– Live transformation of instrumental sound– Offline transformation– Gestural control of sound synthesis

• Max/MSP• “Interactive Music Systems” (Rowe 1993:1)• “Fixed media” model

– Pre-composed soundtrack– Strict or flexible synchronization (Ding 2006)

• Synchronization with the computer– Triggering– Computer “listening”

Models of Interaction:Traditional Performance

Models of Interaction:Fixed Media Model

Synchronization:Song from the Moment by

Bryan Jacobs• MIDI Pedal

– Performer sends cues to computer– Rhythmic freedom– Coordination challenges

• Different nature of the pedal: “on/off”• Rules out left pedal use• Difficult to avoid accents in piano part• Second instrument

Synchronization:Song from the Moment by

Bryan Jacobs

Synchronization:Song from the Moment by

Bryan Jacobs• Click Track

– Played through headphone, notated– Helps performer coordinate with the

computer– Performer unable to modify tempo– Comparable to being conducted– Level has to be set in rehearsal

Synchronization:Song from the Moment by

Bryan Jacobs

Model of Interaction:Song from the Moment

Model of Interaction:Song from the Moment

Model of Interaction:Song from the Moment

Model of Interaction:Song from the Moment

Model of Interaction:Song from the Moment

Synchronization: Cortazar…by Silvio Ferraz

• Duo partner / accompanist• Duo relationship• Computer performer on stage• Parameters modified in real time in reaction to

performance tempi and hall acoustics• Performer in turn reacts to electronic sound• Requires rehearsal time with pianist

Model of Interaction:Cortazar, our quarto com caixa vazia

Model of Interaction:Cortazar, our quarto com caixa vazia

Synchronization: Zellen-Linienby Hans Tutschku

• Flexible Synchronization– MIDI pedal cues from the performer– Computer listening

• Attack detection– Precise coordination with computer and

freedom for performer– Comparable to conducting orchestra from

keyboard in concerto

Synchronization: Zellen-Linienby Hans Tutschku

Synchronization: Zellen-Linienby Hans Tutschku

Synchronization: Zellen-Linienby Hans Tutschku

Synchronization: Zellen-Linienby Hans Tutschku

Conclusions

• Extension of existing skills– Playing with click track: following conductor– Playing with an assistant: duo partner– Flexible synchronization with MIDI pedal and

computer listening: ensemble roles– Sound balance issues

• New skills– Physical coordination with sensors/ devices– Awareness of computer part for interpretation– Basic awareness of technology

Further information

• Performance Videos– http://xeniapestova.com/Cortazar.html– http://xeniapestova.com/SongFromTheMoment.html– http://xeniapestova.com/ZellenLinien.html

• Dissertation, Bibliography, Repertoire List– http://xeniapestova.com/thesis.html

• Performance Tomorrow!– Works for piano, toy piano and live electronics– Sunday 8 p.m., the wulf, 1026 South Santa Fe

Avenue #203, free entry, http://www.thewulf.org